Music Grade 10

MUSIC  Quarter II 5. Zeze - The zeze is an African fiddle played with a bow, a small wooden stick, or plucked with the fingers. It has one or two strings, made of steel or bicycle brake wire. It is from Sub-Saharan Africa. It is also known by the names tzetze and dzendze, izeze and endingidi; and on Madagascar is called lokanga (or lokango) voatavo. E. Aerophones Aerophones are instruments which are produced initially by trapped vibrating air columns or which enclose a body of vibrating air. Flutes in various sizes and shapes, horns, panpipes, whistle types, gourd and shell megaphones, oboe, clarinet, animal horn and wooden trumpets fall under this category. 1. Flutes - Flutes are widely used throughout Africa and either vertical or side-blown. They are usually fashioned from a single tube closed at one end and blown like a bottle.DEPED COPYAtenteben (Ghana) Fulani FlutesPanpipes consist of cane pipes of different lengths tiedin a row or in a bundle held together by wax or cord,and generally closed at the bottom. They are blownacross the top, each providing a different note. 2. Horns - Horns and trumpets, found almost everywhere in Africa, are commonly made from elephant tusks and animal horns. With their varied attractive shapes, these instruments are end-blown or side-blown and range in size from the small signal whistle of the southern cattle herders to the large ivory horns of the tribal chiefs of the interior. One trumpet variety, the wooden trumpet, may be simple or artistically carved, sometimes resembling a crocodile’s head.50 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Music Kudu horn - This is one type of horn made from the horn of the kudu antelope. It releases a mellow and warm sound that adds a unique African accent to the music. This instrument, which comes in a set of six horns, reflects the cross of musical traditions in Africa. Today, the kudu horn can also be seen in football matches, where fans blow it to cheer for their favourite teams. 3. Reed pipes - There are single-reed pipes made from hollow guinea corn or sorghum stems, where the reed is a flap partially cut from the stem near one end. It is the vibration of this reed that causes the air within the hollow instrument to vibrate, thus creating the sound. There are also cone-shaped double-reed instruments similar to the oboe or shawm. The most well-known is the rhaita or ghaita, an oboe-like double reed instrument from northwestAfrica. It is one of the primary instruments used by traditional music ensembles from Morocco. The rhaita was even featuredDEPED COPYin the Lord of the Rings soundtrack, specifically in the Mordor theme. 4. Whistles - Whistles found throughout the continent may be made of wood or other materials. Short pieces of horn serve as whistles, often with a short tube inserted into the mouthpiece. Clay can be molded into whistles of many shapes and forms and then baked. Pottery whistles are sometimes shaped in the form of a head, similar to the Aztec whistles of Central America and Mexico. African whistle 5. Trumpets - African trumpets are made of wood, metal, animal horns, elephant tusks, and gourds with skins from snakes, zebras, leopards, crocodiles and animal hide as ornaments to the instrument. They are mostly ceremonial in nature, often used to announce the arrival or departure of important guests. In religion and witchcraft, some tribes believe in the magical powers of trumpets to frighten away evil spirits, cure diseases, and protect warriors and hunters from harm. 51All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter II African Musical Instruments from the EnvironmentMany instruments of Africa are made from natural elements like wood, metal, animal, skin and horns, as well as improvised ones like tin cans and bottles. These are mainly used to provide rhythmic sounds, which are the most defining element of African music. Africans make musical instruments from the materials in the environment, like forest areas from where they make large wooden drums. Drums may also be made of clay, metal, tortoise shells, or gourds. Xylophones are made of lumber or bamboo, while flutes can be constructed wherever reeds or bamboo grow. Animal horns are used as trumpets while animal hides, lizard skins, and snake skins can function as decorations as well as provide the membranes for drum heads. Laces made of hides and skins are used for the strings of harps, fiddles, and lutes. On the other hand, bamboo was used to form the tongues of thumb pianos, the frames of stringed instruments, and stamping tubes. Strips of bamboo are even clashed together rhythmically. Gourds, seeds, stones, shells, palm leaves, and the hard-shelled fruit of the calabash tree are made into rattles. Ancient Africans even made musical instruments from human skulls decorated with human hair while singers use their body movements to accompany their singing. Modern Africans make use of recycled waste materials such as strips of roofing metal, empty oil drums, and tin cans. These people, bursting with rhythm, make music with everything and anything. At present, new materials that are more easily accessible, suchDEPED COPYas soda cans and bottles, are becoming increasingly important for the construction of percussion instruments. Some rhythmic instruments like scrapers, bells, and rattles also provide the pitch and timbre when played in an ensemble to provide contrasts in tone quality and character. WHAT TO KNOW 1. What are the classifications of African music? 2. What are the characteristics of each classification of African music? 3. Name some African musical instruments under the following categories: a. idiophones b. chordophones c. membranophones d. aerophones 4. Describe how African musical instruments are sourced from the environment. Give examples. 52 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Music MUSIC OF LATIN AMERICA The music of Latin America is the product of three major influences – Indigenous, Spanish-Portuguese, and African. Sometimes called Latin music, it includes the countries that have had a colonial history from Spain and Portugal, divided into the following areas: a. Andean region (a mountain system of western South America along the Pacific coast from Venezuela to Tierra del Fuego) – Argentina, Bolivia, Chile, Ecuador, Peru, and Venezuela b. Central America – Belize, Costa Rica, El Salvador, Guatemala, Honduras, and Panama c. Carribean – Cuba, Dominican Republic, Guadeloupe, Haiti, Martinique, and Puerto Rico d. Brazil At the same time, because of the inter-racial cross breeding and migration, the above- named countries were also somewhat commonly populated by five major ancestral groups as follows: a. Indian descendants of the original nativeAmericans who were the inhabitants of the region before the arrival of Christopher Columbus b. African descendants from Western and Central Africa c. European descendants mainly from Spain and Portugal but also includingDEPED COPYthe French, Dutch, Italian, and British d. Asian descendants from China, Japan, India, and Indonesia/Java e. Mixed descendants from the above-named groupsINFLUENCES ON LATIN AMERICAN MUSIC1. Indigenous Latin-American MusicBefore the arrival of the Spanish, Portuguese, and other European colonizers,the natives were found to be using local drum and percussion instruments such asthe guiro, maracas, and turtle shells, and wind instruments such as zampona (panpipes) and quena (notched-end flutes) remain popular andare traditionally made out of the same aquatic canes,although PVC pipe is sometimes used due to its resistanceto heat, cold, and humidity. Generally, quenas only areplayed during the dry season. Materials came from hollowtree trunks, animal skins, fruit shells, dry seeds, cane and Quenaclay, hardwood trees, jaguar claws, animal and humanbones, and specially-treated inflated eyes of tigers. 53All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter IIZampona Turtle shellsGuiro Maracas The indigenous music of Latin America was largely functional in nature, being used for religious worship and ceremonies. The use of instruments as well as singing and dancing served to implore the gods for good harvest, victory in battles,DEPED COPYguard against sickness and natural disasters, and of course provide recreation. 2. Native American/Indian Music The ethnic and cultural groups of the principal native Americans share many similar yet distinctive music elements pertaining to melody, harmony, rhythm, form, and dynamics. Short musical motives from descending melodic lines were a common feature, where tempo, rhythm, and tone colors vary with the specific occasion or ritual. Many dance forms were repetitious, while songs had a wide range of volume levels. Some of the Native American music includes courtship songs, dancing songs, and popular American or Canadian tunes like Amazing Grace, Dixie, Jambalaya, and Sugar Time. Many songs celebrate themes like harvest, planting season or other important times of year.3. Afro-Latin American Music The African influence on Latin American music is most pronounced in its rich and varied rhythmic patterns produced by the drums and various percussion instruments. Complex layering of rhythmic patterns was a favorite device, where54 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Musicfast paced tempos add to the rhythmic density. Vocal music was often deep-chested while instrumental music greatly relied on resonant drums and sympatheticbuzzers to produce rich sounds and occasional loud volume levels to reflect theirintensity.4. Euro-Latin American MusicThe different regions of Latin America adopted various characteristics from theirEuropean colonizers. Melodies of the Renaissance period were used in SouthernChile and the Colombian Pacific coasts, while step-wise melodies were preferredin the heavily Hispanic and Moorish-influenced areas of Venezuela and Colombia.Alternating dual meters, such as 6 and 4 , known as “sesquialtera” found in 8 4Chile and adopted in Cuba and Puerto Rico, were immortalized in the song IWanna Be in America from Leonard Bernstein’s Broadway hit West Side Story.Other European influences were manifested in the texture of Euro-Latin Americanmusic, from unaccompanied vocal solos to those accompanied by stringedinstruments. 5. Mixed American Music The diversity of races and cultures from the Native Americans, Afro-LatinDEPED COPYAmericans, and Euro-LatinAmericans account for the richcombinations ofmusical elements including the melodic patterns, harmonic combinations, rhythmic complexities, wide range of colors and dynamics, and various structural formats. This musical fusion of Latin America combining native instruments with European counterparts and musical theories was further enriched by the instruments brought by the African slaves. The result of the massive infusion of African culture also brought about the introduction of other music and dance forms such as the Afro- Cuban rumba, Jamaican reggae, Colombian cumbia, and the Brazilian samba.6. Popular Latin American Music Latin America has produced a number of musical genres and forms that had been influenced by European folk music, African traditional music, and native sources. Much of its popular music has in turn found its way to the many venues and locales of America, Europe, and eventually the rest of the world. Its danceable rhythms, passionate melodies, and exotic harmonies continue to enthrall music and dance enthusiasts worldwide even as the forms themselves undergo constant modifications that are more relevant to the times. Some of these Latin American popular music forms are tango, bossa nova, samba, son, and salsa. 55All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter IIa. SambaThe samba is a dance form of African originsaround 1838 which evolved into an African-Brazilian invention in the working class and slumdistricts of Rio de Janeiro. Its lively rhythm,consisting of a 2 meter but containing three steps 4 3 meter instead,each that create a feeling of a 4was meant to be executed for singing, dancing,and parading in the carnival. Samba has a numberof variations, so that there is no clear-cut definitionof a single samba form. Its most adventurous kindis known as the batucada, referring at once to alarge percussion ensemble of up to a hundred players, a jam session, or anintensely polyrhythmic style of drumming.b. Son The son is a fusion of the popular music or canciones (songs) of Spain and the African rumba rhythms of Bantu origin. Originating in Cuba, it is usually played with the tres (guitar), contrabass, bongos, maracas, and claves (two wooden sticks that are hit together). Although the son is seldom heard today, its most important legacy is its influence on present-day LatinDEPED COPYAmerican music, particularly as the forerunner of the salsa.c. Salsa The salsa is a social dance with marked influences from Cuba and Puerto Rico that started in New York in the mid 1970’s. Its style contains elements from the swing dance and hustle as well as the complex Afro-Cuban and Afro-Carribean dance forms of pachanga and guaguanco. The execution of the salsa involves shifting the weight by stepping sideways, causing the hips to move while the upper body remains level. The arms and shoulders are also incorporated with the upper body position. In each, a moderate tempo is used while the upper and lower bodies act in seeming disjoint as described above.56 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular MusicMUSICAL INSTRUMENTS OF LATIN AMERICAThe varied cultures developed in Latin America gave rise to different types of wind and percussion instruments. As with the African continent, their rich history datingback thousands of years ago with the Aztec, Maya, and other prehistoric cultural groupsin Latin America understandably generates their own brands of creativity in making music.In Central America, the ancient civilizations of the Aztec and Maya peoples used variousinstruments mainly for religious functions and usually by professional musicians. As someinstruments were considered holy and it was further believed that music was supposed toglorify the gods, mistakes in playing these instruments were considered offensive andinsulting to them. Some of their instruments include the following:TlapitzalliThe tlapitzalli is a flute variety from the Aztec culture madeof clay with decorations of abstract designs or images oftheir deities.DEPED COPYTeponaztli The teponaztli is a Mexican slit drum hollowed out and carved from a piece of hardwood. It is then decorated with designs in relief or carved to represent human figures or animals to be used for both religious and recreational purposes.ConchThe conch is a wind instrument made from a seashell usuallyof a large sea snail. It is prepared by cutting a hole in itsspine near the apex, then blown into as if it were a trumpet.Rasp The rasp is a hand percussion instrument whose sound is produced by scraping a group of notched sticks with another stick, creating a series of rattling effects. 57All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter IIHuehuetiThe huehueti is a Mexican upright tubular drum used by theAztecs and other ancient civilizations. It is made of woodopened at the bottom and standing on three legs cut from thebase, with its stretched skin beaten by the hand or a woodenmallet.Whistles Whistles are instruments made of natural elements such as bone from animals. The eagle-bone whistle is the most common whose function is to help symbolize the piece’s purpose.DEPED COPYIncanInstruments Among the Incas of South America, two instrumental varieties were most common: a. Ocarina The ocarina was an ancient vessel flute made of clay or ceramic with four to 12 finger holes and a mouthpiece that projected from the body.b. Panpipes (Zamponas) The zamponas were ancient instruments tuned to different scalar varieties, played by blowing across the tubetop. Typical models were either in pairs or as several bamboo tubes of different lengths tied together to produce graduated pitches of sound.58 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Music Andean Instruments The Andean highlands made use of several varieties of flutes and string instruments that include the following: a. Pitus The pitus are side-blown cane flutes that are played all year round. b. Wooden Tarkas The tarkas are vertical duct flutes with a mouthpiece similar to that of a recorder, used during the rainy season. c. Quenas The quenas are vertical cane flutes with an end-notched made from fragile bamboo.DEPED COPYThey are used during the dry season. d. Charango The charango is a ten-stringed Andean guitar from Bolivia. It is the size of a ukulele and a smaller version of the mandolin, imitating the early guitar and lute brought by the Spaniards. It produces bright sounds and is often used in serenades in Southern Peru. 59All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter IIMariachiThe Mariachi is an extremely popular band in Mexico whose original ensemble consistedof violins, guitars, harp, and an enormous guitarron (acoustic bass guitar). Trumpetswere later added, replacing the harp. Mariachi music is extremely passionate and romanticwith their blended harmonies and characterized by catchy rhythms. Its musicians aredistinctly adorned with wide-brimmed hats and silver buttons. WHAT TO KNOW 1. What are the different musical instruments of Latin American music?DEPED COPY2. What are the characteristics of each instrument?VOCAL AND DANCE FORMS OF LATIN AMERICAN MUSICLatin American instruments are extremely useful in adding life, color, and variety to their many vocal and dance forms which have captured the world’s attention andaffectionate adoption. In the Philippines, many of these characteristics have been takenin, particularly in the Brazilian bossa nova, cha cha, rumba, and the Argentine tango.Other dance forms became locally popular especially in the 1960’s and 1970’s until thearrival of disco and rock music. However, the original Latin dance forms have beenexperiencing constant revivals of their popularity especially in “ballroom dancing” as thetrendier modern styles also fade almost as quickly as they come.1. CumbiaOriginating in Panama and Colombia, the cumbia became a popular Africancourtship dance with European and African instrumentation and characteristics.It contained varying rhythmic meters among the major locations – 2 meter in meter 4 2 4 6 2Colombia; 4 , 4 , and 8 meters in Panama, and 2 in Mexico. Instrumentsused are the drums of African origin, such as the tabora (bass drum), claves,60 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Music which are hard, thick sticks that sets the beat, guitar, accordion, clarinet, modern flute, and caja, a type of snare drum. 2. Tango The word tango may have been of African origin meaning “African dance” or from the Spanish word taner meaning “to play” (an instrument). It is a foremost Argentinian and Uruguayan urban popular song and dance that is related to the Cuban contradanza, habanera, and Cuban tango, and remains a 20th century nationalistic Argentinian piece of music that is most expressive. Its main development was in the slum areas of Buenos Aires, and eventually became fashionable in Parisian society in the early part of the 20th century, as well as inDEPED COPYEngland and other parts of Western Europe.During the 1890’s, the working class of Buenos Aires, Argentina came across anew kind of rhythm known as the tango, whose choreographic steps followedthe dance trend of the Viennese Waltz and the polka involving close contactbetween the male and female dancers.Tango later became more intellectual in the 1940’s when more poetic lyrics wereinserted and allowed little freedom. Later in the 1960’s, more improvisation andmovement were incorporated into the form, allowing the singers and dancersmore room for creative expressions. 61All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter II 3. Cha Cha The cha cha is a ballroom dance the originated in Cuba in 1953, derived from the mambo and its characteristic rhythm of 2 crochets – 3 quavers – quaver rest, with a syncopation on the fourth beat. The cha cha may be danced with Cuban music, Latin Pop, or Latin Rock. The Cuban cha cha, considered more sensual that may contain polyrhythmic patterns, has a normal count of ‘two-three-chachacha’ and ‘four and one, two, three’. 4. Rumba The rumba popular recreational dance of Afro-Cuban origin, performed in a complex duple meter pattern and tresillo, which is a dotted quaver – dotted quaver – dotted semiquaver rhythm. It is normally used as a ballroom dance where a solo dancer or couple would be in an embrace though slightly apart, with the rocking of the hips to a fast-fast-slow sequence and often containing cross rhythms.DEPED COPYThere is a repetitive melody with an ostinato pattern played by the maracas, claves, and other Cuban percussion instruments. It contains jazz elements that became a model for the cha cha, mambo, and other Latin American dances. It was also used for concert music, as it appeared in the Second Piano Concerto of the French composer Darius Milhaud. 5. Bossa nova Bossa nova originated in 1958-59 as a movement effecting a radical change in the classic Cuban samba. The word bossa comes from the Brazilian capital of Rio de Janeiro, which means either “trend” or “something charming,” integrating melody, harmony, and rhythm into a swaying feel, where the vocal style is often nasal. The nylon-stringed classical guitar is the most important instrument of this style. Bossa nova contains themes centering on love, women, longing, nature, and youthfulness. Bossa nova emerged in the 1950’s when a slower, gentler version of the samba became popular with the upper and middle class sectors of society. It was music for easy and relaxed listening, conducive to romantic dates and quiet moments at the lounges. 62 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular MusicA foremost figure of bossa nova is AntonioCarlos Jobim, who became famous with hissong Desafinado (1957). He collaborated withVincius de Moraes in the play Orfeu daConceicao (1956), musical recording of Cancaodo Amor Demais (1958), and the song Garotade Ipanema or Girl from Ipanema (1962) thatturned bossa nova’s popularity into a worldwidephenomenon. Antonio Carlos Jobim In the Philippine pop music scene, Sitti Navarro is a singer who has become known as the “Philippines’ Queen of Bossa Nova.” Some of her bossa nova songs include Para sa Akin, Hey Look at the Sun, Lost in Space, and Kung Di Rin Lang Ikaw. Sitti Navarro 6. ReggaeDEPED COPYReggae is an urban popular music and dance style that originated in Jamaica in the mid 1960’s. It contained English text coupled with Creole expressions that were not so familiar to the non-Jamaican. It was a synthesis of Western American (Afro-American) popular music and the traditional Afro-Jamaican music, containing a western-style melodic-harmonic base with African sounds and characteristics, American pop and rock music mannerisms, and a preference for a loud volume in the bass. The best-known proponent of reggae music is Bob Marley, a Jamaican singer-songwriter, musician, and guitarist. He achieved international fame and acclaim for songs such as: One Love, Three Little Birds; No Woman, No Cry; Redemption Song; and Stir It Up.Bob Marley 63All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter II 7. Foxtrot The foxtrot is a 20th century social dance that originated after 1910 in the USA. It was executed as a one step, two step and syncopated rhythmic pattern. The tempo varied from 30 to 40 bars per minute and had a simple duple meter with regular 4-bar phrases. There was no fixed step pattern, instead borrowing from other dance forms and having a simple forward/backward sequence. The foxtrot gave rise to other dances such as the black bottom, Charleston, and shimmy. 8. Paso Doble The paso doble (meaning “double step”) is a theatrical Spanish dance used by the Spaniards in bullfights, where the music was played as the matador enters (paseo) and during passes just before the kill (faena).DEPED COPYThedanceisarrogant anddignifiedwithaduplemeter, march-like character, where the dancer takes strong steps forward with the heels accompanied by artistic hand movements, foot stomping, sharp and quick movements, with the head and chest held high. WHAT TO KNOW 1. What are the different vocal and dance forms of Latin American music? 2. What are the characteristics of each vocal and dance form of Latin American music? 3. Which type of music was popularized by Bob Marley? 4. Which type of music was popularized by Antonio Carlos Jobim? 5. Who is known as the “Philippines’ Queen of Bossa Nova”? 64 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Music JAZZ The arrival of the jazz genre did not come overnight. It was an offshoot of the music ofAfrican slaves who migrated toAmerica. As music is considered a therapeutic outlet for human feelings, the Africans used music to recall their nostalgic past in their home country as well as to voice out their sentiments on their desperate condition at that time. Since then, these melancholy beginnings have evolved into various more upbeat jazz forms which the world has adopted and incorporated into other contemporary styles. RAGTIME Ragtime is an American popular musical style mainly for piano, originating in the Afro- American communities in St. Louis and New Orleans. Its style was said to be a modification of the “marching mode” made popular by John Philip Sousa, where the effect is generated by an internally syncopated melodic line pitted against a rhythmically straightforward bass line. Its music is written unlike jazz which is mainly improvised, and contains regular meters and clear phrases, with an alternation of low bass or bass octaves and chords.DEPED COPY Scott Joplin Jelly Roll MortonForemost exponents of ragtime were Jelly Roll Morton who was an American ragtimeand early jazz pianist and composed Frog I More Rag. Scott Joplin, who also composedthe popular Maple Leaf Rag, Solace, and The Entertainer. Joplin is also knows as the“King of Ragtime.” Ragtime also influenced a number of classical composers, amongthem Erik Satie, Claude Debussy, and Igor Stravinsky, who injected ragtime rhythmicelements in their compositions.BIG BANDThe term ‘Big Band” refers to a large ensemble form originating in the United States inthe mid 1920’s closely associated with the Swing Era with jazz elements. Relying heavilyon percussion (drums), wind, rhythm section (guitar, piano, double bass, vibes), and 65All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter IIbrass instruments (saxophones), with a lyrical string section (violins and other stringinstruments) to accompany a lyrical melody. A standard big band 17-piece instrumentationconsists of the following musical instruments percussion, brass, and woodwindinstrruments: five saxophones (most often two altos, two tenors, and one baritone), four trumpets, four trombones (often including one bass trombone), and a four-piece rhythmsection (composed of drums, acoustic bass or electric bass, piano and guitar). Some bigbands use additional instruments. Big band music originated in the United States and isassociated with jazz and the swing.DEPED COPYGlenn Miller Orchestra Among the great big bands were the Glenn Miller Orchestra (A String of Pearls, Moonlight Serenade, In The Mood, American Patrol, and Smoke Gets in Your Eyes); the Count Basie Orchestra (April in Paris); and the Benny Goodman Orhcestra (Sing, Sing, Sing); while some solo signers such as Cab Calloway (Minnie the Moocher) Doris Day (Stardust, I’m in the Mood for Love); Roy Eldridge, and others also collaborated with big bands.BEBOPBebop or bop is a musical style of modern jazz which is characterized by a fast tempo,instrumental virtuosity, and improvisation that emerged during World War II. The speed of the harmony, melody, and rhythm resulted in a heavy performance where the instrumental sound became more tense and free.Dizzy Gillespie Its main exponents were trumpeter Dizzy Gillespie, alto sax player Charlie Parker, drummers Max Roach and Roy Haynes, pianists Bud Powell and Thelonius Monk; guitarist Charlie Christian; tenor sax players Dexter Gordon and Sonny Rollins, who was also a composer; and trombonist JJ Johnson.66 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular MusicJAZZ ROCKJazz rock is the music of 1960’s and 1970’s bands that inserted jazz elements into rockmusic. A synonym for “jazz fusion,” jazz rock is a mix of funk and R&B (“rhythm andblues”) rhythms, where the music used amplificationand electronic effects, complex time signatures, andextended instrumental compositions with lengthyimprovisations in the jazz style.Popular singer/songwriters Joni Mitchell, TimBuckley, and Van Morrison were among those whoadopted the jazz rock style. Joni MitchellSome popular groups that emerged using the above music styles were the following:  Grateful Dead COPY  Cream  Blood, Sweat, and TearsDEPED Santana  Traffic  Chicago  Steely Dan  Lighthouse  Frank Zappa  Soft Machine  Hatfield and the NorthWHAT TO KNOW1. What are the different jazz forms?2. What are the characteristics of each jazz form?3. Name one of the Big Bands that became popular.4. Which type of music was adopted by singer-songwriter Joni Mitchell?5. Name three of the popular groups that used the jazz rock style. 67All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter II POPULAR MUSICPopular music literally means “music of the populace,” similar to traditional folk music of the past. As it developed in the 20th century, pop music (as it has come to be called) generally consisted of music for entertainment of large numbers of people, whether on radio or in live performances. From the standard songs and ballads of the legendary Cole Porter, George Gershwin, and Frank Sinatra to the rock and roll craze of Elvis Presley and the Beatles and the present day idols in the alternative music and disco modes, popular music is now shared by the entire world. BALLADS The ballad originated as an expressive folksong in narrative verse with text dealing typically about love. The word is derived both from the medieval French “chanson balladee” and “ballade” which refers to a dancing song. Used by poets and composers since the 18th century, it became a slow popular love song in the 19th century. Today, the term ballad now refers to a love song in a slightly pop or rock style, with the following characteristics: 1. Blues Ballads This is a fusion ofAnglo-American and Afro-American styles from the 19th century that deals with the anti-heroes resisting authority. The form emphasizes theDEPED COPYcharacter of the performer more than the narrative content, and is accompanied by the banjo or guitar. 2. Pop Standard and Jazz Ballads This is a blues style built from a single verse of 16 bars ending on the dominant or half-cadence, followed by a refrain/chorus part of 16 or 32 bars in AABA form. The B section acts as the bridge, and the piece normally ends with a brief coda. Some enduring pop standard and jazz ballads include The Man I Love (George Gershwin, above left), Always (Irving Berlin, above center), and In a Sentimental Mood (Duke Ellington, above right). 68 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Music3. Pop and Rock BalladsA pop and rock ballad is an emotional love song with suggestionsof folk music, as in the Beatles’ composition “The Ballad of Johnand Yoko” and Billy Joel’s “The Ballad of Billy.” This style issometimes applied to strophic story-songs, such as Don McLean’s“American Pie.” Don McLeanSTANDARDSIn music, the term “standard” is used to denote the most popular and enduring songsfrom a particular genre or style, such as those by Irving Berlin, Cole Porter, and Rodgersand Hart. Its style is mostly in a slow or moderate tempo with a relaxed mood. It alsofeatures highly singable melodies within the range and technical capacity of the everydaylistener. Among the foremost proponents of this style was Frank Sinatra, also known as “Ol Blue Eyes,” “Chairman of theDEPED COPYBoard,” or “The Voice.” His genre was categorized as traditional pop and jazz. He was a successful singer, actor, producer, director, and conductor. His hit singles include My Way and Strangers in the Night. Frank Sinatra (far left) and Nat King Cole (left)Another well-loved standards singer was American balladeer Nat King Cole. Althoughan accomplished pianist, he owes most of his popular musical fame to his soothing baritonevoice, which he used to perform in big band, vocal jazz, swing. traditional pop, and jumpblues genres. He was the first black American to host his own television show andmaintained worldwide popularity over 40 years past his death. He is widely considered“one of the most important musical personalities in United States history.” His hit songsinclude Unfogettable, Mona Lisa, and Too Young.Matt Monroe was an English singer who became one of the most popular entertainersin the international music scene during the 1960s. Throughout his 30-year career, hefilled cabarets, nightclubs, music halls, and stadia in Australia, Japan, the Philippines, andHong Kong to Africa, the Middle East, Europe, and the Americas. Among his hit singles 69All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter II included Portrait of My Love, Softly as I Leave You, the James bond theme From Russia with Love, Born Free, which became his signature song, and Walk Away. Other popular singers of standards were Perry Como, Bing Crosby, Andy Williams, Sammy Davis Jr., Doris Day, Patti Page, Barbra Streisand, and Paul Anka. Matt Monroe ROCK AND ROLL Rock and roll was a hugely popular song form in the United States during the late 1940’s to the 1950’s. It combined Afro-American forms such as the blues, jump blues, jazz, and gospel music with the Western swing and country music. The lead instruments were the piano and saxophone, but these were eventually replaced by modern instruments. In its classic form, rock and roll employed one or two electric guitars (lead, rhythm), a string bass or bass guitar, and a set of drums that provided the rhythmic pattern. This form came during the age of technological change when electric guitars were supplemented by amplifiers and microphones to raise the volume. It derived its name from the mot of aDEPED COPYsonhip on the ocean, “rock and roll.” The greatest exponent of the rock and roll style was the legendary Elvis Presley. His hit songs such as Heartbreak Hotel and Blue Suede Shoes were complemented by his good looks and elaborate movements that included hugging the microphone as he sang. Elvis Presley The Beatles Presley’s style was the precursor of the British band known as The Beatles, whose compositions further boosted rock and roll as the favorite genre of the times. Examples of The Beatles’ songs in this genre are I Saw Her Standing There, Get Back, While My Guitar Gently Weeps, Rock and Roll Music, and Ticket to Ride. 70 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Music The Beatles’ John Lenon and Paul McCartney as Composers/Songwriters John Lennon (1940-1980) was an English musician, singer, performer, songwriter and co-songwriter. He was born and raised in Liverpool, England. He rose to worldwide fame as a founder member of the rock band The Beatles, which was considered as “the most commercially successful band in the history of popular music.” Lennon formed as songwriting partnership with Paul McCartney, which is considered as “one of the most celebrated songwriting partnerships of the 20th century.” Lennon’s hit compositions for the Beatles include Strawberry Fields Forever, Help, In My Life, Tomorrow Never Knows, Rain, Norwegian Road, I am the Walrus, Come Together, You’ve Got to Hide Your Love Away, and Happiness is a Warm Gun. When The Beatles disbanded in 1970, Lennon embarked on a solo career. Among his solo top billboard hits include Imagine, Mind Games, Power to the People, Dream, Nobody Told Me, Watching the Wheels, Woman, Whatever Gets You Through the Night, and Instant Karma. In 2002, according to a BBC poll on the 100 Greatest Britons, John was voted in eighthDEPED COPYplace. In 2008, Rolling Stone Magazine ranked him the “fifth-greatest singer of all time.” He was posthumously inducted into the Songwriters Hall of Fame in 1987; and into the Rock and Roll Hall of Fame twice as a member of The Beatles in 1988 and as a solo artist in 1994. Sir James Paul McCartney (1942- ) is an English singer, songwriter, multi-instrumentalist, co-writer, and composer. Paul gained worldwide popularity and fame as a member of The Beatles, which included John Lennon, George Harrison, and Ringo Starr. Beatles was one of the most influential groups in the history of pop music. The songwriting partnership with Lennon for the Beatles is one of the most celebrated of the 20th century. McCartney has been “recognized as one of the most successful composers and performers of all time, with 60 gold discs and sales of over 100 million albums and 100 million singles of his work with the Beatles and as a solo artist.” It has been known that more than 2,200 artists have covered his Beatles song Yesterday, which is more than any other copyrighted song in history. McCartney was a two-time inductee into the Rock and Roll Hall of Fame as a member of The Beatles in 1988, and as a solo artist in 1999. He is a 21-time Grammy Award winner 71All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter IIhaving won both individually and with The Beatles. He has written or co-written 32songs that have reached number one on the Billboard Hot 100.As of 2014, McCartney had sold more than “15.5 million RIAA-certified units” in theUnited States. He was knighted in England for his services to music. His top hitcompositions for The Beatles include Hey Jude; Fool on the Hill; I’ll Follow the Sun; IWill; I Saw Her Standing There; All My Loving; Paperback Writer; Michelle; EleanorRigby; We Can Work It Out; And I Love Her; Here, There, and Everywhere; PennyLane; and others.DISCO The 1970s saw the rise of another form of pop music known as “disco.” Disco music pertained to rock music that was more danceable, thus leading to the establishment of venues for public dancing also called discos. The term originated from the French word “discotheque” which means a library for phonograph records. The disco style had a soaring and reverberating sound rhythmically controlled by a steady beat (usually44 meter) for ease of dancing, and accompanied by strings, horns,DEPED COPYelectric guitars, and electric pianos or synthesizers. Famous figures of the disco genre include The Bee Gees ABBA, Donna Summer (“The Queen of Disco”), The Bee Gees; Earth, Wind, and Fire; KC and the Sunshine Band; The Village People; and Gloria Gaynor, bringing us such hits as Dancing Queen, Stayin’ Alive, Boogie Wonderland, and Hot Stuff. ABBA Donna Summer Earth, Wind, and Fire72 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular MusicPOP MUSICParallel with the disco era, other pop music superstarscontinued to emerge. Among them were Neil Sedaka(Laughter in the Rain), Diana Ross and the Supremes (Stopin the Name of Love), Olivia Newton John (HopelesslyDevoted to You), Stevie Wonder (You Are the Sunshine ofMy Life), Elton John (Skyline Pigeon), The Carpenters(We’ve Only Just Begun), and Barry Manilow (Mandy).Pop superstars in more recent years include solor artistsCeline Dion (My Heart Will Go On), Madonna (MaterialGirl), Whitney Houston (I Will Always Love You), Mariah Diana Ross and theCarey (Hero), Justin Timberlake (Justified), Britney Spears Supremes(Oops, I Did It Again), Beyonce (Irreplaceable), Lady Gaga (Bad Romance), and BrunoMars (Just The Way You Are); as well as vocal groups such as Boyz II Men (Four Seasonsof Loneliness), The Backstreet Boys (I Want It That Way), N’Sync (This I Promise You),Destiny’s Child (Survivor), among many others. Michael Jackson, “The King of Pop” Perhaps the most popular solo performer of all time is MichaelDEPED COPYJoseph Jackson who was born on August 29, 1958 and died on June 25, 2009. He was an American recording artist, entertainer, singer-songwriter, record producer, musical arranger, dancer, choreographer, actor, businessman, and philanthropist. The seventh child of the Jackson family, he made his debut as an entertainer in 1968 as a member of The Jackson 5. He then began a solo career in 1971 while still a member of the group and was referred to as the \"King of Pop\" in subsequent years. Jackson's 1982 album Thriller remains the world's best-selling album of all time, and four of his other solo studio albums are among the world's best-selling records: Off the Wall (1979), Bad (1987), Dangerous (1991), and HIStory (1995). In the early 1980s, he became a dominant figure in American popular music and culture. He was the first African American entertainer to amass a strong crossover following on MTV. The popularity of his music videos airing on MTV, such as Beat It, Billie Jean, and Thriller—widely credited with transforming the music video from a promotional tool into an art form—helped bring the relatively new channel to fame. Videos such as Black or White and Scream made Jackson an enduring staple on MTV in the 1990s. 73All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter IIWith stage performances and music videos, Jackson popularized a number of physicallycomplicated dance techniques, such as the “robot” and the “moonwalk.” His distinctivemusical sound and vocal style influenced many hip hop, pop music, and contemporaryR&B artists across several generations world-wide. Jackson donated and raised millionsof dollars for beneficial causes through his “Heal the World Foundation,” charity singles,and support of 39 charities.One of the few artists to have been inducted into the Rock and Roll Hall of Fame twice,his other achievements include “Multiple Guinness World Records”—including one for\"Most Successful Entertainer of All Time\"—13 Grammy Awards, 13 number one singlesin his solo career, and the sale of 750 million records worldwide. Jackson is one of theworld’s most famous artists because of his highly successful career which made him apart of popular culture for nearly four decades.At the time of his death, Jackson was preparing for “This Is It,” a series of 50 concertsthat would have been held at The O2 arena in London beginning July 13, 2009, and aworld tour to follow after the series of concerts. After Michael Jackson's death, Billboard'sentire top nine positions on Billboard's Top Pop Catalog Albums chart housed Jackson-related titles on July 1, 2009.DEPED COPYToday’sPopMusicIdols As the 21st century continues to unfold, more and more pop groups emerge spanning an entire range of musical styles and genres. There are music groups like Black Eyed Peas, K Pop (Korean), My Chemical Romance, Fall Out Boys, The Red Jumpsuit Apparatus, One Direction Souja Boy, Train, Maroon 5, and One Direction.Rihanna While solo performers include Adele, Taylor Swift, Ed Sheeran, Rihanna, Chris Brown, Ed Sheeran Ariana Grande, Justin Beiber, Miley Cyrus, Katy Perry, Nikki Minaj, Selena Gomez, and others.HIP HOP AND RAPHip hop music is a stylized, highly rhythmic type of music that usually (but not always)includes portions of rhytmically chanted words called “rap.” In rapping, the artist speaks74 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Musicalong with an instrumental or synthesized beat. Hip hop arose in Eminemthe 1970s within the Afro-American and Latino youth in the Bronxarea of New York City. But by the 1980s, it had spread to many Kanyeother countries. It has since evolved into a subculture that Westencompasses music (rapping, DJing, scratching,and beatboxing); a nearly acrobatic style of dancing,called break dancing; a distinct manner of dress;and graffiti-style artwork.Among the early hip hop artists were LL Cool Jand Run-D.M.C. While more recent popular namesin this genre have been Beastie Boys, Eminem, andKanye West. ALTERNATIVE MUSIC Alternative music was an underground independent form of music that arose in the 1980’s. It became widely popular in the 1990’s as a way to defy “mainstream” rock music. Thus, it was known for its unconventional practices such as distorted guitar sounds, oppressive lyrics, and defiant attitudes. It was also characterized by high energy levels that bred new styles such as new wave, punk rock, post-punk, indie rock, gothic rock, jangle pop,DEPED COPYnoise pop, C86, Madchester, Industrial Rock, and Shoegazing. Examples of alternative music are You Belong with Me, Shake It Off. WHAT TO KNOW 1. Briefly describe the historical and cultural background ofAfrican, Latin American, jazz, and popular music. 2. Analyze the musical characteristics of African, Latin American, jazz, and popular music. 3. How did the following music reflect life in their respective cultures and the conditions at that time? a. African music – maracatu, blues, soul, spiritual, call and response b. Latin American Music – cumbia, tango, cha cha, rumba, bossa nova, reggae, foxtrot, paso doble c. Jazz – ragtime, big band, bebop, jazz rock d. Popular music – ballads, standards, rock and roll, disco, pop, hip hop and rap, alternative music 75All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter II PHILIPPINE POPULAR MUSICThe one word that comes to mind when we think of contemporary Philippine music is the type commonly termed as Original Pinoy Music or Original Philippine Music, orOPM for short. It was originally used to refer only to Philippine pop songs, particularlyballads, such as those popular after the collapse of its predecessor, the Manila Sound, inthe late 1970s up until the present.In the 1960s to 1970s, Nora Aunor, Pilita Corrales, Eddie Peregrina, Victor Wood, Asin,APO Hiking Society, and others were highly popular OPM singers. In the 1970s to1980s, the major commercial Philippine pop music artists were Claire dela Fuente, DidithReyes, Rico Puno, Ryan Cayabyab, Basil Valdez, Celeste Legaspi, Hajji Alejandro, ReyValera, Freddie Aguilar, Imelda Papin, Eva Eugenio, Nonoy Zuñiga, and many others.ORIGINAL PILIPINO MUSIC (OPM)The 1980s to 1990s are also regarded as the golden era of Philippine ballads. Among the classics that emerged were those created by:  Ryan Cayabyab (Kay Ganda ng Ating Musika, Kahit Ika’y Panaginip Lang)DEPED COPY George Canseco (Kapantay ay Langit,Kastilyong Buhangin, Tubig at Langis) Willie Cruz (Sana’y Wala Nang Wakas,Bituing Walang Ningning) Jose Mari Chan (Beautiful Girl, Please Be Careful With My Heart, Constant Change) Ryan Cayabyab Gary Valenciano (Sana Maulit Muli)George Canseco Most of these compositions made use of Western-type melody and harmony, while expressing uniquely Filipino emotions in movingly poetic lyrics. These came to be known as OPM, and were popularized by solo artists like Pilita Corales, Nora Aunor, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Leah Navarro, Sharon Cuneta, Martin Nievera, Gary Valenciano, ZsaZsa Padilla, Regine Velasquez, and Ogie Alcasid.At the start, OPM was centered in Manila, where Tagalog and English are the dominantlanguages. However, other ethno-linguistic groups such as the Visayan, Bikol,Kapampangan, and Ilocano also began to sing and record their songs in their nativedialects.76 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Music Gary MartinValenciano Nievera Between the 1980s and 1990s, OPM was led by artists such as Martin Nievera, Gary Valenciano, Lea Salonga, Regine Velasquez, Sharon Cuneta, Vina Morales, Raymond Lauchengco, Francis Magalona, Pops Fernandez, José Mari Chan, Dingdong Avanzado, Janno Gibbs, Ogie Alcasid, Joey Albert, Manilyn Reynes, among many others. In the 1990s, the famous solo artists and bands included The Eraserheads, Smokey Mountain, Donna Cruz, Jessa Zaragoza, Ariel Rivera, Southborder, Afterimage, Andrew E., Jaya, Rivermaya, Parokya ni Edgar, among many others. Underground bands emerged and along with them were their perceptions of idealism and self-expression. More recently, OPM stars have included Yeng Constantino, Sarah Geronimo, Aisa Seguerra, and international singers Arnel Pineda (of the international rock group, Journey),DEPED COPYCharice Pempengco, and others.Sarah Geronimo Arnel Pineda CharicePHILIPPINE POP MUSICPop music in the Philippines started as an adaptation or translation, if not complete imitation, of Western hits. It started with Bobby Gonzales’ Hahabol-habol (HotPursuit), a local version of the rock and roll songs of the1950s, and Rico Puno’s Luneta, a local adaptation of TheWay We Were. This immediately clicked with the youth andeventually gained wide acceptance even among the “burgis”(bourgeois or elite) crowd. Rico J. Puno 77All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter II The start of the “Manila Sound” in the mid-1970s gave rise to songs using a colloquial language called Taglish, a combination of Tagalog and English. These Filipino lyrics sung to pop melodies resulted in highly singable songs with contemporary appeal. Hotdog (above) and The Apo Hiking Society (right) Among the proponents of the Manila Sound were the Hotdog, Cinderella, The Rainmakers, and the Apo Hiking Society. After waning briefly in the 1990’s, this sound regained popularity in recent years with remakes of the 1970’s originals by contemporary rockDEPED COPYbands. PHILIPPINE JAZZPhilippine musicians have also been inspired by jazz music. Among them are jazz pianist and recording artist Boy Katindig, who comes from the well-known clan of musicians that includes jazz piano legend Romy Katindig and saxophonist Eddie Katindig. The Katindig family pioneered Latin jazz in Manila. Lito Molina and the Jazz Friends Eddie Katindig Bobby Enriquez Other notable Filipino jazz musicians include Lito Molina, Angel Peña, Emil Mijares, and internationally known jazz pianist Bobby Enriquez. 78 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular MusicPHILIPPINE ALTERNATIVE FOLK MUSICFreddie Aguilar The Philippines also saw the rise of alternative folk music which was different from the traditional and popular form. This new form combined ethnic instrumentation with electronic accompaniment, while presenting themes or issues of society and the environment. Some of the Filipino composers who championed this style were Joey Ayala, Grace Nono, and Edru Abraham of Kontragapi (“Kontemporaryong Gamelan Pilipino”).Among other Filipino composers whose styles ranged from folk to semi-ethnic werewereFreddie Aguilar, best known for his song Anak; Yoyoy Villame, composer of Magellan;Florante, composer of Ako’y Isang Pinoy; and Gary Granada, composer of Ka Bayani. PHILIPPINE ROCK he year 1973 saw the birth of Philippine or T “Pinoy” rock music which successfully merged the rock beat with Filipino lyrics. This new sound was introduced by the legendary Juan de la Cruz BandDEPED COPY(with their song Ang Himig Natin) which had for its members Joey “Pepe” Smith, Wally Gonzales, and the originator of Jeproks, Mike Hanopol, who later became a major symbol of Pinoy rock. Juan de la Cruz Band Other early exponents of Pinoy rock included the band Maria Cafra; Sampaguita, the female rocker; and folk-rock singer Heber Bartolome and his Banyuhay band, whose songs expressed strong messages of nationalism. Continuing this legacy of Pinoy rock today are vocal groups and bands that include River Maya, The Dawn, True Faith, The Eraserheads, Wolfgang, Bamboo, Parokya ni Edgar, Hale, Sandwich, SugarFree, Sponge Cola,and others. Parokya ni Edgar Bamboo 79All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter II PINOY RAPIn the Philippines, rap was also made popular by such composers and performers as Francis Magalona (Mga Kababayan Ko and Watawat) and Andrew E (Humanap Ka ng Pangit). Francis Magalona was born on October 4, 1964 and died on March 6, 2009. He is also known as FrancisM, “Master Rapper,” and “The Man From Manila.” He was a Filipino rapper, songwriter, producer, actor, director, television host, and photographer. He is often hailed as the “King of Pinoy Rap” and is considered a legend in the Philippine music community. With the success of his earliest albums, Magalona was the Francis Magalona first Filipino rapper to cross over to the mainstream. He is also credited for having pioneered the merging of rap with Pinoy rock, becoming a significant influence on artists in that genre as well. He was later awarded a posthumous Presidential Medal of Merit “for his musical and artistic brilliance, his deep faith in the Filipino, and his sense of national pride that continue to inspire us.”DEPED COPYPopMusicCollaborations Philippine pop artists have also collaborated with classical artists and orchestras in a number of their recordings and concerts. Some of the concerts of Martin Nievera, Gary Valenciano, Regine Velazquez, Lea Salonga, and Sharon Cuneta have featured the Philippine Philharmonic Orchestra, theABS-CBN Orchestra, and the Manila Philharmonic Orchestra in performances at the Cultural Center of the Philippines (CCP) and the Philippine International Convention Center (PICC), both known venues for classical music, as well as at the Araneta Coliseum and Folk Arts Theater (FAT). Classical musicians have also performed in malls and other commercial venues to popularize classical music, popular music, and OPM. SUMMARY From theater tunes to rock and roll, pop, standards, hip hop, rap, and contemporary ballads—whether in the West, in the Philippines, or anywhere else in the world—these all provided a rich and diverse musical background in the development of Philippine contemporary music. The development of Philippine music was also influenced by the history of the country—from its pre-Spanish roots, through the Spanish and American periods, up to the present. It has since evolved to have its own rich and distinct identity. 80 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular MusicWHAT TO KNOW1. How did the different forms of popular music reflect life in the 20th century?2. Differentiate the characteristics of Philippine pop, rock, and rap music.3. What role did media like radio, television, and recordings play in the development of these different musical genres?4. Describe the “Manila Sound” in Philippine pop music.5. Name some well-known OPM performers. WHAT TO PROCESS Class Activity 1. Your teacher will play one recording of each of the following: African Music, Latin American Music, Jazz, Popular Music (standards, rock and roll, disco), and OPM (ballad, Pinoy rock, Pinoy rap). Listen carefully to each recording. 2. Participate in a class discussion on the distinctive features and qualities of each musical genre and style.DEPED COPYWHATTOUNDERSTAND Activity 1: Making Improvised African and Latin American Instruments Individual or Group Activity 1. Make improvised African or Latin American instruments using dried vegetables, animal hide, wood, strips of roofing metal, tin cans, bamboo, etc. 2. Create a rhythmic/harmonic accompaniment for any song you know using these improvised African or Latin American instrument. 3. How did you relate in making improvised African or Latin American musical instruments found in the environment?Activity 2: Choreography to Express the MusicIndividual or Group Activity1. Conceptualize a choreography to show some dance steps set to the following music: a. African b. Latin American 81All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter II c. Jazz d. Popular (Pop) Music e. OPM 2. How does it feel to conceptualize the dance movements in each music category? WHAT TO PERFORM Group Activities 1. Class Singing Concert – live performance a. Your teacher will divide the class into four groups. b. Each group will be asked to draw lots to sing a song from one of the following musical genres: For African Music - choose from Kumbaya, Waka Waka, or Mbube For Latin-American music - One Note Samba For Jazz - choose from Someone to Watch Over Me by Ella Fritzgerald or All That Jazz from the movie Chicago For Pop and OPM - choose your own song.DEPED COPYc. Decide among your group members which of you will sing, plan the choreography or movements to accompany the song, play a musical instrument, and record the group’s performance on video. d. Learn your assigned song, using the lyrics on the following pages. Practice it, with the choreography and accompaniment. Then, perform it in class. 2. Dance Interaction a. As your group performs in class, invite the other class members to join you in the dance movements or choreography that you have prepared. b. Do an impromptu selection of “Best Dance Performance” among your classmates. 3. Music Video Award a. During the class performance, the assigned group member(s) will record your group’s performance using a mobile phone, tablet, or video camera. 82 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Musicb. Simulate a “Music Video Award” event by joining the other groups in presenting your respective videos in class.c. The class members will choose the “Best Song Performance” based on how well the group presented their assigned music genre. Kum-ba-ya Kum-bay-ya is a spiritual song that was first recorded in the 1920s. It became a popular standard campfire song in Girl or Boy Scouting and during summer camps. The song is originally a simple petition to God to come and help those in need. This inspiring hymn is heard in many countries of Central Africa. It has great personal meaning and the singer often creates his own words as he works or pray. The words “Kum Bay Ya” mean “come by here” or “stay nearby.” Kum bay ya, my Lord, kum bay ya;DEPED COPYKum bay ya, my Lord, kum bay ya; Kum bay ya, my Lord, kum bay ya O Lord, kum bay ya. Someone’s laughing, my Lord, kum bay ya Someone’s laughing, my Lord, kum bay ya Someone’s laughing, my Lord, kum bay ya O Lord, kum bay ya. Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya O Lord, kum bay ya. Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya O Lord, kum bay ya. Someone’s singing, my Lord, kum bay ya Someone’s singing, my Lord, kum bay ya Someone’s singing, my Lord, kum bay ya O Lord, kum bay ya. 83All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter II Waka Waka (This Time for Africa) FIFA World Cup 2010 Official Anthem\"Waka Waka (This Time for Africa)\" or in Spanish, \"Waka Waka (Estoes África)\" is a song by Colombian singer-songwriter Shakira. It feauturesSouth African band, Freshlyground, and pairs an African Colombianrhythm with a Soca-inspired beat. Its lyrics encourage one to aim forone’s goals, like a soldier on a battlefield. The song was used as theofficial song of the 2010 FIFA World Cup held in South Africa. You're a good soldier You know it's serious Choosing your battles We're getting closer Pick yourself up This isn’t over And dust yourself off The pressure is on And back in the saddle You feel it You're on the frontline But you've got it all Everyone's watching Believe itDEPED COPYOneNoteSamba Samba de Uma Nota Só (\"One-Note Samba\") is a song composed by Antonio Carlos Jobim, with Portuguese lyrics by Newton Mendonça and English lyrics by Jobim. The song title refers to the main melody line, which at first consists of a long series of notes of a single tone. This is just a little samba Built upon a single note Other notes are bound to follow But the root is still that note Now this new note is the consequence Of the one we've just been through As I'm bound to be The unavoidable consequence of you There's so many people Who can talk and talk, and talk And just say nothing Or nearly nothing84 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Music I have used up all the scale I know and at the end I've come to nothing I mean nothing So I come back to my first note As I come back to you I will pour into that one note All the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know So I come back to my first note I must come back to you I will pour into that one noteDEPED COPYAll the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know Someone To Watch Over MeThere's a saying old, says that love is blindStill we're often told, \"Seek and ye shall find\"So I'm going to seek a certain lad I've had in mindLooking everywhere, haven't found him yetHe's the big affair I cannot forgetOnly man I ever think of with regretI'd like to add his initial to my monogramTell me, where is the shepherd for this lost lamb? 85All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter II There's a somebody I'm longin' to see I hope that he, turns out to be Someone who'll watch over me I'm a little lamb who's lost in the wood I know I could, always be good To one who'll watch over me Although he may not be the man some Girls think of as handsome To my heart he carries the key Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over meDEPED COPYSomeonetowatchovermeEvaluation of Performing ActivitiesRating scale: 2 = Poor 5 = Very Good 1 = Needs Follow-up 4 = Good 3 = FairRate scores are based on the groups’ performance quality.1. How well did our group perform our assigned music?a. African Music _______________b. Latin American Music _______________c. Jazz _______________d. Pop Music / OPM _______________2 How well can I identify the different musical genresbased on instrumentation, melody, rhythm, text,timbre, harmony, and purpose? _______________86 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Afro-Latin American and Popular Music3. How well can I describe the characteristics of _______________ each genre as I listened to the melody, harmony, rhythm, and lyrics? _______________4. How well did our group perform the different _______________ dance moves for our assigned song? _______________ _______________5. How well can I (individually) sing the following _______________ musical genres? _______________ a. African Music b. Latin American Music c. Jazz d. Popular / Pop Music e. OPMTeacher’s Rating of the Performance1. Musicianship (60%) _______________(musical elements, technique) 2. Presentation impact and showmanship (20%)DEPED COPY3. Ensemble coordination and organization (20%) _______________ _______________ 87All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter III Quarter III: CONTEMPORARY PHILIPPINE MUSIC CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of contemporary music. PERFORMANCE STANDARDS The learner... 1. Sings contemporary songs. LEARNING COMPETENCIESDEPED COPYThelearner... 1. Listens perceptively to excerpts of major contemporary works. 2. Describes characteristics of traditional and new music. 3. Gives a brief biography of selected contemporary Philippine composers. 4. Sings selections of contemporary music with appropriate pitch, rhythm, style, and expression. 5. Explores ways of creating sounds on a variety of sources. 6. Improvises simple vocal/instrumental accompaniments to selected songs. 7. Creates a musical on the life of a selected contemporary Philippine composer. 8. Evaluates music and music performances using knowledge of musical elements and style. From the Department of Education curriculum for MUSIC Grade 10 (2014) 88 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Contemporary Philippine Music CONTEMPORARY PHILIPPINE MUSIC According to National Artist Ramon Santos, PhD, “contemporary music in the Philippines refers to compositions that have adopted ideas and elements from 20th century art music in the west, as well as the latest trends and musical styles in the entertainment industry.” The modern Filipino repertoire consists of musical pieces that have been written in 20th century idioms that have evolved out of such stylistic movements as impressionism, expressionism, neo-classicism, as well as avant garde and new music. New music are compositions which are improvisational works such as the early compositions of Dr. Ramon Santos, Radyasyon and Quadrasyon; Josefino “Chino” Toledo’s Samut-Sari, Pintigan and Terminal Lamentations, and Jonathan Baes’ Wala and Banwa.DEPED COPY20thCENTURY TRADITIONAL COMPOSERS With Spain and then America having colonized the Philippines from the early 1500s to the late 1800s, it was unavoidable that Western compositional techniques found their way into the works of Filipino composers. Yet, even 20th century Filipino composers have managed to retain some traditional elements in their assimilation of Western techniques. In fact, they have become the strongest foundations of what we now know as Philippine music. Among the major Philippine contemporary composers are Francisco Buencamino Sr., Francisco Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col. Antonino Buenaventura, Rodolfo Cornejo, Lucio San Pedro, Rosendo Santos Jr., Alfredo Buenaventura, and Ryan Cayabyab. 89All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter III FRANCISCO B. BUENCAMINO SR. (1883 – 1952) Francisco Beltran Buencamino Sr. was born on November 5, 1883 in Bulacan. He was the son of a musically inclined couple. His father was Fortunato Buencamino, a church organist and band master. His mother was Luisa Beltran, a noted singer. He studied music composition and harmony at Liceo de Manila. Unfortunately, he was not able to finish. He taught at the Ateneo de Manila, and at Centro Escolar de Señoritas whose Conservatory of Music he founded. He also created the Buencamino Music Academy in 1930 where Nicanor Abelardo was one of his students. Expanding his career, he ventured into musical directing and scoring, and composing film music for Sampaguita Pictures, LVN, and Excelsior. Buencamino’s compositions include Harana, Pandanggo ni Neneng, Collar de Sampaguita, Dulces las Horas, Mayon (Fantasia de Concierto), My Soul’s Lament, Larawan, Mazurka, Boholana, Mi Bandera, Princesa ng Kumintang, Maligayang Bati, Ang Bukang Liwayway, Pandanggo ni Neneng, Ang Bagong Balitaw, Himig ng Nayon, Damdamin (Romance), and Pizzicato Caprice.DEPED COPYManyof his piano works have become a staple part of the Philippine repertoire of today’s young students, especially Mayon, Larawan, and Maligayang Bati. He also wrote several zarzuelas and kundimans. He passed away on October 16, 1952 after which a posthumous award honored him with the title “Outstanding Composer.” LARAWAN Francisco Buencamino Sr. 90 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Contemporary Philippine Music Francisco Santiago (1889 – 1947) Francisco Santiago is known as the “Father of the Kundiman” and belongs to the “Triumvirate of Filipino Composers.” He finished his music specialization at the American Conservatory of Music in Chicago, where he obtained his Doctorate Degree in 1924. Santiago’s music was Romantic in style, incorporating Western forms and techniques with folk materials. He composed several works such as kundiman, symphonies, piano concertos, and other music pieces for the piano, violin, and voice. Among his famous works are Pakiusap, Madaling Araw, Sakali Man, Hibik ng Pilipinas, Ano Kaya ang Kapalaran, and Kundiman (Anak Dalita). This piece was sung before the Royal Court of Spain upon the request of King Alfonso II. He was also a musical director for films. Among the films whose music he supervised are Kundiman, Leron Leron Sinta, Madaling Araw, Manileña, and the movie inspired by his own composition Pakiusap. He became the first Filipino Director of the UP Conservatory of Music.DEPED COPYPILIPINASKONGMAHAL Francisco Santiago 91All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter III NICANOR ABELARDO (1893 – 1934) Nicanor Abelardo is one of the “Triumvirate of Filipino Composers” which includes Antonio Molina and Francisco Santiago. He studied music at the Chicago Music College and was influenced by the musical styles of Schoenberg, Hindemith and Stravinsky. Abelardo developed a style that combined European romanticism with chromaticism. His compositions contain hazy tones, dissonance and unusual chordal combinations found in such works as Cinderella Overture, Panoramas, and a violin sonata. Although a 20th century modern composer in style, he is also considered a composer in the Romantic style. His best-known compositions include Mutya ng Pasig, Nasaan Ka Irog, Cavatina for Violoncello, and Magbalik Ka Hirang. ANTONIO J. MOLINA (1894 – 1980) National Artist for MusicDEPED COPYAntonio Molina, the first National Artist for Music, is considered one of the “Triumvirate of Filipino Composers” which includes Nicanor Abelardo and Francisco Santiago. He began his music career as an orchestral soloist at the Manila Grand Opera House. He served as Dean of the Centro Escolar University Conservatory of Music from 1948 to 1970. He was also a faculty member of the University of the Philippines’ Conservatory (now College) of Music. Molina was a product of both the Romantic and Impressionist schools of thought. He was fascinated by the dynamics and harmonies of Debussy, but retained much of the Romantic style in his melody. A characteristically impressionist work is his piano work Malikmata (Transfiguration). The mysteriously exotic chords of this piece gradually lead to a lyrical melody, with the traditional harmonies abruptly returning to the initial mood. Molina wrote several compositions for piano, violin, and voice as well as a Spanish-style opera form known as the zarzuela. 92 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Contemporary Philippine Music He is best known for his poignantly romantic serenade for violin and piano Hatinggabi. Subsequent transcriptions of this piece were written for the cello, flute, piano, and guitar. Other works by Molina include orchestral music - Misa Antoniana Grand Festival Mass, Ang Batingaw, Kundiman-Kundangan; chamber music - String Quartet, Kung sa Iyong Gunita, Pandangguhan; and vocal music - Amihan, Awit ni Maria Clara, and Larawan Nitong Pilipinas. He received the National Artist for Music award in 1973. He passed away on January 29, 1980. MUTYA NG PASIG Music and Lyrics by Nicanor AbelardoDEPED COPY 93All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter III HATINGGABI (Excerpt) Antonio J. Molina (Music) / Levi Celerio (Lyrics) SA UGOY NG DUYAN (Excerpt) Lucio San Pedro (Music) / Levi Celerio (Lyrics)DEPED COPY PANDANGGO SA ILAW (Excerpt) Antonino Buenaventura (Music) / Levi Celerio (Lyrics) 94 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Contemporary Philippine Music HILARION RUBIO Y FRANCISCO (1902 – 1985) Hilarion Rubio was born on October 21, 1902 in Bacoor, Cavite. A composer, music teacher, conductor, and clarinetist, he created substantial works for the orchestra. He served as conductor for opera, ballet, dance recitals, and movie music. His early interest in music came from the influence of his uncle who was then playing with the Bacoor Band. His first music lessons in music theory and clarinet were with Fr. Amando Buencamino who taught him solfeggio and some musical instruments. When he was eight years old, he was accepted as a member of the Bacoor Band as a clarinetist. At that time, he made his first composition Unang Katas for his concert with the band.In his high school years at the North High School (now Arellano High School), Rubio became a member of several orchestras. He performed with various movie house bands and orchestras. He was also a member of the Lyric Theater Orchestra, Trozo Band in Benavides Street, and the Band Moderna in Tondo. After he graduated from high school in 1930, he co-founded the Anak Zapote Band. He later became a bandleader and conductor of the ROTC Band of the Conservatory of Music, University of the Philippines (UP) and played the violin and timpani with the UP Junior Symphony Orchestra. After his student years, Rubio became a conductor of opera at the Manila Music School in 1936. He became the choirmaster and choral conductor of the Choir Islanders. Also, he assumed the position of instructor at the Conservatory of Music, University of theDEPED COPYPhilippines. He was also a lecturer at the Buencamino Music Academy, La Concordia College, College of the Holy Spirit, Santa Isabel College, Laperal MusicAcademy, Manila Music School, St. Theresa’s College, and the Valencia Academy of Music. He became full professor of the UP Conservatory of Music from 1936-1937. He was appointed director of the Conservatory of Music, Centro Escolar University in 1944-1945. During the Second World War, Rubio composed and arranged many works and conducted many military and civilian brass bands. After the war, he was appointed conductor of the Manila Municipal Symphony Orchestra. He held various positions, including as Vice President of the PASAMBAP (Pambansang Samahan ng mga Banda sa Pilipinas), the National BandAssociation, board and charter member of the League of Filipino composers, and the first President of the Philippine Bandmaster’s Association. He was conductor of the National Opera Company for 23 years from 1937 to 1960. Rubio’s compositions include: Bulaklaken, Theme and Variations for Band, Dance of the Nymphs Rondo, Florente at Laura (overture), Halik, Danza, Unang Katas, Two- part Invention (piano), Ang Konsyerto (ballet), Ang Magsasaka, Bukang Liwayway, Concertino in C (marimba and piano), Filipinas Kong Mahal, Hatulan Mo Ako, Ginintuang Araw, In a Tropical Sea, Light, Narra, Mutya ng Silangan, To the Filipino Youth, Nela, National Heroes Day Hymn, and Salamisim. He passed away on December 28, 1985. 95All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter III COL. ANTONINO BUENAVENTURA (1904 – 1996) National Artist for Music Col. Antonino Ramirez Buenaventura was a renowned composer, conductor, and teacher. His father Lucio was the chief musician of the Spanish artillery band in Intramuros and founder of Banda Buenaventura. As a young boy, he had already demonstrated a passion for music while learning the rudiments of music and solfeggio and becoming a proficient clarinet player. Col. Buenaventura further developed his musical abilities at the Conservatory of Music, University of the Philippines (UP) at the age of 19. He received a Teacher’s Diploma in Science and Composition at UP. Nicanor Abelardo and Francisco Santiago were among his famous mentors. At the University, Buenaventura led the UP ROTC Band and established the UP Junior Orchestra which was the first collegiate orchestra in the country. He pursued further studies at the Institute of International Education in New York. He was also awarded a study grant by the UNESCO in 1949. He was a delegate to the general assembly of the International Society for Music Education held in Montreux, Switzerland in 1976. He represented the country at the general meetingsDEPED COPYof the International Music Council (IMC) in Rome (1962) and Hamburg (1964). Buenaventura was actively involved with the various military bands which ultimately earned him his military rank of Colonel. He was a music instructor and band conductor of the Philippine MilitaryAcademy (PMA). Later, he restored the Philippine Constabulary Band in 1945, which was reputedly likened to a symphony orchestra. It was considered as “one of the best military bands in the world.” It would later be renamed the Philippine Army Band. He also founded the San Pablo Music Academy in Laguna. Buenaventura was a faculty member of the UP Conservatory of Music. Later, he became the music director of the Conservatory of Music, University of Santo Tomas (UST) in 1961. After retiring from the military, he became the music director at the School of Music and Arts, University of the East (UE) in 1964. He promoted Philippine music through his extensive use of folk materials which he had recorded around the country with Ramon Tolentino and National Artist for Dance Francisca Reyes Aquino. Buenaventura composed the music and folk dance notations for the dance researches of Aquino. As a multi-awarded musician, he composed Minuet, Mindanao Sketches, Divertimento for Piano and Orchestra, Variations and Fugue, and Greetings based on Philippine folk music. Pandanggo sa Ilaw, one of his most popular compositions, remains a favorite performance repertoire of many folk dance companies. He was declared National Artist for Music in 1988 and passed away in 1996. 96 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Contemporary Philippine MusicRODOLFO S. CORNEJO(1909 – 1991)R od o lf o S .C o rn e jo was born on May 15, 1909 in Singalong,Manila. Inspired by his mother’s genuine support, the youngCornejo started formal music lessons at the age of six. Heperformed on stage after only two years of music studies. Duringthis time, he was also invited as organist of the Pasay CatholicChurch. His first composition at age 10 was a piano pieceentitled Glissando Waltz. It was followed three years later by amilitary march entitled Salute. At the age of 14, 26 of Cornejo’scompositions were already listed by the United PublishingCompany Inc. Cornejo graduated with a Teacher’s Diploma in Pianoforte and a Teacher’s Diploma in Science and Composition at the Conservatory of Music, University of the Philippines (UP) in 1930. He received his Bachelor of Music degree major in piano and theory from the Chicago Musical College of Roosevelt University, USA in 1932. He received a Master of Music degree major in composition and conducting at the Chicago Musical College of Roosevelt University, USA in 1933. He was conferred a Doctor of Music degree honoris causa in 1954. He received his Doctor of Philosophy degree major in composition from the Neotarian College of Philosophy in Kansas City, USA in 1947.DEPED COPYCornejo taught at the UP Conservatory of Music and became the researcher and official composer of the Philippine government-in-exile. He was appointed by then President Manuel L. Quezon. He was commissioned to write a symphony and an opera and compose the music for the documentary film on President Quezon’s funeral. He served as pianist- director of a USO concert unit that entertained the Allied Forces at the E.T.O., the Marianas, and the Hawaiian Islands during World War II.Cornejo was the soloist of the Manila Symphony Orchestra, Filipinas Youth SymphonyOrchestra, and UP Symphony Orchestra. Later on, he became the musical director of theSampaguita and Vera-Perez Movie Companies. Since 1978, he held concerts in the UnitedStates. He appeared as composer-conductor at the Seattle Opera House and the SeattlePlayhouse. He is listed in “The International Who’s Who in Music.”Cornejo was also known for his extemporaneous thematic improvisations based on theletters of people’s names. His compositional output includes A la Juventud Filipina,Bailes de Ayer, Caprice on a Folksong, Cello Sonata, Ibong Adarna, Kandingan, Malakasat Maganda, Overture, Okaka, Oriental Fantasy, Ibong Adarna, Piano Concerto Nos.1,2,3, Ruby, and Song of the Miners. He passed away on August 11, 1991. 97All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.

MUSIC  Quarter III FELIPE PADILLA DE LEON SR. (1912 – 1992) National Artist for Music Felipe Padilla de Leon was born on May 1, 1912 in Barrio Papaya (now General Tinio) in Penaranda, Nueva Ecija. He is the son of Juan de Leon and Natalia Padilla. Felipe de Leon married pianist Iluminada Mendoza with whom he had six children. Bayani and Felipe Jr., are two of his children. Bayani is a well-known composer, and Felipe Jr. is a writer and the chairman of the National Commission for Culture and the Arts (NCCA). De Leon’s talent in painting and drawing was discovered during his school days and admired by his uncle, peers. People asked him to make illustrations and sketches and was paid for them. When he was studying at the Nueva Ecija High School, he went on trips with his hometown band and wrote short pieces for them. He took up Fine Arts at the University of the Philippines in 1927, but he had to stop schooling in order to make a living. He played the trombone in dance orchestras which performed in cabarets, circuses and bodabil (vaudeville). Then, he worked as an assistant conductor of the Nueva Ecija High School Orchestra where he started doing musical arrangements. Later on, he wrote music for the zarzuela. He decided to study formally and enrolled at the Conservatory of Music, University ofDEPED COPYthe Philippines, where he studied under NationalArtists Col.Antonio Buenaventura and Antonio Molina. He contributed articles to the school paper and vernacular magazines. Later, he wrote music columns for the Manila Times (then known as Manila Tribune) and Taliba. He graduated with a music teacher's diploma, major in conducting in 1939. Much later, he took advanced studies in composition under Vittorio Giannini of the Julliard School of Music in New York, USA. De Leon received many awards, such as Composer of the Year (1949), Manila Music Lovers Society, Musician of the Year (1958), UP Conservatory of Music, and others. He was conferred an honorary degree, doctor of philosophy in the humanities, by the University of the Philippines in 1991. De Leon wrote piano compositions, hymns, marches, art songs, chamber music, symphonic poems, overtures, band muic, school songs, orchestral works, operas, kundiman, and zarzuelas. He was known as a nationalist composer who expressed the Philippines' cultural identity through his compositions. Two operas which are considered his masterpieces are the Noli Me Tangere (1957) and El Filibusterismo (1970). These two operas have been staged in the Philippines and abroad. He also wrote a march during the Japanese regime entitled Tindig, Aking Inang Bayan, and another march Bagong Lipunan during the martial law. He wrote the popular Christmas carols Payapang Daigdig (1946), Noche Buena, and Pasko Na Naman, both in 1965. Felipe de Leon received a posthumous award as National Artist for Music in 1997. He died on December 5, 1992. 98 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

Contemporary Philippine Music LUCIO SAN PEDRO (1913 – 2002) National Artist for Music Lucio San Pedro was born on February 11, 1913 in Angono, Rizal. Since his elementary days, he started composing. He studied the banjo which inspired him to become a serious musician. He later pursued his music degree at the University of the Philippines and the Juilliard School in New York, USA. Upon returning to the Philippines, he became a professor of theory and composition at the University of the Philippines’ College of Music. San Pedro is known as a “romantic nationalist.” He incorporated Philippine folk elements in his compositions with Western forms and harmony. His chords have a rich expressive tonality, as represented in his well-loved Sa Ugoy ng Duyan, a lullaby melody sung by his mother. His orchestral compositions are best represented by the Suite Pastorale (1956), a poetic aural description of his hometown Angono, and his nationalistic symphonic poem Lahing Kayumanggi (1962). Other compositions include songs, pieces for violin, cello, and chorus. His works for the symphonic band was where he was most prolific and productive bothDEPED COPYas composer and conductor. His musical prowess was internationally recognized when he was invited to be a judge at the prestigious Van Cliburn International Piano Competition in 1980. He was declared National Artist for Music in 1991 and passed away on March 31, 2002.ROSENDO E. SANTOS JR.(1922 – 1994)R o se n d o E . S an to s Jr . was born on September 3, 1922 inCavite City. At age 11, he started composing band marches,instrumental, and vocal scores, as well as music for Catholicmasses.He studied in Cavite schools and later graduated from the UPConservatory of Music where he eventually became a facultymember. He also pursued a Master of Music degree in theoryand composition from the Catholic University of America inWashington, D.C. After which, he also served on its facultyas well as in West Virginia University and Howard University. 99All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -electronic or mechanical including photocopying without written permission from the DepEd Central Office.