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Quarter 3 – Module 1: CONTEMPORARY PHILIPPINE MUSIC (TRADITIONAL, NEW MUSIC and SONG COMPOSERS)

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Quarter 3 – Module 1: CONTEMPORARY PHILIPPINE MUSIC (TRADITIONAL, NEW MUSIC and SONG COMPOSERS) Republic of the Philippines Department of Education Regional Office IX, Zamboanga Peninsula 10 Zest for Progress Zeal of Partnership MUSIC Quarter 3 – Module 1: CONTEMPORARY PHILIPPINE MUSIC (TRADITIONAL, NEW MUSIC AND SONG COMPOSERS) Name of Learner: ___________________________ Grade & Section: ___________________________ 1 Name of School: ___________________________ What I Need To Know At the end of theKKKKKNOW module, each student is expectedKNOW to: Narrates the life of selected contemporary Filipino composer/s (MU10CM-IIIc-g-3) 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. With the European and American influences brought by our country’s colonizers, it ws inevitable that the musical style of 20th century Western composers found their way into Philippine compositions. The works many notable Filipino composers are evidence of this. An entire group of 20th Filipino song composers became popular for their musical compositions used as background music or theme songs in movies and films. 2 What I Know Directions: Read very carefully each statement about the Contemporary Philippine Music. You will be guided in determining whether the statement is TRUE or FALSE by putting a check (/) mark on the appropriate column. STATEMENT TRUE FALSE 20th century Filipino composers have managed to retain some traditional 1. elements in their assimilation of Western techniques. Composers of experimental New Music in the Philippines retained the 2. Filipino spirit by incorporating traditional music forms as well as indigenous rhythms and instruments in their compositions With the American influences brought by our colonizers, it was inevitable 3. that the musical styles of 20th century Western composers found their way into Philippine compositions. Traditional Music became popular with their musical compositions used as 4. musical background or theme songs in movies and films. The 20th century Filipino Song composers/lyricists had produced a 5. memorable output of traditional Filipino love songs, music for the movies, and materials for contemporary arrangements and concert repertoire. What’s In The previous quarter provided an overview of the Afro-latin American and Popular Music such as Music of Africa, Latin America, Jazz Music, Popular Music, Classical Music Made Popular, Philippine Popular Music and Filipino Classicl Performers. What’s New A. Have the students do any of the following and let them answer: 1. Recall concepts from the past lessons. 2. What did you learn about the Afro-latin American and Popular Music? 3. Do you know of any famous Filipino Contemporary Composers? If yes, name them. 4. How did you learn about these traditional composers, new music composers and song composers? 3 What Is It TRADITIONAL COMPOSERS Filipino composers of the 20th century contributed teir share in introducing innovative sounds. 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. 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. 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 Hiran.. As a composition major at the University of the Philippines, he also composed the melody for the University’s offcil anthem, U.P. Naming Mahal. The main theater of the Culturl Center of the Philippines (Tanghalang Nicanor Abelardo) and the building housing the College of Music in UP Diliman are named in his honor. He died on March 21, 1934. 4 CIPRIANO “RYAN” CAYABYAB (1954 – present ) Ryan Cayabyab is a popular contemporary composer also has classical compositions to his credit, such as Misa, Four Poems for Soprano and Piano, and Te Deum. 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. Cayabyab was born on May 4, 1954 in Manila. He obtained his Bachelor of Music degree at the University of the Philippines’ College 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. He is a contemporary composer and conductor who spans both popular and classical worlds with his pop music, ballads, operas, zarzuelas, orchestral arrangements, masses, psalms and choral compositions. 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 arePakiusap, 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. 5 NEW MUSIC COMPOSERS Composers of experimental New Music in the Philippines include Jose Maceda, Lucrecia Kasilag, Ramon Santos, Manuel Maramba, Jerry Dadap, Francisco Feliciano, Josefino “Chino” Toledo, and Jonas Baes. They retained the Filipino spirit by incorporating traditional music forms as well as indigenous rhythms and instruments in their compositions. LUCRECIA R. KASILAG (1918 – 2008) National Artist for Music Lucrecia R. Kasilag was born in San Fernando, La Union on August 31, 1918. She went to Manila to pursue a degree in Music at the Philippine Women’s University.She thenobtainedherMaster’sdegree from the Eastman School of Music in New York, USA. Her compositions were influenced by her professors Irving McHose and Wayne Barlow. Kasilag’s compositions 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. Among Kasilag’s 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; Divertissement and Concertante (1960), compositions for piano and orchestra combining Western and Eastern forms, harmonies, and intervals; and Dularawan (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 Women’s 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
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