Music Grade 10 LM - Qtr 3 (8 Apr 2015)

7/25/2019 Music Grade 10 LM - Qtr 3 (8 Apr 2015)

1/53

DEPED COPY

MUSIC Quarter III

88

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 COMPETENCIES

The learner...

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 Philippinecomposers.

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)

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.


2/53

DEPED COPY

Contemporary Philippine Music

89

CONTEMPORARYPHILIPPINE MUSIC

According to National Artist Ramon Santos, PhD, contemporary music in thePhilippines refers to compositions that have adopted ideas and elements from 20thcentury 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 andQuadrasyon; Josefino Chino

Toledos Samut-Sari, Pintigan and Terminal Lamentations,and Jonathan Baes Wala

andBanwa.

20th CENTURY

TRADITIONAL COMPOSERS

With Spain and then America having colonized the Philippines from the early 1500sto the late 1800s, it was unavoidable that Western compositional techniques foundtheir 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.



3/53

DEPED COPY

MUSIC Quarter III

90

FRANCISCO B. BUENCAMINO SR.(1883 1952)

Francisco Beltran Buencamino Sr.was born on November5, 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

Seoritas 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.

Buencaminos compositions include Harana, Pandanggo ni Neneng, Collar de

Sampaguita, Dulces las Horas, Mayon (Fantasia de Concierto), My Souls 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), andPizzicato Caprice.

Many of his piano works have become a staple part of the Philippine repertoire of todays

young students, especiallyMayon, Larawan, and Maligayang Bati. He also wrote several

zarzuelasand kundimans.He passed away on October 16, 1952 after which a posthumous

award honored him with the title Outstanding Composer.

LARAWAN

Francisco Buencamino Sr.



4/53

DEPED COPY


91

Francisco Santiago(1889 1947)

Francisco Santiagois known as the Father of the Kundimanand 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.

Santiagos 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 beforethe 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, Manilea, and the movie inspired by his own composition

Pakiusap. He became the first Filipino Director of the UP Conservatory of Music.

PILIPINAS KONG MAHALFrancisco Santiago



5/53

DEPED COPY

MUSIC Quarter III

92

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 includeMutya

ng Pasig, Nasaan Ka Irog, Cavatinafor Violoncello, andMagbalik Ka Hirang.

ANTONIO J. MOLINA(1894 1980)

National Artist for Music

Antonio Molina, the first National Artist for Music, isconsidered 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 ManilaGrand 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 leadto 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 thezarzuela.



6/53

DEPED COPY


93

MUTYA NG PASIGMusic and Lyrics by Nicanor Abelardo

He is best known for his poignantly romantic serenade for violin and pianoHatinggabi.

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, andLarawanNitong Pilipinas. He received the National Artist for Music award in 1973. He passed

away on January 29, 1980.



7/53

DEPED COPY

MUSIC Quarter III

94

HATINGGABI(Excerpt)Antonio J. Molina (Music) / Levi Celerio (Lyrics)

PANDANGGO SA ILAW(Excerpt)Antonino Buenaventura (Music) / Levi Celerio (Lyrics)

SA UGOY NG DUYAN(Excerpt)Lucio San Pedro (Music) / Levi Celerio (Lyrics)



8/53

DEPED COPY


95

HILARION RUBIO Y FRANCISCO(1902 1985)

Hilarion Rubiowas born on October 21, 1902 in Bacoor, Cavite. A composer, musicteacher, 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 solfeggioand 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 Katasfor 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 the

Philippines. He was also a lecturer at the Buencamino Music Academy, La Concordia

College, College of the Holy Spirit, Santa Isabel College, Laperal Music Academy, Manila

Music School, St. Theresas College, and the Valencia Academy of Music. He became

full professor of the UP Conservatory of Music from 1936-1937. He was appointeddirector 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 Band Association, board and charter member of the League of Filipino composers,

and the first President of the Philippine Bandmasters Association. He was conductor of

the National Opera Company for 23 years from 1937 to 1960.

Rubios 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, andSalamisim.He passed away on December

28, 1985.



9/53

DEPED COPY

MUSIC Quarter III

96

COL. ANTONINO BUENAVENTURA(1904 1996)


Col. Antonino Ramirez Buenaventura was a renownedcomposer, 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 solfeggioand 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 Teachers Diploma in Science

and Composition at UP. Nicanor Abelardo and FranciscoSantiago 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 meetings

of 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 Military Academy (PMA). Later, he restored the Philippine ConstabularyBand 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.



10/53

DEPED COPY


97

RODOLFO S. CORNEJO(1909 1991)

R o d o l f o S . C o r n e j o was born on May 15, 1909 in Singalong,

Manila. Inspired by his mothers genuine support, the young

Cornejo started formal music lessons at the age of six. He

performed on stage after only two years of music studies. During

this time, he was also invited as organist of the Pasay Catholic

Church. His first composition at age 10 was a piano piece

entitled Glissando Waltz. It was followed three years later by a

military march entitledSalute. At the age of 14, 26 of Cornejos

compositions were already listed by the United Publishing

Company Inc.

Cornejo graduated with a Teachers Diploma in Pianoforte and a Teachers 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.

Cornejo 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 Quezons 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 Symphony

Orchestra, and UP Symphony Orchestra. Later on, he became the musical director of the

Sampaguita and Vera-Perez Movie Companies. Since 1978, he held concerts in the United

States. He appeared as composer-conductor at the Seattle Opera House and the Seattle

Playhouse. He is listed in The International Whos Who in Music.

Cornejo was also known for his extemporaneous thematic improvisations based on theletters of peoples names. His compositional output includes A la Juventud Filipina,

Bailes de Ayer, Caprice on a Folksong, Cello Sonata, Ibong Adarna, Kandingan, Malakas

at Maganda, Overture, Okaka, Oriental Fantasy, Ibong Adarna, Piano Concerto Nos.

1,2,3, Ruby, andSong of the Miners. He passed away on August 11, 1991.



11/53

DEPED COPY

MUSIC Quarter III

98

Felipe Padilla de Leonwas 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 Leons 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 bandand 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 thezarzuela.

He decided to study formally and enrolled at the Conservatory of Music, University of

the Philippines, where he studied under National Artists Col. Antonio Buenaventura and

Antonio Molina. He contributed articles to the school paper and vernacular magazines.

Later, he wrote music columns for theManila Times(then known asManila 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 theNoli Me Tangere(1957) andEl 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 marchBagong Lipunanduring

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.

FELIPE PADILLA DE LEON SR.(1912 1992)




12/53

DEPED COPY


99

LUCIO SAN PEDRO(1913 2002)


LucioSan Pedro was born on February 11, 1913 inAngono,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 degreeat theUniversity

of the Philippines and the JuilliardSchool 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 representedin 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 poemLahing

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 both

as 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 s e n d o E . S a n t o s J r . was born on September 3, 1922 in

Cavite City. At age 11, he started composing band marches,

instrumental, and vocal scores, as well as music for Catholic

masses.

He studied in Cavite schools and later graduated from the UP

Conservatory of Music where he eventually became a faculty

member. He also pursued a Master of Music degree in theory

and composition from the Catholic University of America in

Washington, D.C. After which, he also served on its faculty

as well as in West Virginia University and Howard University.



13/53

DEPED COPY

MUSIC Quarter III

100

ALFREDO BUENAVENTURA(1929 )

Dr. Alfredo Santos Buenaventura,composer, conductor andteacher, was born in Sta. Maria, Bulacan on October 14, 1929.

He grew up in a musical environment and became a band

member in his hometown at a young age. He was drawn by

his fascination with trumpets and trombones and became one

of its arrangers and conductors. He was one of twenty boy

sopranos of Tiples at Sto. Domingo Church from where he

received his first significant musical training. At that time, he

also wrote his first composition,Danza.

A prolific composer, Buenaventura has composed over 50 major works including five

full-length operas, operettas, dance dramas, cantatas, symphonies, concertos, ballets,

overtures, prelude, fugues, and chamber music. His compositions and other creative

works have transcended territorial, racial, and language barriers as these have been

performed abroad by international virtuosiand religious groups. Many of his compositionsare based on Filipino heroes, legends, and epics. He uses native songs, both tribal and

folk, as themes of his music compositions. A number of his compositions are accompanied

by Filipino indigenous instruments.

Some of his major works include the operas Maria Makiling (1961), Diego Silang

(1966),Prinsesa Urduha (1969), cantatas Ang Ating Watawat(1965),Pasko ng Barangay

(1964), three piano concertos subtitledCelebration, Determination, andExultation, and

As a UNESCO scholar, Santos was awarded the Philippine Composer of the Century

after receiving the Composer of the Year Award in Manila in 1956 and 1957. He joined

the faculty at Wilkes University, Pennsylvania in 1968. He performed as timpanist, pianist,

and conductor with several orchestral groups. He conducted church choirs in Maryland,

New Jersey, Lehman, Huntsville, and Shavertown United Methodist Churches in

Pennsylvania, USA. He composed the background music for J. Arthur Rank Films at

Pinewood Studios in London, England, where he worked with British composers Malcolm

Arnold and Muir Mathieson. Among Santos teachers were famous composers Aaron

Copland, Irving Fine, Humphrey Searle, and conductor Norman Del Mar.

A prolific composer, he had composed several piano concerti,sonatas, symphonies,

symphonic poems, five operas in Filipino, numerous band overtures, and more than 200

marches. He had also written 50 masses in Latin and 20 in English. He has more than

1,000 musical compositions in the library of the University of the Philippines. Santos

last musical work and only ballet composition,Melindas Masquerade,was performed

in 1995, a year after his death. Santos passed away on November 4, 1994 in Swoyersville,Pennsylvania, USA.



14/53

DEPED COPY


101

CIPRIANO RYAN CAYABYAB

(1954 )

Ryan Cayabyabis a popular contemporary composer whoalso has classical compositions to his credit, such as Misa,

Four Poems for Soprano and Piano , and Te Deum. His

compositional style makes much use of syncopation, extended

chords, and chromatic harmony.

Among his numerous compositions are the award-winning

Kay Ganda ng Ating Musika (1978), as well as the modern

zarzuela Alikabok(2003), the opera Spoliarium with libretto

by Fides Cuyugan-Asensio, and a variety of choral pieces and

song cycles. He also produced a number of recordings,

including the memorable album One, where he personally sang the unaccompanied songs

on different tracks to produce 16 voices.

Cayabyab was born on May 4, 1954 in Manila. He obtained his Bachelor of Music degree

at the University of the PhilippinesCollege of Music. After which, he became a faculty

member for Composition at the same University. He also served as the Executive and

Artistic Director of the San Miguel Foundation for the Performing Arts, which oversaw

the operations and programming of the San Miguel Philharmonic Orchestra and the San

Miguel Master Chorale. At present, he continues to be a much sought-after professor,

musical director, composer, arranger, and conductor in the Philippine concert and recording

scenes.

symphonies such asDakilang Lahi (1971),Gomburza (1981), andRizal, the Great

Malayan Antagonist(1990). His minor works numbering more than 50 cover mostly

religious songs and hymns for specific celebrations such as the Sixteenth Centenary of

St. Augustine, Mass for the 400th Year of the Augustinian Recollect, and the Philippine

Music Festival. His other creative musical works have been commissioned by the Cultural

Center of the Philippines, Metropolitan Theater, and the National Music Competitions

for Young Artists (NAMCYA).

Buenaventuras compositional style rests mainly on his own set of musical ideas, wherein

he creates a combination of contemporary and conventional materials. He keeps his

melodies simple and understandable but with contemporary harmonies that enhance their

complexity. He became an official organist of the Manila Cathedral in 1960. He became

the Dean of the College of Music, Centro Escolar University. He is a member of the

League of Filipino Composers. He received a number of awards in the music industry.

He was twice an awardee of the Republic Cultural Heritage Award and the The Outstanding

Filipino Award (TOFIL) for Music in 1995.



15/53

DEPED COPY

MUSIC Quarter III

102

SUMMARY

With the European and American influences brought by our colonizers, it was inevitable

that the musical styles of 20th century Western composers found their way into Philippine

compositions.

Francisco Buencaminofounded the Centro Escolar de Seoritas, Conservatory of Music.He also created the Buencamino Music Academy in 1930. Nicanor Abelardo was one of

his students. Expanding his career, Buencamino also ventured into musical direction and

scoring, composing music for Sampaguita Pictures, LVN, and Excelsior. He also wrote

severalzarzuelasand kundiman. Francisco Santiago is known as the Father of theKundiman and belongs to the Triumvirate of Filipino Composers.

Nicanor Abelardo developed a style that combined European romanticism withchromaticism. He belongs to the Triumvirate of Filipino Composers together with

Francisco Santiago and Antonio Molina. The Tanghalang Nicanor Abelardo (MainTheater) of the Cultural Center of the Philippines and the Abelardo Hall of the College of

Music, University of the Philippines are named after him. Antonio Molina came to beknown as the Father of Philippine Impressionist Music, while composer Lucio SanPedrointegrated indigenous musical forms, conventions, and instruments in his works inthe modern nationalistic style.

Hilarion Rubiowas a Filipino composer, music teacher, conductor, and clarinetist. Hisname was closely identified with his works for the orchestra, conductor for opera, ballet,

dance recitals, and music for movies. Col. Antonino Buenaventurapromoted Philippinemusic by extensively using folk materials in his works. He recorded folk and dance music

around the country with Ramon Tolentino and National Artist for Dance Francisca ReyesAquino. Buenaventura composed the music and did the notations for the folk dances as

researched by Aquino.

Rodolfo S. Cornejowas considered the first Filipino composer who received an honorydegree from a government recognized music school in the United States. He was known

for his pianistic and compositional talent by extemporizing a piano composition at the

spur of the moment. Felipe P. de Leon wrote piano compositions, hymns, marches, artsongs, chamber music, symphonic poems, overtures, band muic, school songs, orchestral

works, operas, kundimans andzarsuelas. He was known as a nationalist composer who

expressed the Philippines' cultural identity through his compositions.

Lucio San Pedrois known as a romantic nationalist. He incorporated Philippine folkelements 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. Rosendo Santos Jr.is listed in the New Groves Dictionary ofMusic and Musicians. A prolific composer, his works include concerti, sonatas,

symphonies, symphonic poems, five operas in Philippine dialect, numerous band overtures,



16/53

DEPED COPY


103

and more than 200 marches. He wrote 50 masses in Latin and 20 in English. He has more

than 1,000 musical compositions in the library of the University of the Philippines.

Alfredo Buenaventurais among the few composers in the Philippines who composedfive full-length operas. He has his own set of ideas about music and composition. He

created a combination of contemporary and conventional, kept his melodies simple and

understandable, but he used contemporary harmonies to suit the intellectuals.

Contemporary composer and conductor Ryan Cayabyab spans both popular and classicalworlds with his pop, ballads, operas, zarzuela, orchestral, and choral compositions.

WHAT TO KNOW

1. Discuss the lives and musical contributions of the following20thcentury Filipino

composers:

a. Francisco Buencamino Sr. g. Rodolfo Cornejob. Francisco Santiago h. Felipe Padilla de Leon Sr.

c. Nicanor Abelardo i. Lucio San Pedro

d. Antonio Molina j. Rosendo Santos Jr.

e. Hilarion Rubio k. Alfredo Buenaventura

f. Col. Antonino Buenaventura l. Ryan Cayabyab

2. Point out the characteristics of the musical style of the above-mentioned Filipino

composers.

Composer Characteristics of the Musical Style

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________



17/53

DEPED COPY

MUSIC Quarter III

104

WHAT TO PROCESS

A. Listening Activity

1. Your teacher will play excerpts of recordings of any (one composition) of

the following works by Filipino song composers:

a. Antonio Molina - Hatinggabi, Misa Antoniana, Grand FestivalMass,Ang Batingaw, Kundiman- Kundangan;

String Quartet , Kung sa Iyong Gunita,

Pandangguhan, Amihan,Awit ni Maria Clara,

Larawan Nitong Pilipina

b. Lucio San Pedro - Sa Ugoy ng Duyan, Suite Pastorale, LahingKayumanggi

c. Ryan Cayabyab - Misa, Four Poems for Soprano and Piano, Te

Deum, Kay Ganda ng Ating Musika, LimangDipang Tao, Da Coconut Nut, Alikabok,

Spoliarium, Kumukuti-kutitap

d. Col. AntoninoBuenaventura - Minuet, Mindanao Sketches, Divertimento for

Piano and Orchestra, Variations and Fugue,

and Greetings, Pandanggo sa Ilaw, Princesa

ng Kumintang, Pandanggo ni Neneng

e. AlfredoBuenaventura - Maria Makiling (1961), Diego Silang(1966),

Prinsesa Urduha (1969); Ang Ating Watawat

(1965), Pasko ng Barangay (1964); DakilangLahi (1971), Gomburza (1981), and Rizal, the

Great Malayan Antagonist (1990.

f. Rodolfo Cornejo - A la Juventud Filipina, Bailes de Ayer, Capriceon a Folksong, Cello Sonata, Cello Sonata,

Ibong Adarna, Kand ingan , Malakas at

Maganda Overture, Okaka, Oriental Fantasy,

Ibong Adarna, Piano Concerto Nos. 1,2,3,

Ruby, Song of the Miners,

g. Hilarion Rubio - Bulaklaken, Dance of the Nymphs Rondo,

Florente at Laura, Halik, Da nza, AngKonsyerto (ballet),Ang Magsasaka, Bukang

Liwayway, Concertino in C (Marimba and

piano),Filipinas Kong Mahal, Hatulan Mo

Ako, Ginintuang Araw, In a Tropcal Sea,

Filipino Youth, Nela, Light, Narra, Mutya ng

Silangan



18/53

DEPED COPY


105

2. Listen carefully to each excerpt and recognize the different musical styles

of the composers.

3. Analyze the music. Take note of the elements of music present: rhythm,

melody, tempo, dynamics, texture, harmony, form, and timbre.

4. Choose a composition that you like. Write a short reaction paper on it inrelation to its musical elements.

B. Evaluation of Listening ActivityName the Composer, Title of the Music, Musical Style, and Description

1. After the above Listening Activity, your teacher will prepare selected excerpts

of compositions by Lucio San Pedro, Antonino Buenaventura, Alfredo

Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino,

Hilarion Rubio, Rosendo Santos Jr, Francisco Santiago, Nicanor Abelardo,

Felipe Padilla de leon Sr., and Ryan Cyabyab.2. The class will be divided into four teams, with each team forming a line.

3. As your teacher plays a few measures of the first excerpt, the first student

in each line goes to the board and writes the name of the composer. The

second student will write the title of the music. The third student will write

the musical style. Then, the fourth student will write a description of the

music in one phrase.

4. The team that writes the correct answers first, scores four (4) points.

h. Rosendo Santos Jr. Melindas Masquerade

i. Nicanor Abelardo - Nasaan Ka Irog?, Bituing Marikit, Mutya ng

Pasig, Paskong Anong Saya, Cavatina,

Kundiman ng Luha, Magbalik Ka Hirang

j. Francisco Santiago- Kundiman (Anak Dalita), Himutok, Pakiusap,Madaling Araw, Sakali Man, Pilipinas Kong

Mahal, Ano Kaya ang Kapalaran?

k. Felipe de Leon Sr. - Bulaklak Alitaptap, Bagong Lipunan,

Payapang Daigdig, Pasko na Naman, Noche

Buena, Kay Tamis ng Buhay, Sapagkat Mahal

Kita

l. Francisco Buencamino- Harana, Pandanggo ni Neneng, Collar deSampaguita, Dulces las Horas, Mayon

(Fantasia de Concierto), My Souls Lament,

Larawan, Mazurka, Boholana, Mi Bandera,

Princesa ng Kumintang, Maligayang Bati,

Ang Bukang Liwayway, Pandanggo ni Neneng,

Ang Bagong Bali taw, Himig ng Nayon,

Damdamin (Romance), andPizzicato Caprice.



19/53

DEPED COPY

MUSIC Quarter III

106

WHAT TO UNDERSTAND: SOLO, DUET, TRIO, QUARTET, QUINTET

1. Compose a simple song. Write the lyrics and the music.

2. You may adapt a certain melody from the compositions of the traditional

composers that you like. Write the new lyrics to fit the music.

3. You may include an accompaniment such as guitar, flute, recorder, keyboard,

drums, tambourine, maracas or improvise musical instruments from the

environment.

4. You may sing ita capella (without accompaniment) or with accompaniment.

Perform your composition or your song adaptation in class.

5. What motivated you to compose or adapt the music of that song?

WHAT TO PERFORM

A. Singing Activity

Individual or in groups:Sing any of the compositions of Lucio San Pedro, Col.Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, RodolfoCornejo, Francisco Buencamino Sr., Hilarion Rubio, Rosendo Santos Jr., Nicanor

Abelardo, Francisco Santiago, Felipe Padilla de Leon, and Ryan Cayabyab.

If individual activity, choose one composition that you will perform.

If group activity, do the following procedure:

1. Your teacher will divide the class into four groups.

2. Your group will choose any traditional composer. Research further on his

compositions, if needed.

3. Select one composition that you like best or you are familiar with, or youmay learn a new song. Choose your groups musical director.

4. Sing the song in class with your groupmates interpreting the music with

appropriate pitch, rhythm, style, timbre, dynamics, melody, texture, harmony,

and expression.

5. You may add instrumental accompaniment like guitar, flute, recorder,

maracas, tambourine, or keyboard.

5. The same procedure goes on until all the students in the line have had their

turn.

6. One student will be assigned as the scorer. The team with the highest score

is the winner. In case of a tie, the first team to finish is the winner.

7. The scorer will announce the winners and then asks them this question:

What was the most significant thing that you have learned from this activity?



20/53

DEPED COPY


107

Evaluation of Singing Activity

Rating Scale: 5 - Very Good 2 - Poor 4 - Good 1 - Needs Follow up

3 - Fair

Rating the other performers (if individual activity):

1. How well did the performers express the message

of the songs? __________

2. How well did the performers pronounce

the lyrics of the songs? __________

3. How well did the performers sing based on musical

elements and style:

a. pitch __________

b. rhythm __________

c. style __________

d. expression __________

e. dynamics __________f. melody __________

g. timbre __________

h. texture __________

i. harmony __________

Rating the group members (if group activity):

1. How well did the group members express the

message of the songs? __________

2. How well did the group members sing? __________

3. How well did the group members participate? __________

6. You may bring a minus one music in CD, or from your mobile phone or on

USB.

7. You may improvise simple vocal or instrumental accompaniment/s to the

songs you have chosen.

8. You may explore ways of creating sounds as instrumental accompaniment

to the song from a variety of sources or from the environment.

9. Your teacher will choose the Best Singing Group based on musicianship

(musical elements) 60%, presentation impact and showmanship 20%,

ensemble coordination and organization 20%.

10. All students will evaluate by rating each others performance and their own

performance.



21/53

DEPED COPY

MUSIC Quarter III

108

B. Creating and Performing Activities: Musical

1. Your teacher will divide the class into four groups. Each group choose a

traditional composer that was discussed in class. Research further on his

life and works.

2. Create a contemporary musical on the life of your chosen composer.

Incorporate some of his compositions (melodic fragments) in the musical

and story.

3. Improvise simple vocal or instrumental accompaniments (example: guitar,

keyboard, percussion) for the songs that you have chosen.

4. Explore ways of creating sounds as accompaniment on a variety of sources

or from the environment for the creation of the musical.

5. Perform the musical in class. Your teacher will choose the Best Group

Musical Performance based on musicianship (musical elements) 50%,

audience impact and showmanship 20%, ensemble coordination and

organization 20%, stage discipline or deportment 10%.

Evaluation of Creating and Performing Activities: Musical

Rating Scale: 5 - Very Good 2 - Poor

4 - Good 1 - Needs Follow up

3 - Fair

Rating the other performers / groups:

1. How well did the performers express the

message of the musical? __________

2. How well did the performers act in the musical

based on the following:

a. voice quality __________

b. expression __________c. stage presence __________

d. audience impact __________

e. mastery of the musical __________

g. musical elements (rhythm, melody, dynamics) __________

h. technique __________

i. showmanship __________



22/53

DEPED COPY


109

Rating your own group members:

1. How well did your group members express the


2. How well did your group members perform? __________

3. How well did your group members coordinate with

each other during the performance in the ensemble? __________

4. How well did your group organize yourselves in

the ensemble? __________

Rating myself:

1. How well did I express the message of the musical? __________

2. How well did I perform with my group? __________

3. How well did I coordinate with the other membersduring the performance in the ensemble? __________

4. How well did I cooperate in the ensemble? __________



23/53

DEPED COPY

MUSIC Quarter III

110

NEW MUSIC COMPOSERS

Composers of experimental New Music in the Philippines includeJose Maceda,

Lucrecia Kasilag,Ramon Santos, Manuel Maramba, Jerry Dadap, FranciscoFeliciano, Josefino Chino Toledo, and Jonas Baes. They retained the Filipino spiritby incorporating traditional music forms as well as indigenous rhythms and instruments

in their compositions.

JOSE MACEDA(1917 2004)National Artist for Music

Jose Maceda was born in Manila on January 17, 1917. Hestarted his music studies at the Academy of Music in Manila.

Later, he went to Paris to study with Alfred Cortot. He

eventually pursuedadvanced studies in the USA with E. Robert

Schmitz and earned a Doctorate Degree in Ethnomusicology

from UCLA.

Macedas musical style changed when he encountered the music

of the indigenous tribesof Mindoro in 1953. He then embarked

on his lifes work, dedicated to the understanding and

preservation of Filipinotraditional music. His extensive research

and fieldwork resulted in an immense collection of recordedmusic taken from the remote mountain villages and far-flung inland communities in the

Philippines. Although his compositional approach tended to be Western in style, Maceda

combined sounds of the environment with ethnic instruments. His compositions were

usually for large groups of musicians. Among his works are Ugma-Ugma (1963), a work

for voice and ethnic instruments;Agungan (1975), a piece for six gong families;Pagsamba

(1968), a musical ritual for a circular auditorium using several ethnic percussion

instruments; Cassettes 100 (1971), a composition for 100 cassette tape recorders; and

Ugnayan (1974), an ethnic piece played at the same time over several radio stations.

Considered as the first Filipino avant garde composer, he also worked at a recording

studio in Paris in 1958 which specialized in musique concrte. During this period, he metPierre Boulez, Karlheinz Stockhausen, and Iannis Xenakis, considered the musical giants

of this musical genre.Maceda served as Professor of Piano and Musicology at the College

of Music, University of the Philippines from 1952 to 1990. He was appointed Executive

Director of its Center for Ethnomusicology in 1997. In the same year, he was conferred

the honor of National Artist for Music. He passed away in Manila on May 5, 2004.



24/53

DEPED COPY


111

UDLOT-UDLOT (Excerpt) Jose Maceda

LUCRECIA R. KASILAG(1918 2008)


Lucrecia R. Kasilag was born in San Fernando, LaUnion on August 31, 1918. She went to Manila to

pursue a degree in Music at the Philippine Womens

University. She then obtainedher Masters degree from

the Eastman School of Music in New York, USA.

Her compositions were influenced by her professors

Irv ing McHose and Wayne Barlow. Kasilags

compositions demonstrated a fusion of Eastern and

Western styles in using instruments, melody, harmony,

and rhythm.She is particularlyknown for incorporating

indigenous Filipino instruments into orchestral

productions.



25/53

DEPED COPY

MUSIC Quarter III

112

DIVERTISSEMENT (Excerpt)Lucrecia R. Kasilag

Edited

Among Kasilags many compositions are Toccata for Percussion and Winds (1959),

composed for indigenous Muslim instruments and Western instruments; The Legend of

the Sarimanok(1963), composed for chamber orchestra and Philippine ethnic instruments;

DivertissementandConcertante (1960), compositions for piano and orchestra combining

Western and Eastern forms, harmonies, and intervals; andDularawan (1969), a musical

drama combining a dance solo with a chorus and an ethnic orchestra. Her other works

include compositions for piano, instrumental ensemble, and chorus.

She was equally admired in the academe as a former Dean of the College of Music and

Fine Arts, Philippine Womens University. In the cultural field, she was the President of

the Cultural Center of the Philippines. In the dance circles, she was the President and

Music Director of the Bayanihan Dance Company. She also served as Chairman of the

Asian Composers League and the League of Filipino Composers.

She is credited for having written more than 200 musical works, ranging from folksongs

to opera to orchestral works, which she continued to compose for the rest of her life. Forall these outstanding achievements, she was conferred the title of National Artist for

Music in 1989. She passed away in Manila in August 2008.



26/53

DEPED COPY


113

RAMON P. SANTOS(1941 )National Artist for Music

Ramon P. Santos was born in Pasig on February 25,1941. He completed his Bachelor of Music degree at

the College of Music, University of the Philippines.

He finished his Master of Music degree at Indiana

University, USA. He received his Doctor of

Philosophy degree in Composition at the State

University of New York, USA. He had also pursued

graduate studies in Ethnomusicology at the University

of Illinois, USA.

Santoscompositional style features chromaticism, music seria, andelectronic components,

combined with indigenous Philippine music elements. His works includeDing Ding NgaDiyawa, Nabasag na Banga at Ibat iba pang Pinag-ugpong-ugpong na Pananalita sa

Wikang Pilipino para sa Labing Anim na Tinig, and LBAD. He had done extensive

research on the gamelan music of Java as well as the traditional music of the Ibaloi,

Maranao, Mansaka, Bontoc, Yakan, and Boholano tribes in the Philippines.

Santos held the position of Dean of the UP College of Music from 1978 to 1988. At

present, he is the head of the UP Centerof Ethnomusicology and was appointed Professor

Emeritus of the same institution. He was conferred the title of National Artist for Music

in 2014.

LBADRamon P. Santos



27/53

DEPED COPY

MUSIC Quarter III

114

FR. MANUEL MARAMBA, OSB(1936 )

Fr. Manuel Perez Maramba, OSB is one of the mostaccomplished musicians and liturgists in the Philippines emergingduring the second half of the 20th century. He was born on July

4, 1936 in Pangasinan.

When he was 11 years old, he gave his first public performance

at the Bamboo Organ in Las Pias. He became the official

accompanist of the Las Pias Boys Choir at 14 years old. He

was the youngest finalist to participate in the National Music

Competitions for Young Artists (NAMCYA) piano competition

in 1978. Immediately after high school, he was sent on full scholarship to the University

for Music and Performing Arts in Graz, Austria. There, he earned with distinction thedegree of Master of Arts in Church Music. He also received a Teachers Certificate in

Organ. His musical career led him to the United States, where he performed at Carnegie

Hall at the age of 19.

After finishing his Bachelor of Music degree major in Piano at the Conservatory of Music,

University of Sto. Tomas (UST), Fr. Maramba pursued his studies abroad where he

received his Master of Music degree, Artist Diploma, Bachelor of Music degree in

Composition, and Teachers Certificate in Theory from the Peabody Conservatory of

Johns Hopkins University, USA. He received a Masters degree of Musical Arts in

Performance from Yale Universitys School of Music, USA. He also studied sacred music

at the Kirchenmusikschule in Regensburg, Germany. He took further lessons in piano,organ, and the harpsichord at theHochschule fur Musikin Vienna, Austria.

Fr Maramba is a monk at Our Lady of Montserrat Abbey in Manila. He was the former

director of the Paul VI Institute of Liturgy in Malaybalay, Bukidnon during which he

composed the music for the papal mass. A prominent canon lawyer, he served on the

National Appellate Matrimonial Tribunal. He was also a faculty member at the UST

Conservatory of Music, St. Scholaticas College, and Sta. Isabel College.

He has composed operas likeAba!, Sto. Nino, La Naval, and Lord Takayama Ukon.His

other major compositions are the music for Awakeningwhich was commissioned by

Ballet Philippines and music for Philippine Ballet Theaters production ofSeven Mansions;

three masses Papal Mass for World Youth Day, 1995; Mass in Honor of St. Lorenzo

Ruiz, and the Mass in Honor of the Sto. Nino; three cantatas St. Lorenzo Ruiz, St.

Benedict, andSt. Scholastica; Three Psalms; A hymn in honor of St. Lorenzo Ruiz, and

the official hymn of the 1996 National Eucharistic Congress; a zarzuela entitled Ang

Sarswela sa San Salvador,and three orchestral works Pugad Lawin, The Virgin of

Naval, and Transfiguration.



28/53

DEPED COPY


115

JERRY DADAP(1935 )

Jerry Dadap,the first Filipino composer to conduct his ownworks at the Carnegie Recital Hall in New York City, was born

on November 5, 1935 in Hinunangan, Southern Leyte. He

earned his Bachelors Degree in Music, major in Composition

at the Conservatory of Music, University of the Philippines

(UP) in 1964.

In 1968, he went to the USA on a study-observation grant

from the Music Promotion Foundation of the Philippines. While

there, he received a full scholarship grant from the United

Presbyterian Church of USA from 1969 to 1971. During that

time, he obtained his Postgraduate Diploma in Composition at the Mannes College of

Music in New York, USA. Upon his return to the Philippines in 1971, he taughtcomposition, ear training, and orchestration at the Sta. Isabel College of Music in Manila.

Dadap started composing when he was still studying at Silliman University in the southern

city of Dumaguete. Among his numerous compositions are The Passionate and the Wild

(1960),Mangamuyo I(1976) andMangamuyo II(1977),The Redemption (1974),Five

Little Fingers (1975),Tubig ng Buhay (1986),Dakilang Pagpapatawad(1986),Andres

Bonifacio, Ang Dakilang Anak Pawis, Ang Pag-ibig ng Diyos, Balitaw Nos. 1-7, Lam-

ang Epic, Lorenzo Ruiz, Chorale Symphonic Ode Nos. 1 and 2, Aniway at Tomaneg,

Song Cycle, Nos. 1-4, Choral Cycle Nos. 1-3,and Diyos Ama ay Purihin. His major

works as composer-conductor were performed at the concert LAHI that featured works

by local major composers.

FRANCISCO F. FELICIANO(1942 2014)


Francisco F.Feliciano,avant garde composer and conductorfor band and chorus, was born on February 19, 1942 in

Morong, Rizal. His first exposure to music was with the Morriz

Band, a brass ensemble established and owned by hisfather, Maximiano Feliciano. He started his music career in

the high school band where he had played the cymbals and the

clarinet.

Feliciano obtained his Teachers Diploma in Composition and

Conducting at the Conservatory of Music, University of the

Philippines (UP) in 1964, and a Bachelor of Music degree



29/53

DEPED COPY

MUSIC Quarter III

116

JOSEFINO TOLEDO(1959 )

Josefino Chino Toledo is a recognized figure in the Asian

contemporary art music scene. He received his Master of Music

degree from the Cleveland Institute of Music, USA. Among his

awards are the following: Ten Outstanding Young Men

(TOYM); International Award for the Arts; Civitella Ranieri

Fellowship in Italy; and the Chancellor Awards for Outstanding

Musical Works, University of the Philippines.

major in Composition in 1967. Subsequent degrees include a Master in Music Composition

from the University of the Philippines, a Diploma in Music Composition from the

Hochschule der Kunst in Berlin, Germany, and a Master of Musical Arts and Doctorate

in Music Composition from Yale University School of Music, USA. He studied

composition with Jacob Druckman, Isang Yun, H.W. Zimmerman and Krystof Penderecki.

Feliciano became the choir conductor and instructor in music fundamentals at St. Andrews

Seminary in Quezon City. He became an instructor at the UP Conservatory of Music and

conducted the UP Symphony Orchestra. He was the musical director of the movieAng

Bukas ay Atinand provided orchestration for a number of musical productions including

My Fair Lady and various Philippine productions. Feliciano composed more than 30

major works, including the musical dramas Sikhay sa Kabila ng Paalam, Ashen Wings,

and the monumental three-act operaLa Loba Negra (1984). He also wrote music for the

orchestra such as Prelude and Toccata (1973), Fragments (1976),Life of Wartime Filipino

Hero Jose Abad Santos, and the ballet Yerma(1982).

Among his other large works are Transfiguration andMissa Mysterium for orchestra

and large chorus. He has composed several prize winning works such as Pokpok Alimpako,

(a favorite piece of choirs in international choral competitions), Salimbayan, Umiinog,

andWalang Tinag(Perpetuum I mobile) which was premiered at the ISCM Festival in

New York City, USA. His latest choral works, Pamugn andRestless, have been performed

by Filipino choirs in various choral festivals in Europe. In 1977, he was given a John D.

Rockefeller III Award in Music Composition.

Feliciano composed hundreds of liturgical pieces, mass settings, hymns, and songs for

worship. He founded the Asian Institute for Liturgy and Music (AILM) in Quezon City,

a school for church musicians, and supervised the publication of a new Asian hymnalcontaining mostly works of Asian composers. He was conferred the title of National

Artist for Music in 2014. He died on September 19, 2014.



30/53

DEPED COPY


117

Toledo served at the Pangkat Kawayan(a bamboo orchestra) from 1966 to 1979 and the

Philippine Youth Orchestra (PYO) in 1977-1978. A principal percussionist of the Manila

Symphony Orchestra in 1980-1983, he later became music director and principal conductor

in 1985. He attended the 1984 International Computer Music Conference in France. He

was the countrys representative to the 1980 Young Composers Conference in HongKong,

the ASEAN Composers Forum on Traditional Music in 1989 (Philippines) and 1993

(Singapore), the 1995 ASEAN Composers Workshop (Indonesia), and the 1996

International Composers Workshop (Gaudeamus, Amsterdam). He was also a fellow at

the 1990 Pacific Music Festival and Pacific Composers Conference (Japan).

Toledo is a Music Professor at the College of Music, University of the Philippines (UP).

He is the founding music director of the Metro Manila Community Orchestra, the UP

Festival Orchestra, and the Crosswave Symphony Orchestra. He is noted for conducting

the premiere performances of the works of Filipino composers as well as other Asian

composers. His own music, including works for chorus, orchestra, chamber ensemble,

solo instrument, and music theater have been performed by well-known internationalartists and ensembles.

AUIT(Excerpt)

Josefino Toledo



31/53

DEPED COPY

MUSIC Quarter III

118

JONAS BAES(1961 )

Jonas Baes was born in Los Baos, Laguna in 1961. He

enrolled at the College of Music, University of the Philippines(UP) in 1977 as a student of Ramon P. Santos.While at UP,

he encountered the works of Jose Maceda and attended several

seminar-workshops of visiting lecturers. He researched on

the music of the Iraya-Mangyan people of Mindoro, which

later became the inspiration for his compositions. From 1992-

1994, he studied with Mathias Spahlinger in Freiburg,

Germany.

Baes is known for writing music utilizing unorthodox musical instruments such as bean-

pod rattles, leaves, iron-nail chimes, and various Asian instruments such as bamboo

scrapers, bamboo flutes, and vocal music using Asian vocal techniques. His early works

in the 1980s were influenced by Maceda in the use of large numbers of performers.

In the 1990s, he experimented with various methods by which the audience became

integral in the performance. It was also typical for social theory to influence the work of

Baes who has made a mark on contemporary music and cultural politics in the Asian

region.

Some of Baes musical compositions include: Imagined Community, after Benedict

Anderson for four bamboo scrapers, bamui trail caller, sarunai for oboe, khaen for

mouth organ, and about a hundred iron nail chimes distributed among the audience;1997/2001; WALA(Nothingness) for seven or hundreds of mens voices 1997/2001;

DALUY (Flow)interval music for five animator-percussionists and about a hundred bird

whistles distributed among the audience, 1994; IBO-IBON (birdwoman) for dancer

wearing small bells, two large wind chimes passed around the audience, four animator-

callers, and iron nail chimes played by the audience (1996); SALAYSAY, for solo voice,

three percussionists, and pairs of pebbles distributed among the audience; PATANGIS-

BUWAYA (and the crocodile weeps) for four sub-contrabass recorders or any blown

instruments 2003; PANTAWAG (music for calling people) for 15 bamboo scrapers, 15

palm leaves, and 20 muffled forest voices 1981; and BASBASAN (blessing) for 20

bean-pod rattles and 20 muffled mens voices 1983.

Baes received the Gawad Chancellor para sa Pinakamakusay na Mananaliksik(Hall of

Fame, 2003) from the University of the Philippines. He is currently an Associate Professor

in Composition and Theory at the UP College of Music as well as an ethnomusicologist,

cultural activist, and writer.



32/53

DEPED COPY


119

SUMMARY

Jose Macedas musical style shifted when he encountered the music of the indigenous

tribes of Mindoro in 1953. He then embarked on his lifes work, dedicated to the

understanding and preservation of Filipino traditional music. His extensive research and

fieldwork resulted in an immense collection of recorded music taken from the remote

mountain villages and far-flung inland communities in the Philippines.

Lucrecia Kasilagscompositional style demonstrated a fusion of Eastern and Western

styles in using instruments, melody, harmony, and rhythm. She is particularly known for

incorporating indigenous Filipino instruments into orchestral productions.

Ramon Santoscompositional style features chromaticism, music seria, and electronic

components, combined with indigenous Philippine music elements.

Fr. Manuel Maramba OSB,one of the most accomplished musicians in the Philippines,is best known as a liturgical composer whose body of works lean towards religiousfigures and events. His versatility as a pianist, composer, arranger, theorist, and teacher

is widely recognized in the local musical scene.

Jerry Dadap,the first Filipino composer to conduct his own works at the CarnegieRecital Hall in New York City,

Francisco Feliciano is one of Asias leading figures in liturgical music, having composedhundreds of liturgical pieces, mass settings, hymns, and songs for worship. At the Asian

Institute for Liturgy and Music, a school for church musicians which he founded, he

supervised the publication of a new Asian hymnal containing mostly works of Asiancomposers.

Josefino Toledois the founding music director of the Metro Manila Community Orchestra,the UP Festival Orchestra, and the Crosswave Symphony Orchestra. He is noted for

conducting the premiere performances of the works of Filipino composers as well as

other Asian composers. His own music has been performed by well-known international

artists and ensembles.

Jonas Baes,Associate Professor in Composition and Theory, ethnomusicologist, cultural

activist, and writer, has explored innovative territories and unusual musical treatments inhis works.



33/53

DEPED COPY

MUSIC Quarter III

120

WHAT TO KNOW

1. Research and describe the characteristics of New Music.

2. Discuss the lives and works of following 20th century Filipino composers and

performers:

a. Jose Maceda e. Jerry Dadap

b. Lucrecia Kasilag f. Francisco Feliciano

c. Ramon Santos g. Josefino Toledo

d. Fr. Manuel Maramba, OSB h. Jonas Baes

3. Point out the characteristics of the musical style of the above-mentioned Filipino

composers.

Composer Characteristics of the Musical Style

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________



34/53

DEPED COPY


121

WHAT TO PROCESS

A. Listening Activity

1. Your teacher will play excerpts of recordings of any (one composition) of

the following works by Filipino new music composers:

a. Jose Maceda - Ugma-Ugma; Agungan ; Pagsamba;Ugnayan; UdlotUdlot

b. Lucrecia Kasilag - Toccata for Percucssion and Winds; The Legendof the Sarimanok; Divertissement and Concertante; Dularawan

c. Josefino Toledo-2ndOg-og; Abe; Ako ang Daigdig; Alitaptap; Aliw-iw; Awiting Bayan; Barasyon; Asia; Kah-non; Humigit Kumulang;

Lima; Mi-sa; Missa de gallo; Oyog-Oyog; Musika para sa; Pasyonat Buhay; Pompyang; Pintigan; Pilipino Komiks; Sigaw; Tatluhan;

Auit, Ub-og; Ug-nay; Tula-li

d. Francisco Feliciano - Sikhay sa Kabila ng Paalam; Ashen Wings;La Loba Negra; Prelude and Toccata; Fragments; Yerma; The life

of wartime Filipino hero, Jose Abad Santos; Transfiguration; Missa

Mysterium; Pokpok Alimpako; Salimbayan; Umiinog, Walang Tinag;

Pamugn and Restless

e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I) andMangamuyo II; The Redemption; Five Little Fingers; Tubig ngBuhay; Dakilang Pagpapatawad; Andres Bonifacio, Ang Dakilang

Anak Pawis; Ang Pag-ibig ng Diyos; Balitaw Nos. 1-7; Lam-ang

Epic; Lorenzo Ruiz; Chorale Symphonic Ode Nos. 1 and 2; Aniway

at Tomaneg; Song Cycle, Nos. 1-4; Choral Cycle Nos. 1-3; Diyos

Ama ay Purihin; Lam-ang Epic; Mangamuyo I and II; Five Little

Fingers; Tubig ng Buhay; The Redemption.

f. Fr. Manuel Maramba - Aba!, Sto. Nino; La Naval; Lord TakayamaUkon; Awakening ; Seven Mansions; Papal Mass for World Youth

Day, 1995; Mass in Honor of St. Lorenzo Ruiz;Mass in Honor of theSto. Nino; cantatas St. Lorenzo Ruiz, St. Benedict, and St. Scholastica;

Three PsalmsA hymn in honor of St. Lorenzo Ruiz, and the official

hymn of the 1996 National Eucharistic Congress;Ang Sarswela sa

San Salvador; Pugad Lawin; The Virgin of Naval; and

Transfiguration.



35/53

DEPED COPY

MUSIC Quarter III

122

g. Ramon Santos-Ding Ding ng a Di ya wa ; Nab as ag n a B an gaa t Ib at i ba p an g P in ag - ug po ng -u g po ng n a Pananalita

sa Wikang Pilipino para sa labing anim na tinig, and LBAD

h. Jonas Baes - WALA(Nothingness); DALUY (flow); IBO-IBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA; PANTAWAG;

BASBASAN(Blessing).

2. Listen carefully to each excerpt and be able to recognize the different musical

elements and styles of the composers.

3. Analyze the music focusing on the elements of music present, suchasrhythm,

melody, tempo and dynamics, texture and harmony, form, and timbre.

4. Choose a composition that you like. Write a reaction paper on it

B. Evaluation of Listening ActivityName the Composer, Title of the Music, Musical Style, and Description

1. After theabove ListeningActivity, your teacher will prepare selected excerpts

of compositions by the following: Josefino Toledo, Ramon Santos, Jose

Maceda, Fr. Manuel Maramba, Lucrecia Kasilag, Francisco Feliciano, Jerry

Dadap, and Jonas Baes.

2. The class will be divided into four teams, with each team forming a line.

3. As your teacher plays a few measures of the first excerpt, the first student

in each line goes to the board and writes the name of the composer. The

second student will write the title of the music. The third student will write

the musical style. Then, the fourth student will write a description of the

music in one phrase.

4. The team that writes the correct answers first, scores four (4) points.

5. The same procedure goes on until all the students in the line have had their

turn.

6. One student will be assigned as the scorer. The team with the highest score

is the winner. In case of a tie, the first team to finish is the winner.

7. The scorer will announce the winners and then asks them this question:

What was the most significant thing that you have learned from this activity?



36/53

DEPED COPY


123

WHAT TO UNDERSTAND: SOLO, DUET, TRIO, QUARTET, QUINTET

1. Your teacher will divide you into groups.

2. Compose a simple song incorporating indigenous music and folksongs or

you may adapt a certain melody from the compositions of the New Music

composers that you like. Write the new lyrics to fit the music.

3. You may include an accompaniment or improvised musical instruments.

4. Sing it a capella(without accompaniment) or with accompaniment.

5. Perform your composition or song adaptation in class.

6. Choreograph dance movements by interpreting the music of the new

composer that you have chosen, if needed.

7. Perform in class.

8. Write a reaction papaer on How did you feel in our incorporating our

indigenous music to your compositions or song adaptations. Submit it in

class next meeting.

WHAT TO PERFORM

Creating and Performing Activities: Musical

1. Your teacher will divide the class into four groups. Each group choose a

traditional composer that was discussed in class. Research further on his

life and works.

2. Create a contemporary musical on the life of your chosen composer.

Incorporate some of his compositions (melodic fragments) in the musical

and story.

3. Improvise simple vocal or instrumental accompaniments (example: guitar,

keyboard, percussion) to the songs that you have chosen.

4. Explore ways of creating sounds as accompaniment on a variety of sources

or from the environment for the creation of the musical.

5. Perform the musical in class. Your teacher will choose the Best Group

Musical Performance based on musicianship (musical elements) 50%,

audience impact and showmanship 20%, ensemble coordination and

organization 20%, stage discipline or deportment 10%.



37/53

DEPED COPY

MUSIC Quarter III

124

Evaluation of Creating and Performing Activities: Musical

Rating Scale: 5 - Very Good 2 - Poor

4 - Good 1 - Needs Follow up

3 - Fair

Rating the other performers / groups:

1. How well did the performers express the


2. How well did the performers sing and act in

the musical based on the following:

a. voice quality __________

b. expression __________

c. stage presence __________

d. audience impact __________e. mastery of the musical __________

f. pitch __________

g. rhythm __________

h. style __________

i. acting __________

Rating your own group members:

1. How well did your group members express the


2. How well did your group members perform? __________3. How well did your group members participate? __________

Rating myself:

1. How well did I express the message of the musical? __________

2. How well did I perform with my group? __________

3. How well did I coordinate with the other members during the performance

in the ensemble? __________

4. How well did I cooperate in the ensemble? __________



38/53

DEPED COPY


125

SONG COMPOSERS

The 20th century Filipino song composers/lyricists includeLevi Celerio, Constanciode Guzman, Mike Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco,Angel Pea, Leopoldo Silos Sr., Santiago Suarez. Together, they had produced amemorable output of traditional Filipino love songs, music for the movies, and materials

for contemporary arrangements and concert repertoire.

LEVI CELERIO(1910 2002)National Artist for Literature and Music

Prolific lyricist and composer Levi Celerio was namedNational Artist for Music and Literature in 1997. Also aviolinist, he had written the lyrics for over 4,000 songs in

his lifetime, including many for film. A great number of

kundimans and Filipino love songs have lyrics written by

him, most notable of which areDahil sa Iyo, Buhat, and

Ang Pasko ay Sumapit.

Celerio was known for creating music

with a mouth-blown leaf

Celerio was born in Tondo on April 30, 1910. He studied at the Academy of Music in

Manila under a scholarship. Later, he went on to join the Manila Symphony Orchestra.

Aside from writing his own lyrics, he also translated and re-wrote the lyrics of folksongs

to traditional melodies like Maliwanag Na Buwanfrom Ilocos,Ako ay May Singsing

from Pampanga, andAlibangbang from the Visayas.

His achievements include a citation in the Guinness Book of World Records for being the

only person to make music with a mouth-blown leaf. He will forever be remembered

through his lyrics for songs such asAng Pipit(music by Lucio D. San Pedro);Bagong

Pagsilang (music by Felipe Padilla de Leon); Sa Ugoy ng Duyan (music by Lucio D. San

Pedro);Misa de Gallo (music by J. Balita);Itik-itik(folk song); Tinikling (folk song),among others. Celerio passed away on April 2, 2002.



39/53

DEPED COPY

MUSIC Quarter III

126

CONSTANCIO DE GUZMAN(1903 1982)

Constancio Canseco de Guzmanwas born on November 11,1903 in Guiguinto, Bulacan. He grew up in Manila where he

studied piano and composition under Nicanor Abelardo. At the

prodding of his father, he went to law school but switched to

pursue and finish a BS Commerce degree at Jose Rizal College

in 1928. He passed the certified public accountants (CPA) board

examinations in 1932. After he took the CPA board exam, he

started working for the movies.

Acknowledged as the Dean of Filipino Movie Composers and

Musical Directors, De Guzman became the music director of

movie production companies like Sampaguita, LVN, Royal,

Excelsior, Lea, and Tagalog Ilang-Ilang Productions. His unexpected hit music,Panaginip, paved the way for him to record hundreds of songs, principally under Villar

and Columbia Records.

In 1948, his songAng Bayan KoandKung Kitay Kapilingwon the gold medal at the

Paris International Fair.Bayan Kowas later adopted as the symbolic song of the People

Power Movement of 1986. The same song won for him the Awit Award for Best Filipino

Lyricist. Some of De Guzmans notable compositions includeBabalik Ka Rin, Ang Tangi

Kong Pag-ibig, Birheng Walang Dambana, Maalaala Mo Kaya, and Sa Piling Mo. De

Guzman passed away on August 16, 1982.

MIGUEL MIKE VELARDE JR.

(1913 1986)

Miguel Mike Guison Velarde Jr, composer, conductor, movie actor, and musical

director was born in Manila on October 23, 1913 as the second of two children of Dr.

Miguel Velarde, Sr. and Dolores Guison. His family moved to Zamboanga when he was

only one year old and where he spent the succeeding eighteen years of his life. His exposure

to the unaffected and unpretentious environment of Basilan and Zamboanga had influenced

his creative imagination, mainly nurtured by his mother who became his first music teacher

in piano and violin when he was six years old.

Velarde studied at the Zamboanga Normal School, where he became a member of the

school orchestra and graduated as valedictorian. He then went to Manila to pursue

medicine at the University of the Philippines, but later realized that it was music that he

truly loved. He learned the basics of harmony and composition from Antonio Molina

and Ariston Avelino as he further deepened his musical knowledge through self-study.


Music Grade 10 LM - Qtr 3 (8 Apr 2015)

Documents

Transcript of Music Grade 10 LM - Qtr 3 (8 Apr 2015)