Republic of the Philippines Department of Education Regional Office IX, Zamboanga Peninsula
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est for rogress Z P 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.
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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?
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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.
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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.
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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 rest of her life. For all these outstanding achievements, she was conferred the title of National Artist for Music in 1989. She passed away in Manila in August 2008.
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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. Santos’ compositional style features chromaticism, musicseria and electronic components, combined with indigenous Philippine music elements. His works include Ding Ding Nga Diyawa, Nabasag na Banga at Iba’t iba pang Pinag-ugpong-ugpong na Pananalita sa Wikang Pilipino para sa Labing Anim na Tinig, and L’BAD. 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. present, he is the headof the UP Center of Ethnomusicologyand was appointed Professor. Santos held the position of Dean of the UP College of Music from 1978 to 1988. At Emeritus of the same institution. He was conferred the title of National Artist for Music in 2014.
FRANCISCO F. FELICIANO (1942 – 2014) National Artist for Music
Francisco F. Feliciano, avant garde composer and conductor for 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 his father, Maximiano Feliciano. He started his music career in the high school band where he had played the cymbals and the clarinet.
Feliciano obtained his Teacher’s Diploma in Composition and Conducting at the Conservatory of Music, University of the Philippines (UP) in 1964, and a Bachelor of Music degree 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 composed more than 30 major works, including the musical dramas Sikhay sa Kabila ng Paalam, Ashen Wings, and the monumental three-act opera La 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).
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Among his other large works are Transfiguration and Missa 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, and Walang Tinag (Perpetuum I mobile) which was premiered at the ISCM Festival in New York City, USA.
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 hymnal containing mostly works of Asian composers. He was conferred the title of National Artist for Music in 2014. He died on September 19, 2014.
SONG COMPOSERS
The 20th century Filipino song composers/lyricists include Levi Celerio,Constancio de Guzman, Mike Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco, Angel Peña, Leopoldo Silos Sr., Santiago Suarez. Together, they had produced a memorable output of traditional Filipino love songs, music for the movies, and materials for contemporary arrangements and concert repertoire.
Filipino composers of the 20th century contributed their share in introducing innovative sounds different from the traditional folk song and kundiman melodies that we have been accustomed to. Some espoused the impressionistic style, while others combined ethnic sounds and musical elements with Western technqiues in their compositions. Some adopted the kundiman as their form in composing their music.
LEVI CELERIO (1910 – 2002) National Artist for Literature and Music
Prolific lyricist and composer Levi Celerio was named National Artist for Music and Literature in 1997. Also a violinist, 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 notable of which are Dahil 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 Buwan from Ilocos, Ako ay May Singsing from Pampanga, and Alibangbang from the Visayas.
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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 as Ang 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.
GEORGE CANSECO (1934 – 2004)
George Masangkay Canseco was born on April 23, 1934 in Naic, Cavite. He graduated with a Liberal Arts degree at the University of the East. After graduation, he worked for the Philippines Herald and the Associated Press as a journalist. He also worked as a “free-lance scriptwriter for hire” in Manila.
Canseco was considered as “a nationally acclaimed composer of numerous popular classics.” He was commissioned by Former First Lady Imelda R. Marcos to compose a national tribute hymn entitled Ako Ay Pilipino (I Am A Filipino). He winning motion picture of the same title, sung by Amapola.
He wrote the classic Kapantay Ay Langit, a theme from the award- English version entitled You’re All I Love containing some Tagalog lyrics was sung by American singer Vic Dana. The song won the Manila Film Festival “Best Song of the Year Award” in 1972. He followed it with an English song entitled Songs exclusively for Songs and Amapola under the Vicor Music Corporation Pioneer Label.
One of his best-known compositions was Child, the English-language version of Freddie Aguilar’s signature song Anák. He wrote songs for the country’s top popular singers such as Sharon Cuneta, Basil Valdez, Regine Velasquez, Zsa Zsa Padilla, Pilita Corrales, Martin Nievera, and Kuh Ledesma.
Canseco credited film producer and Vicor Music Corporation owner Vic del Rosario for giving him his biggest break in the music industry. He was elected President of the Filipino Society of Composers, Authors and Publishers, Inc. (FILSCAP) in 1973. He was also elected as Councilor for the First District of Quezon City in 1988.
His legacy as a composer include approximately 120 song titles including Ikaw, Kailangan Kita, Dito Ba, Hiram, Tubig at Langis, Hanggang sa Dulo ng Walang Hanggan, Sinasamba Kita, Kastilyong Buhangin, Minsan Pa Nating Hagkan ang Nakaraan, Ngayon at Kailanman, Saan Darating ang Umaga, Sana Bukas Pa ang Kahapon, Dear Heart, Gaano Kadalas ang Minsan, Paano kita Mapapasalamatan, and Kahapon Lamang. He passed away on November 19, 2004 in Manila.
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ERNANI CUENCO (1936 – 1988) National Artist for Music
Ernani Joson Cuenco, composer, film scorer, musical director and music teacher, was conferred the National Artist musicality that contain the classical sound of the kundiman. Award for Music in 1999. His works embody a Filipino sense Cuenco was born on May 10, 1936 in Malolos, Bulacan. As a boy, he was encouraged to learn the violin. He was mentored by his mother, his godmother Doña Belen Aldaba Bautista, and his first teacher, Jovita Tantoco. He earned his Bachelor’s Degree in Music, major in Piano at the UST Conservatory of Music in 1956. A UST scholarship grant in the same year enabled him to study the cello under Professor Modesto Marquiz, which he finished in 1965. In 1968, he completed his Master of Music degree at the Sta. Isabel College.
From 1960 to 1968, Cuenco was a cellist at the Manila Symphony Orchestra under Dr. Hubert Zipper. Likewise, he played for the Filipino Youth Symphony Orchestra and the Manila Chamber Soloists from 1966 to 1970. His career as a musical director began in 1960 when he was discovered by then actor Joseph Estrada while he was playing as part of a band he had formed with friends at an exclusive restaurant in Makati. In 1963, Cuenco was sent as a delegate to the International Music Conference in Tokyo, Japan. Aside from being a composer and musical director, he was also a faculty member at the UST Conservatory of Music until his death on July 11, 1988. To this day, Cuneco’s compositions are popular and well-loved, especially Gaano Ko Ikaw Kamahal and Bato sa Buhangin which he composed for films in honor of his wife. Aside from these signature pieces, Cuenco’s other songs includeNahan, Kahit na Magtiis, Diligin Mo ng Hamog ang Uhaw na Lupa, Pilipinas, Inang Bayan, Isang Dalangin, and Kalesa
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What’s More
Task 1: Guess Who?
Instructions: Identify the names of the composers. Choose your answer from the box below.
Ryan Cayabyab Nicanor Abelardo
Levi Celerio Lucrecia R. Kasilag George Canseco Ramon Santos
1.______4. ______
3. ______
2. ______5. ______
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Task 2: Name that Composer!
Instruction: Name the composer who created the given musical pieces.
______1. L’ BAD ______2. Ang Pipit ______3. Magbalik Ka Hiran ______4. Kay Ganda ng ating Musika ______5. Paano Kita Mapapasalamatan
What I Have Learned
Make a journal of what you have learned so far.
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What I Can Do
Musical Composition: “I write what I feel”
1. Choose only one musical composition of any Filipino contemporary composers. 2. Express your personal reactions or feelings through writing. 3. Use a size short bond paper.
Very Good Good Fair STANDARDS Score 5 POINTS 4 POINTS 3 POINTS
IDEA Ideas were expressed Ideas were Ideas were in a clear and ezpressed in a somewhat organized fashion. pretty clear organized, but manner, but the were not very organization could clear. have been better.
NEATNESS Penmanship Penmanship Penmanship OF OUTPUT Followed the Followed the prescribed instruction. prescribed instruction Observed proper margin.
SUBMMITED Submitted on time. Submitted on time. Submitted on time. THE OUTPUT ON TIME Submitted two days Submitted two after the scheduled days after the time. scheduled time.
Submitted one week after the scheduled time.
TOTAL
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Assessment
Identification:
1. What are the three Contemporary Philippine Music? 2. Name the 9 well-known Filipino Composers presented in the module. 3. Who composed the “The Legend of the Sarimanok”? 4. Who is this popular contemporary composer known for creating music with a mouth- blown leaf? 5. Who was this popular contemporary composer commissioned by Former First Lady Imelda R. Marcos to compose a national tribute hymn entitled Ako Ay Pilipino (I Am A Filipino)?
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Additional Activity
Identify the lives and works of the following 20th century Filipino composers.
A. Ryan Cayabyab B. Lucrecia Kasilag C. George Canseco
References:
Horizons Grade 10 Learner’s Material, pp. 92 - 138
DEVELOPMENT TEAM
Writer: Mia Graziella E. Falcasantos Editor:
Language Editor: Proof Reader: Illustrators: Marlon G. San Luis Layout Artist: Kinette Boy G. Garcia
MANAGEMENT TEAM
Julieto H. Fernandez, Ed. D., CESO VI SDS-Isabela City
Maria Laarni T. Villanueva, Ed. D., CESE ASDS-Isabela City
Henry R. Tura CID Chief
Elsa A. Usman LR Supervisor
Jani P. Ismael, EPS-MAPEH Module Coordinator
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Region IX: Zamboanga Peninsula Hymn – Our Eden Land Here the trees and flowers bloom Gallant men And Ladies fair Here the breezes gently Blow, Linger with love and care Here the birds sing Merrily, Golden beams of sunrise and sunset The liberty forever Stays, Are visions you’ll never forget Oh! That’s Region IX
Hardworking people Abound, Here the Badjaos roam the seas Every valleys and Dale Here the Samals live in peace Zamboangueños, Tagalogs, Bicolanos, Here the Tausogs thrive so free Cebuanos, Ilocanos, Subanons, Boholanos, With the Yakans in unity Ilongos,
All of them are proud and true Region IX our Eden Land
Region IX Our… Eden... Land...
The Footprints Prayer Trees by Joyce Kilmer One night I had a dream. I dreamed I think that I shall never see that I was walking along the beach A poem lovely as a tree. with the LORD. A tree whose hungry mouth is prest In the beach, there were two (2) sets Against the earth’s sweet flowing of footprints – one belong to me and breast; the other to the LORD. A tree that looks at God all day, Then, later, after a long walk, I And lifts her leafy arms to pray; noticed only one set of footprints. A tree that may in Summer wear “And I ask the LORD. Why? Why? A nest of robins in her hair; Why did you leave me when I am sad and helpless?” Upon whose bosom snow has lain; And the LORD replied “My son, My Who intimately lives with rain. son, I have never left you. There was only one (1) set of footprints in the Poems are made by fools like me, sand, because it was then that I But only God can make a tree. CARRIED YOU!
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