MUSIC Grade-10

ACTIVITY 1.1

ACTIVITY TITLE: MUSIC OF THE 20TH CENTURY (IMPRESSIONISM)

LEARNING TARGET: Explains the performance practice(setting, composition, role of composers/performers) of the
20th century music.

REFERENCES: Music 10 Learner’s Manual, pp 3-10.

INTRODUCTION.The start of the 20th century saw the rise of distinct musical styles that reflected a move away from the
conventions of earlier classical music.

IMPRESSIONISM.

It was meant to create an emotional mood rather than a specific picture. In impressionism, the sounds of different chords
overlapped lightly with each other to produce new subtle musical colors. Chords did not have a definite order and a sense
of clear resolution. Other features include the lack of a tonic-dominant relationship which normally gives the feeling of
finality to a piece, moods and textures, harmonic vagueness about the structure of certain chords, and use of the whole-
tone scale.

COMPOSERS OF IMPRESSIONISM
CLAUDE DEBUSSY (1862–1918)
- was the primary exponent of the impressionist movement . He changed the course of musical development by
dissolving traditional rules and conventions into a new language of possibilities in harmony, rhythm, form,
texture, and color.
Debussy’s works:
Ariettes OublieesPrelude to the Afternoon of a FaunString QuartetPelleas et Melisande
(1895)La Mer (1905)Images, Suite Bergamasque, and Estampes;Claire de Lune (Moonlight)
MAURICE RAVEL (1875–1937)
The compositional style of Ravel is mainlycharacterized its intricate and sometimes modal melodies and
extended chordal components.
Ravel’s works include the following:
Pavane for a Dead Princess (1899)Jeux d’Eau or Water Fountains (1901)String Quartet
(1903)Sonatine for Piano (c.1904)Miroirs (Mirrors), 1905
and imagination,Gaspard de la Nuit (1908)
Valses Nobles et Sentimentales (1911)Le Tombeau de Couperin (c.1917)Rhapsodie EspagnoleBolero
ARNOLD SCHOENBERG (1874–1951)
- taught himself music theory, but took lessons in counterpoint.
Schoenberg is credited with the establishment of the twelve-tone system. His works include the
following:Verklarte Nacht, Three Pieces for Piano, op. 11Pierrot Lunaire,GurreleiderVerklarte
Nacht (Transfigured Night, 1899)

IGOR STRAVINSKY (1882–1971) stands alongside fellow-composer Schoenberg. is one of the great
trendsetters of the 20th century. Stravinsky’s early music reflected the influence of his teacher, the Russian
composer Nikolai Korsakov. Stravinsky’s musical output approximates 127 works, including concerti,
orchestral music, instrumental music, operas, ballets, solo vocal, and choral music. His sample works includes
The Firebird Suite (1910),The Rite of Spring (1913), Petrouchka The Rake’s Progress(1951).

Guide Questions:

1. Who is considered the foremost impressionist?

2. Differentiate the impressionistic musical styles of A. Schoenberg and I. Stravinsky.
 MUSIC Grade-10

ACTIVITY 1.2

ACTIVITY TITLE: MUSIC OF THE 20TH CENTURY (Primitivism, and Neo-classicism)

LEARNING TARGET: Relates 20th century music to its historical and cultural background.

REFERENCES: Music 10 Learner’s Manual, pp 10-16.

Primitivism/Nationalism

Primitivistic music is tonal through the asserting of one note as more important than the others. New sounds
are synthesized from old ones by juxtaposing two simple events to create a more complex new event. Two well-
known proponents of this style were Stravinsky and Bela Bartok. It eventually evolved into Neo-classicism.
BELA BARTOK (1881–1945) was born in Nagyszentmiklos, Hungary (now Romania) on March 25, 1881,
to musical parents. He was inspired by the performance of Richard Strauss. Also Sprach Zarathustra to write
his first nationalistic poem, Kossuth in 1903. As a neo-classicist, primitivist, and nationalist composer. Bartok
used Hungarian folk themes and rhythms. In 1906, with his fellow composer Kodaly, Bartok published his first
collection of 20 Hungarian folk songs.
Nikolai Rimsky Korsakov- infused chromatic harmony and incorporated Russian Folk Music and Litugical
Chant in their thematic materials.
Neo-Classicism
Neo-classicism was a moderating factor between the emotional excesses of the Romantic period and the violent
impulses of the soul in expressionism. It was, in essence, a partial return to an earlier style of writing,
particularly the tightly-knit form of the Classical period, while combining tonal harmonies with slight
dissonances. It also adopted a modern, freer use of the seven-note diatonic scale.
The neo-classicist style was also used by composers such as Francis Poulenc, Bela Bartok, Igor Stravinsky, Paul
Hindemith, and Sergei Prokofieff.
Sergei Prokofieff (Born in Ukraine-1891-1953)is regarded today as a combination of neo-classicist, nationalist,
and avant garde composer. His style is uniquely recognizable for its progressive technique, pulsating rhythms,
melodic directness, and resolving dissonance. Prokofieff used striking dissonances and Russian themes, and
his music was generally witty, bold, and at times colored with humor. Sample works : Romeo and Juliet
(Ballet);War and Peace (Opera);Peter and the Wolf (Orchestral work)

FRANCIS POULENC (1899–1963)

One of the relatively few composers born into wealth and a privileged social position, a member of the group of
young French composers known as “Les Six.” His compositions had a coolly elegant modernity, tempered by a
classical sense of proportion.

Guide Questions:

1. How does the nationality of the mentioned composers affect their musical styles?
( Key answer : Bela Bartok –Hungarian; folk themes: Prokofeif-Ukraine; War and Peace : Poulenc-French; Refinement of themes)
 MUSIC Grade-10

ACTIVITY 1.3

ACTIVITY TITLE: MUSIC OF THE 20TH CENTURY (Avant Garde Music)

LEARNING TARGET: Describes distinctive musical elements of given pieces in 20 th century styles

REFERENCES: Music 10 Learner’s Manual, pp 17-22.

The avant garde style was associated with electronic music and dealt with the parameters
or dimensions of sound in space. It made use of variations of self-contained note groups
to change musical continuity, and improvisation, with an absence of traditional rules on
harmony, melody, and rhythm.
George Gershwin (1898-1937)was born in New York to Russian Jewish immigrants. His first Broadway
musical La La Lucille (1919).He also composed Rhapsody in Blue (1924);American in Paris (1928) which
incorporated jazz rhythms and classical forms; Porgy and Bess(1934) remains to this day the only American
Opera to be included in the established repertory of this genre. Considered the “Father of American Jazz,” his
“mixture of the primitive and the sophisticated” gave his music an appeal that has lasted long after his death.
LEONARD BERNSTEIN (Born in Massachussettes, USA 1918–1990) endeared himself to his many
followers as a charismatic conductor, pianist, composer, and lecturer. Bernstein is best known for his
compositions for the stage. Foremost among these is the musical West Side Story (1957), an American version
of Romeo and Juliet, Broadway hit Candide (1956) and the much-celebrated Mass (1971), which he wrote for
the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C. He composed the
music for the film On the Waterfront (1954). As a lecturer, Bernstein is fondly remembered for his television
series “Young People’s Concerts” (1958–1973).
PHILIP GLASS (1937–Born in NewYork, USA )
One of the most commercially successful minimalist composer. His distinctive style involves cell-like phrases
emanating from bright electronic sounds from the keyboard that progressed very slowly from one pattern to the
next in a very repetitious fashion. He became inspired by the music of the renowned Indian sitarist Ravi
Shankar. He assisted Shankar in the soundtrack recording for Conrad Rooks’ film Chappaqua. He formed
the Philip Glass Ensemble and produced works such as Musicin Similar Motion (1969) and Music in Changing
Parts (1970),which combined rock type grooves with perpetual patterns played in extreme volumes. It put
minimalism in the main stream of 2oth century music. He combines his signature repetitive and overlapping
style with theatrical grandeur on stage.

Question:
1. Describe the musical styles of the avant garde composers.
 MUSIC Grade-10

ACTIVITY 1.4

ACTIVITY TITLE: MUSIC OF THE 20TH CENTURY Musical Styles: Electronic and Chance Music

LEARNING TARGET: Describes distinctive musical styles in the 20 th century styles.

REFERENCES: Music 10 Learner’s Manual, pp 25-29

The new musical styles created by 20th century classical composers were truly unique and innovative. They
experimented with the elements of rhythm, melody, harmony, tempo, and timbre in daring ways never
attempted before. Some even made use of electronic devices such as synthesizers, tape recorders, amplifiers,
and the like to introduce and enhance sounds beyond those available with traditional instruments. Among the
resulting new styles were electronic music and chance music. These expanded the concept of music far
beyond the conventions of earlier periods, and challenged both the new composers and the listening public.

ELECTRONIC MUSIC
The capacity of electronic machines such as synthesizers, amplifiers, tape recorders, and loudspeakers to create
different sounds was given importance by 20th century composers. The composer is able to experiment with
different sounds that cannot be produced by regular musical instruments such as the piano or the violin.
EDGARD VARESE (1883–1965) He was considered an “innovative French-born composer,” he pioneered
and created new sounds that bordered between music and noise.Varèse’s use of new instruments and electronic
resources made him the “Father of Electronic Music” and he was described as the “Stratospheric Colossus
of Sound.”
KARLHEINZ STOCKHAUSEN (1928–Cologne Germany ) is a central figure in the realm of electronic
music. He developed his style of total serialism- its heavily atonal content with practically no clear melodic or
rhythmic sense.

Chance Music
Chance music refers to a style wherein the piece always sounds different at every performance because of the
random techniques of production, including the use of ring modulators or natural elements that become a part of
the music. Most of the sounds emanate from the surroundings, both natural and man-made, such as honking
cars, rustling leaves, blowing wind, dripping water, or a ringing phone. As such, the combination of external
sounds cannot be duplicated as each happens by chance.
JOHN CAGE (Los Angeles California, USA 1912–1992) known as one of the 20th century composers with
the widest array of sounds in his works. The most original composers in the history of western music. He
challenged the very idea of music by manipulating musical instruments in order to achieve new sounds. He
experimented with what came to be known as “chance music.”

QUESTION:
1. What are some of the new musical approaches of Cage?
2. Explain the difference between electronic music and chance music?
 MUSIC Grade-10

ACTIVITY 1.5

ACTIVITY TITLE: WORKS OF THE 20TH CENTURY COMPOSERS

LEARNING TARGET: Listen carefully to excerpts and be able to recognized the distinct musical style of each composer.

MATERIALS: Play excerpts of any (one) of the following musical examples:

Debussy – Claire de Lune, La Mer, Children’s Corner Suite
Ravel – Miroirs, Sonatine, Daphnis et Chloe, Jeux d’Eau, Bolero
Schoenberg – Verklarte Nacht, Violin Concerto, Piano Concerto, Gurrelieder
Bartok – String Quartet no. 4, Allegro, Mikrokosmos, Barbaro, Music for Strings
Stravinsky – The Rite of Spring, Petrouchka, The Firebird Suite
Prokofieff – Romeo and Juliet (ballet), Piano Sonatas
Gershwin – An American in Paris, Porgy and Bess, Rhapsody in Blue,Someone to Watch Over Me
Bernstein – Tonight from West Side Story, Clarinet Sonata
Glass – Einstein on the Beach, Satyagraha, Akhnaten
Poulenc – Concerto for Two Pianos, Dialogues des Carmelites
Cage – 4’33"; Metamorphosis, for piano; Five Songs, for contralto soloist and piano;Music
for Wind Instruments, for wind quintet
Stockhausen – Etude, Electronic STUDIES I and II, Gesang der Junglinge, Kontakte, Momente,Hymnen
Varese – Hyperprism for wind and percussion,Octandre for seven wind instruments and double bass,

A. Listen carefully to each excerpt and be able to recognize the distinct musical style of each composer.

B. Choose a composition that you like. Write a short reaction paper on it.
 MUSIC Grade-10

ACTIVITY 1.6

ACTIVITY TITLE: WORKS OF THE 20TH CENTURY COMPOSERS

LEARNING TARGET: Explores other art and media that portray 20 th century elements through video films or live
performances.

Materials : May choose from the sample excerpts presented in Activity 1.5

(Suggested Performance Activity)

Performance Activity I:

1. Divide the class into groups.

2. Have the students choose a composition that they like.
3. Let them create their own original interpretations of the composition they choose. Suggested performances : Dance
interpretation, Pantomime, Painting through music ,or Musical Drama.)

Performance Activity II : Video clips/ Watching Live/ TV Performances

Video Clips
1. You will be divided into four groups by counting off from 1 to 4.
2. Create and explore other arts (multi- media) that portray 20th century musical style (chance, electronic, jazz,
avant garde) through a 10-minute video clip or MTV using your digital cameras or mobile phones.
3. Show and discuss your video works in class.
Live / TV Performances
1. Watch live performances of musical concerts, if available in your area or watch live concerts recorded on TV.
2. Re-enact in class what you watched.
3. Make a 10-minute audio video presentation while you re-enact what you have seen on live concerts and on TV.
4. Show and discuss your video works in class

Performance Activity 3: Singing Songs from West Side Story

1. You may opt to do this as an individual or group activity. Groups will be divided into four.
2. Listen to the songs Tonight, Maria, Somewhere, and America from video or recordings of West Side Story.
You will be asked to draw lots for the song to sing.
3. Sing and perform the song in class with or without accompaniment. You may also sing with the recordings.
4. Those who are not performing will act as judges for the performance activity.
5. Judges will have five placards or score cards or paper marked: BEST, BETTER, GOOD, FAIR, NEEDS
FOLLOW UP.
6. Judges will display a score card after evaluating the performance

Teacher’s Rating of the Students’ performance: (localized and contextualized)

1. Musicianship (60%)
a. musical elements & concepts presented ____________
b. creativity & technique ____________
2. Coordination (20%) ____________
3. Organization (20%) ____________

(Note: Teacher can create his/her own rubrics)

 MUSIC Grade-10

ACTIVITY 1.7

ACTIVITY TITLE: WORKS OF THE 20TH CENTURY MUSICAL STYLES (Electronic and Chance Music)

LEARNING TARGET: Explores other art and media that portray 20 th century elements through video films or live
performances.

Materials : May choose from the sample excerpts presented in Activity 1.5

A. PERFORMANCE Activity 1:
Experimentation with the Sounds of 20th Century Music Systems
Let the students do the following activity:
1. Chance Music – Put small items inside a bag. Include coins, pens, pins, small bells, and other articles with
percussive sounds. Pour the bag’s contents on a hard surface. Then, using a cellphone or other available device,
record the sounds that are produced. Put the items back in the bag. Then unload the same, while once again
recording the sounds being produced. Note the changes between the two sets of sounds recorded.
2. Electronic Music – Create short electronic music pieces using your
knowledge of 20th century musical styles.

B. Performance Activity 2: (localized and contextualized)

Original Chance and Electronic Music
Rate scores are based on the elements of music such as rhythm, melodic appeal,
harmony and texture, tempo and dynamics, timbre, and overall musical structure.
1. The class will be divided into four groups.
2. Each group will create an original five-minute performance of Chance Music and Electronic Music (if
available) to be performed in class.
3. Those who are not performing will act as judges for the performance evaluation.
4. Judges will have five placards or score cards or paper marked: BEST, BETTER, GOOD, FAIR, NEEDS
FOLLOW UP.
5. Judges will display a score card after evaluating the performance.
6. One student may be assigned to tabulate the scores after the performance.
7. Your teacher will announce the “Best Performance” award.
8. What was the role of the audience in the performance of Chance music?
Explain your answers.

Evaluation of Performing Activities

Have the students rate themselves based on their performance quality.
Rating scale: 5 = Very Good 2 = Poor
4 = Good 1 = Needs Follow-up
3 = Fair
1. How well did I perform chance and electronic music? ____________
2 How well can I identify the different musical genres based on instrumentation, text, and purpose? ______
3. How well can I describe the characteristics of each through listening to their melody, harmony, rhythm,
text, and mass appeal? ____________
4. How well did I participate in the performance of the different activities? ____________
 MUSIC Grade-10

ACTIVITY 2.1

ACTIVITY TITLE: AFRO-LATIN AMERICAN AND POPULAR MUSIC – (African Music)

LEARNING TARGET: Describes the historical and cultural background of African and Afro-Latin
American Music.
REFERENCES: Music 10 Learner’s Manual, pp 38-44

MUSIC OF AFRICA
Music has always been an important part in the daily life of the African, whether for work, religion, ceremonies, or even
communication. Singing, dancing, hand clapping and the beating of drums are essential to manyAfrican ceremonies,
including those for birth, death, initiation, marriage, and funerals. Music and dance are also important to religious
expression and political events.
Types of African Music: Afrobeat- is a term used to describe the fusion of West African with black American music.
Apala (Akpala)-is a musical genre from Nigeria in the Yoruba tribal style to wake up the worshippers
after fasting during the Muslim holy feast of Ramadan.
Axe- is a popular musical genre from Salvador, Bahia, and Brazil.
Jit – hard and fast percussive Zimbabwean dance
Jive- lively and inhibited variation of the swing dance
Juju – popular music from Nigeria
Kwassa kwassa- dance style of Zaire popularized by Kanda Bongo Man.
Marabi- South African three-chord township music
Vocal Forms : Maractu – strong rhythms of African percussion instruments with Portuguese melodies.
Blues – musical forms in African-American communities that creates an expressive and sound full sound.
Soul- it combines elements of African-American gospel music, rhythm and blues, and often jazz.
Spiritual- associated to religious text.
Call and Response- a succession of two distinct musical phrases usually rendered by different musicians.
Classification of Traditional African Instruments
Idiophones- Balafon, Rattles, Agogo, Atingting Kon, Slit Drum, Djembe, Shekere, and Rasp
Membranophone- Body Percussion, and Talking drum
Lamellaphone- Mbira
Chordophones- Musical bow, lute, Kora, Zither, Zeze
Aerophones- Flutes, Horns, Reed pipes, Whistles, Trumpets,

Questions :
1. Describe the characteristics of African Music
2. Explain briefly each classification of African Music.
 MUSIC Grade-10

ACTIVITY 2.2

ACTIVITY TITLE: AFRO-LATIN AMERICAN AND POPULAR MUSIC – (Latin American Music)

LEARNING TARGET: Describes the historical and cultural background of Latin American Music.

REFERENCES: Music 10 Learner’s Manual, pp 53-64

MUSIC OF LATIN AMERICA

The music of Latin America is the product of three major influences – Indigenous, Spanish-Portuguese, and
African.
INFLUENCES OF LATIN AMERICAN MUSIC;
1. Indigenous Latin-American music-was largely functional in nature, being used for religious worship and
ceremonies.
2. Native American/Indian Music-celebrate themes like harvest, planting season or other important times of
year.
3. Afro-Latin American Music-African and Latin-American influences produced by the drums and various
percussion instruments.
4. Euro-Latin American Music- adopting various characteristics from their Europian colonizers.
5. Mixed-American Music- musical fusion of Latin-America combining native instruments with Europian counterparts and musical
theories enriched by instruments brought by the African slaves.
6.Popular Latin American Music and Dances - Raggae- Jamaican sound dominated by bass guitar and drums, most
recognizable musical elements are its offbeat rhythm and staccato chords popularized by Bob Marley; Salsa- Cuban,
Puerto Rican and Colombian dance music; Samba- lively and rhythmical dance of Brazil; Soca- Trinidad and Tobago pop
music combining soul and calypso music; Were- Muslim music performed often as a wake-up call for early breakfast and prayers
during Ramadan celebrations ; Zouk- carnival-like rhythmic music of Carribean Islands; Cumbia- African courtship dance with
Europian and African instrumentations; Tango- foremost Argentinian and Uruguayan urban popular song and dance; Cha-cha-
ballroom dance originated from Cuba; Rumba-popular dance of Afro-Cuban origin;Bossa-Nova-integrating melody,harmony, and
rhythm into a swaying field where vocal style is often nasal; Foxtrot- social dance originated in USA, executed as a one-step, two-
step and syncopated rhythmic pattern; Paso-doble- theatrical Spanish dance used by Spaniards in bullfights.

Instruments of latin America: Tlapitzalli (flute), Teponaztli(slit-drum),Conch(wind instruments

usually of a large sea shell, Rasp (hand percussion), Huehueti (upright tubular drum), whistles (made from
animal bones).
Incan Instruments: Ocarina (flute made of clay/ceramic), panpipes (Zamponas)
Andean Instruments : Pitus (side-blown cane flutes),Wooden Tarkas(vertical duct
flute),Quenas(vertical cane flutes), Charango (Andean-guitar)
Mariachi- popular band in Mexico.

Questions:

1. What are the characteristics of each vocal and dance form of Latin-American music.
2. Which type of music was popularized by Bob Marley?
 MUSIC Grade-10

ACTIVITY 2.3

ACTIVITY TITLE: AFRO-LATIN AMERICAN AND POPULAR MUSIC – (Popular Music)

LEARNING TARGET: Describes the historical and cultural background of Popular Music Music.

REFERENCES: Music 10 Learner’s Manual, pp 53-64

Popular music literally means “music of the populace,” similar to traditional folk music of the past. Pop music
(as it has come to be called) generally consisted of music for entertainment of large numbers of people, whether
on radio or in live performances. From the standard songs and ballads to the rock and roll craze, alternative
music and disco modes, popular music is now shared by the entire world.
Ballads-today refers to a love song in a slightly pop or rock style.
Types : Blues Ballad; Pop-Standard and Jazz Ballads (proponents are : Irving Berlin, Duke Ellington);
Pop and Rock Ballads.
STANDARDS- mostly in a slow or moderate tempo with a relaxed mood. It also features highly
singable melodies within the range and technical capacity of the everyday listener.
Among the foremost proponents of this style was Frank Sinatra, Nat King Cole, and Matt Monroe.
ROCK AND ROLL- combination of Afro-American forms such as the blues, jump blues, jazz, and
gospel music with the Western swing and country music. The greatest exponent of the rock and roll style
was the legendary Elvis Presley, and the legendary British Band “The Beatles”
DISCO- Disco music pertained to rock music that was more danceable, thus leading to the
establishment of venues for public dancing. Famous figures of the disco genre : ABBA, Donna Summer, The
Bee Gees, The Village People.
POP MUSIC Parallel with the disco era, other pop music superstars continued to emerge like Dianna
Ross, Olivia Newton John, Stevie Wonder, Barry Manilow, Elton John, The Carpenters, Michael Jackson,
Madonna, Celine Dion, Whitney Houston, Britney Spears, Beyonce, Lady Gaga, Bruno Mars, Backstreet Boys,
Destiny’s Child, among many others.
Hip hop music is a stylized, highly rhythmic type of music that usually (but not always) includes
portions of rhytmically chanted words called “rap.” Hip-hop artist were : LL Cool J and Run D.M.C., Beestie
Boys, Eminem and Kanye West.
Alternative music was an underground independent form of music that arose in the 1980’s.
It became widely popular in the 1990’s as a way to defy “mainstream” rock music. Examples : You Belong with
Me, and Shake it off.

Evaluation :

1. How do popular music reflects to the present generation?

2. Differentiate briefly the different types of Popular Music.
 MUSIC Grade-10

ACTIVITY 2.4

ACTIVITY TITLE: PHILIPPINE POPULAR MUSIC

LEARNING TARGET: Describes distinct features of the Philippine Popular Music.

REFERENCES: Music 10 Learner’s Manual, pp 76-80

The one word that comes to mind when we think of contemporary Philippine music is the type commonly
termed as Original Pinoy Music or Original Philippine Music, or OPM for short. It was originally used to refer
only to Philippine pop songs, particularly ballads, such as those popular after the collapse of its predecessor, the
Manila Sound, in the late 1970s up until the present.
ORIGINAL PILIPINO MUSIC (OPM)
In the 1960s to 1970s, Nora Aunor, Pilita Corrales, Eddie Peregrina, VictorWood, Asin, APO Hiking Society,
and others were highly popular OPM singers. The 1980s to 1990s are also regarded as the golden era of
Philippine ballads. Among the classics that emerged were those created by:
Ryan Cayabyab (Kay Ganda ng Ating Musika,Kahit Ika’y Panaginip Lang)
George Canseco (Kapantay ay Langit,Kastilyong Buhangin, Tubig at Langis)
Willie Cruz (Sana’y Wala Nang Wakas,Bituing Walang Ningning)
Jose Mari Chan (Beautiful Girl, Please Be careful with my heart, Constant Change)
*Gary Valenciano ( Sana Maulit Muli)
PHILIPPINE POP MUSIC
Pop music in the Philippines started as an adaptation or translation, if not complete imitation, of Western hits. It
started with Bobby Gonzales’ Hahabol-habol (Hot Pursuit), a local version of the rock and roll songs of the
1950s, and Rico Puno’s Luneta, a local adaptation of The Way We Were. This immediately clicked with the
youth and eventually gained wide acceptance even among the “burgis”(bourgeois or elite) crowd.
PHILIPPINE JAZZ
Philippine musicians have also been inspired by jazz music. Among them are jazz pianist and recording artist
Boy Katindig, who comes from the well-known clan of musicians that includes jazz piano legend Romy
Katindig and saxophonist Eddie Katindig.The Katindig family pioneered Latin jazz in Manila. Other notable
Filipino jazz musicians include Lito Molina, Angel Peña, Emil Mijares, and internationally known jazz pianist
Bobby Enriquez.
PHILIPPINE ALTERNATIVE FOLK MUSIC
The Philippines also saw the rise of alternative folk music which was different from the traditional and popular
form. This new form combined ethnic instrumentation with electronic accompaniment, while presenting themes
or issues of society and the environment. Some of the Filipino composers who championed this style were Joey
Ayala, Grace Nono, and Edru Abraham of Kontragapi(“Kontemporaryong Gamelan Pilipino”).FreddieAguilar,
best known for his song Anak; Yoyoy Villame, composer of Magellan;Florante, composer of Ako’y Isang
Pinoy; and Gary Granada, composer of Ka Bayani.
PHILIPPINE ROCK
The year 1973 saw the birth of Philippine or “Pinoy” rock music which successfully merged the rock beat with
Filipino lyrics. This new sound was introduced by the legendary Juan de la Cruz Band (with their song Ang
Himig Natin) which had for its members Joey “Pepe” Smith, Wally Gonzales, and Jeproks of Mike Hanopol.
Other early exponents of Pinoy rock included the band Maria Cafra; Sampaguita; and folk-rock singer Heber
Bartolome and his Banyuhay band, whose songs expressed strong messages of nationalism. Continuing this
legacy of Pinoy rock today are vocal groupsand bands that include River Maya, The Dawn, True Faith,
The Eraserheads, Wolfgang, Bamboo, Parokya ni Edgar, Hale,Sandwich, SugarFree, Sponge Cola,and others.
PINOY RAP
In the Philippines, rap was also made popular by such composers and performers asFrancis Magalona (Mga
Kababayan Ko and Watawat) and Andrew E (Humanap Ka ng Pangit).

QUESTIONS:
1. How did the different forms of popular music reflect life in the 20th century?
2. Differentiate the characteristics of Philippine pop, rock, and rap music.
3. What role did media like radio, television, and recordings play in the development of these different musical
genres?
4. Name some well-known OPM performers.

MUSIC Grade-10

ACTIVITY 2.5

TITLE: Afro-Latin American Music (The Performance)

LEARNING TARGET: Sings selection of Afro-Latin American in appropriate pitch, rhythm, style, and expression.

REFERENCES: African Music & Latin American music from You Tube/Video Clips

ACTIVITY I: Class Singing Concert – live performance

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

b. Each group will be asked to draw lots to sing a song from one of the following musical genres:
For African Music - choose from Kumbaya, Waka Waka, or Mbube
For Latin-American music - One Note Samba

c. Decide among your group members which of you will sing, plan the choreography or movements to
accompany the song, play a musical instrument, and record the group’s performance on video.
d. Learn your assigned song, using the lyrics on the following pages. Practice it, with the choreography
and accompaniment. Then, perform it in class.

Evaluation of Performing Activities

Rating scale:
5 = Very Good 4 = Good 3 = Fair 2 = Poor 1 = Needs Follow-up
Rate scores are based on the groups’ performance quality.
1. How well did our group perform our assigned music?
a. African Music _______________
b. Latin American Music _______________

2 .How well can I identify the different musical genres based on instrumentation, melody, rhythm, text, timbre,
harmony, and purpose? _______________

3. How well did our group perform the different dance moves for our assigned song? _______________
5. How well can I (individually) sing the following musical genres?
a. African Music _______________
b. Latin American Music _______________

Teacher’s Rating of the Performance

1. Musicianship (60%) ( musical elements, technique) ____________
2. Presentation impact and showmanship (20%) ____________
3. Ensemble coordination and organization (20%) ____________

ENRICHMENT / ASSIGNMENT
Video Analysis: Ask the students to watch the animated movies Lion King
by Disney and Rio by Blue Sky Studios on the internet. Have them write a
reaction paper regarding the musical forms and styles incorporated in these
movies.
 MUSIC Grade-10

ACTIVITY 2.6

TITLE: Popular Music (The Performance)

LEARNING TARGET: Sings selection of Afro-Latin American in appropriate pitch, rhythm, style, and expression.

REFERENCES: Popular music watch from You Tube/Video Clips; DVD/CD

WHAT TO PROCESS
Activity I : Listening
1. Play one recording of each of the following: Jazz, Popular Music (standards, rock and roll,
disco), and OPM (ballad, Pinoy rock, Pinoy rap). Instruct the class to listen carefully to each
recording.
2. Have the students participate in a class discussion on the distinctive features and qualities of
each musical genre and style.

Question: How did the different forms of popular music reflect life in the 20th century?

Activity II: Choreography to Express the Music Individual or Group Activity

1. Ask the students to conceptualize a choreography to show some dance steps set to Jazz, Popular (Pop)
Music, and OPM.
2. After this activity, ask the students: “How does it feel to conceptualize the dance movements in each
music category?”
Activity III : 1. Class Singing Concert – live performance
a. Divide the class into four groups.
b. Each group will be asked to draw lots to sing a song from one of the following musical genres:
For Jazz - choose from Someone to Watch Over Me by Ella Fritzgerald
(lyrics provided on the next page)or All That Jazz from the movie Chicago
For Pop and OPM - choose your own song
c. Have the students decide among their group members who will do the following:
- sing
- plan the choreography or movements to accompany the song
- play a musical instrument
- record the group’s performance on video.
d. They will then learn their assigned song, using the lyrics provided or researched on the internet. Let
them practice it, with the choreography and accompaniment.

2. Dance Interaction
a. As they perform in class, ask the performers to invite the other class members to join them in the
dance movements or choreography that they have prepared. They can do a “flash mob” style of dancing.
b. Assign the group leaders to do an impromptu selection of the “Best Dance Performance” among their
classmates.

3. Music Video Award

a. During the class performance, ask the assigned group member(s) to record their group’s performance
using a mobile phone, tablet, or video camera.

Evaluation of Performing Activities

Rating scale:
5 = Very Good 4 = Good 3 = Fair 2 = Poor 1 = Needs Follow-up
Rate scores are based on the groups’ performance quality.
1. How well did our group perform our assigned music?
 a. Jazz _______________
b. Popular Music _______________
c. OPM _______________
Teacher’s Rating of the Performance
1. Musicianship (60%) ( musical elements, technique) ____________
2. Presentation impact and showmanship (20%) ____________
3. Ensemble coordination and organization (20%) ____________

MUSIC Grade-10

ACTIVITY 3.1

ACTIVITY TITLE: Contemporary Philippine Music Composers – (Traditional)

LEARNING TARGET: Gives a brief biography of selected contemporary Traditional Philippine Composers.

REFERENCES: Music 10 Learner’s Manual, pp 89-101

“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.”
TRADITIONAL COMPOSERS
Among the major Philippine contemporary composers are:
 Francisco Buencamino Sr.(1883-1952) was born on November 5, 1883 in Bulacan. He was the son of
a musically inclined couple. His father was Fortunato Buencamino, a church organist and band master.
His mother was Luisa Beltran, a noted singer. He studied music composition and harmony at Liceo de
Manila. Buencamino’s compositions include Harana, Pandanggo ni Neneng, Collar de Sampaguita, Mayon,
Larawan, Ag Bukang liwayway among others.
 Francisco Santiago(1889-1947) 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. Among his famous
works are Pakiusap, Madaling Araw, Sakali Man, Hibik ng Pilipinas,Ano Kaya ang Kapalaran, Pilipinas Kong
Mahal,and Kundiman (Anak Dalita).
Nicanor Abelardo (1893-1934) 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. His best-known compositions include Mutya
ng Pasig, Nasaan Ka Irog, Cavatina for Violoncello, and Magbalik Ka Hirang.
 Antonio Molina ( 1894-1980) first National Artist for Music, is considered one of the “Triumvirate of
Filipino Composers.” He is best known for his poignantly romantic serenade for violin and piano
Hatinggabi.
Hilarion Rubio(1902-1985) was born on October 21, 1902 in Bacoor, Cavite. A composer, music
teacher, conductor, and clarinetist, he created substantial works for the orchestra. He served as conductor for
opera, ballet, dance recitals, and movie music. Rubio’s compositions include: Bulaklaken, Theme and Variations for Band, Dance
of the Nymphs Rondo, Florente at Laura (overture), Halik, Danza, Unang Katas, Twopart Invention (piano), Ang Konsyerto (ballet), Ang Magsasaka, Bukang
Liwayway, Concertino in C (marimba and piano), Filipinas Kong Mahal, Hatulan Mo Ako, Ginintuang Araw, In a Tropical Sea, Light, Narra, Mutya ng Silangan, To
the Filipino Youth, Nela, National Heroes Day Hymn, and Salamisim
Col.Antonino Buenaventura (1904-1996) was a renowned composer, conductor, and teacher .He was
actively involved with the various military bands which ultimately earned him his military ank of coronel. 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.
Rodolfo Cornejo (1909-1991) was born on May 15, 1909 in Singalong, Manila. Cornejo was the soloist
of the Manila Symphony Orchestra, Filipinas Youth Symphony Orchestra, and UP Symphony Orchestra. 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, and Song of
the Miners. He passed away on August 11, 1991.
Lucio San Pedro (1913-2002) was born on February 11, 1913 in Angono, San Pedro is known as a
“romantic nationalist.” He incorporated Philippine folk elements in his compositions with Western forms and
harmony. His chords have a rich expressive tonality, as represented in his well-loved Sa Ugoy ng Duyan, a
lullaby melody sung by his mother.
 Rosendo Santos Jr.(1922-1994) 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.,
 Alfredo Buenaventura,(1929-) was born in Sta. Maria, Bulacan on October 24, 1929. Composer ,
conductor, teacher. 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 subtitled Celebration,
 Determination, and Exultation, and symphonies such as Dakilang Lahi (1971), Gomburza (1981), and Rizal, the Great Malayan Antagonist
(1990).
 Ryan Cayabyab was born on May 4, 1954 in Manila. 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, and album One.

Enrichment:

Select Two Traditional Philippine Composers. Describe briefly their Biography and their contribution to
Philippine Music.

MUSIC Grade-10

ACTIVITY 3.2

ACTIVITY TITLE: Contemporary Philippine Music Composers – (New Music Composers)

LEARNING TARGET: Gives a brief biography of selected New Music Philippine Composers.

REFERENCES: Music 10 Learner’s Manual, pp 110-118

NEW MUSIC COMPOSERS

Jose Maceda’s musical style shifted when he encountered the music of the indigenous tribes of Mindoro in
1953. He then embarked on his life’s 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.Among his works
are: Ugma-ugma(1963),Agungan (1975),Pagsamba(1968),and Casettes 100(1971)
Lucrecia Kasilag’s compositional 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. Compositions include Toccata for Percussion and Winds (1959), The
Legend of the Sarimanok(1963), Divertissement and Concertante91960).
Ramon Santos’ compositional style features chromaticism, music seria, 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.
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 religious figures and events. His versatility as a pianist,
composer, arranger, theorist, and teacher is widely recognized in the local musical scene. He has composed
operas like Aba!, Sto. Nino; 3 Masses (Papal Mass-1995, St. Lorenzo Ruiz, and Sto. Nino), 3 Cantatas( St. Lorenzo Ruiz,
St. Benedict, and St. Scholastica)
Jerry Dadap, the first Filipino composer to conduct his own works at the Carnegie Recital Hall in New York
City,.Among his numerous compositions are The Passionate and the Wild (1960), Mangamuyo I (1976) and Mangamuyo 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, Lamang 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.
Francisco Feliciano is one of Asia’s leading figures in liturgical music, having composed hundreds 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 Asian composers. 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).
Josefino Toledo 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 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 in his works. Among his works are : Imagine
Community After Benedict Anderson, WALA, DALUY, IBO-IBON, SALAYSAY, PATANGIS BUWAYA, and BASBASAN.

Questions :

1. Select Three Composers and point out the characteristics of the musical style.

COMPOSER CHARACTERISTICS OF THE MUSICAL STYLE

____________ ___________________________________________________
____________ ___________________________________________________
____________ ___________________________________________________

2. Why are these composers called New Music Composers?

MUSIC Grade-10

ACTIVITY 3.3

ACTIVITY TITLE: Contemporary Song Composers –

LEARNING TARGET: Gives a brief biography of the Contemporary Song Composers.

REFERENCES: Music 10 Learner’s Manual, pp 135-134

SONG COMPOSERS
Song composers became popular with their musical compositions used as musical background or theme songs in movies and films.

Levi Celerio made it to the Guinness Book of World Records for being the only person to make music with a
leaf. Born in Tondo on April 30, 1910 .He received numerous awards for his musical achievements in film. A
great number of Kundimans and Filipino Love Songs have lyrics written by him, most notably of which are
Dahil sa Iyo, Buhat ,and Ang Pasko ay Sumapit, Ang Pipit, Misa de Galo, itik-itik, and Tinikling.
Constancio de Guzman (Born Nov. 11, 1903- Guiguinto, Bulacan) was acknowledged as the “Dean of
Filipino movie composers and musical directors.” He is the composer of the nationalistic song Bayan Ko.
Mike Velarde Jr. was born on October 23, 1913 in Manila ; a composer, conductor, and musical director. He
composed the popular song Dahil Sa Iyo in 1938. In 1975 the Philippine Government Cultural Association
awarded him the Cultural Achievement Award in Popular Music. He received the Gawad CCP Para Sa Sining
in 1986.
SANTIAGO SUAREZ (1901 – 1964) was born in Sampaloc, Manila.Santiago.Famous works : Ligaya Ko,
Pandanggo ni Neneng, Dungawin mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libis ng Nayon, Harana,
Kataka-taka, Labandera Ko, Lakambini, Kamia, Ikaw ang Buhay Ko.
RESTITUTO “RESTIE” UMALI (1916 – 1998) was born in Paco, Manila on June 16, 1916. Among Umali’s
most popular songs are Saan Ka Man Naroroon, Alaala ng Lumipas, Ang Pangarap Ko’y Ikaw, Sa Libis ng
Barrio, Di Ka Nag-iisa, and Paano Kita Lilimutin.
ANGEL PEÑA (1921 – 2014) is a classical and jazz composer, arranger, and bass player. He is widely
considered by modern Filipino jazz musicians as “one of the founders of traditional jazz in the Philippines.”
He was born was born on April 22, 1921. He composed Bagbagtulambing, a landmark in Philippine music.
ERNANI CUENCO(1936-1988) a composer, film scorer, musical director and music teacher. Born May 10,
1936, Malolos, Bulacan. His works includes Gaano Ko Ikaw Kamahal and Bato sa Buhangin, Nahan, Kahit na
Magtiis, Diligin Mo ng Hamog ang Uhaw na Lupa, Pilipinas, Inang Bayan, Isang Dalangin, and Kalesa.
George Masangkay Canseco was born on April 23, 1934 in Naic, Cavite. He composed the National Tribute
Hymn Ako ay Pilipino. 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,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.
LEOPOLDO SILOS Sr.(1925 – 2015)was born on March 6, 1925. He was a composer, singer, and arranger.
He composed and recorded a number of romantic songs, the most famous of which were two of his well known
hits, Dahil Sa Isang Bulaklak (Because Of One Flower) and Hindi Kita Malimot (I Can’t Forget You), Aawitan
Kita, Aling Kutsero, Ay Anong Saklap, Basta’t MahalKita, Diyos Lamang ang Nakakaalam, Hindi Ko
Malilimutan, Lagi kitang Naaalala, Langit sa Lupa, Halina Halina, Lihim na Pag-ibig, and Mundo Ma’y
Mawala. He died on March 10, 2015.

EVALUATION:
A.1. Discuss the lives and musical contributions of the following 20th century Filipino song composers
a. Levi Celerio d. George Canseco
b. Constancio de Guzman e. Ernani Cuenco
 c. Mike Velarde Jr. f. Leopoldo Silos Sr.

2. For each of the composers named above, give the title of any of his compositions.

MUSIC Grade-10

ACTIVITY 3.4

ACTIVITY TITLE: Contemporary Philippine Composers

LEARNING TARGET: Explores ways of expressing their appreciation through arts from video clips .
(Suggested Output: Painting to Music, Collage, Dance Drama, Dramatization)
REFERENCES: CD/DVD, Speaker. (see attached video titles)

Procedure :
Have the students do the following: (May select one among the following)

1. Let the students listen to and watch presentations of the lives, musical achievements, and works of Francisco
Buencamino Sr., Francisco Santiago, Nicanor Abelardo, Antonio Molina,Hilarion Rubio, Col.Antonino
Buenaventura, Rodolfo Cornejo, Felipe Padilla de Leon Sr., Lucio San Pedro, Rosendo Santos Jr.,
Alfredo Buenaventura, and Ryan Cayabyab.
2. Have them watch the following video clips on YouTube:
a. Larawan andMayon Fantasy by Francisco Buencamino performed by Cecille Licad, international
concert pianist
b. Nocturne by Nicanor Abelardo performed by Raul Sunico, international concert pianist
c. Serenata by Nicanor Abelardo performed by Renato Lucas, cello and Raul Sunico, pianist
d. Anak Dalita by Francisco Santiago
e. Sa Ugoy ng Duyan by Lucio San Pedro performed by Lea Salonga
f. Kumukutikutitap and Kay Ganda ng ating Musika by Ryan Cayabyab

3. Let them express their a) personal reactions or feelings; and b) analysis of the musical elements present about
these composers’ works through painting to music/dramatization/dance drama.

4. Have them present to the class.

Rating of Group Performance may vary based on the teacher made rubrics.
 MUSIC Grade-10

ACTIVITY 3.5

ACTIVITY TITLE: New Music Composers

LEARNING TARGET: Improvises simple vocal/instrumental accompaniment to selected songs.

REFERENCES: Video clips, locally available materials that produces sounds.

Group Performance- Musical

Pre- Activity
1. Have the students watch and listen to presentations of the lives, musical achievements, and works of Jose
Maceda, Lucrecia Kasilag, Ramon Santos, Fr. Manuel Maramba, OSB, Jerry Dadap, Francisco Feliciano,
Josefino “Chino” Toledo, and Jonas Baes. (choose any among the the above composers)
2. Let them watch the following musical examples on YouTube: (may select one among the following)
a. Udlot-udlot by Jose Maceda performed at Senri Expo Park, Japan
b. Huntahang Gitara composed and conducted by Josefino Toledo
c. Banwa by Jonas Baes
d. Lullaby by Lucrecia Kasilag, National Artist for Music
e. Pamugun by Francisco Feliciano, National Artist for Music
f. Alay sa Inang Bayan by Jerry

3. Encourage them to improvise simple vocal or instrumental accompaniments (example: guitar, keyboard,
percussion) to the songs that they have chosen.

4. For the creation of the musical, ask them to explore ways of creating sounds as accompaniment on a variety
of sources or from the environment.

5. All the groups will then perform their musical in class.

6. 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%
 MUSIC Grade-10

ACTIVITY 3.6

ACTIVITY TITLE: Song Composers

LEARNING TARGET: Sings selection of the contemporary music with appropriate pitch, rhythm, style and expression

REFERENCES: Video clips, locally available materials that produces sounds.

Activity: Song Medley

For Individual :
Sing any of the compositions of Celerio, De Guzman, Velarde, Cuenco, Umali, Canseco, Peña, Silos, and
Suarez.

For group work, have the students do the following:

1. Let the students choose any three songs by the above composers that they like best or that they are familiar
with. Or they may opt to learn a new song. Have them research further on the compositions, if needed.
2. Each group will choose their musical director and they will create a three- to five-minute medley of their
chosen songs.
3. To learn and practice the songs, they may bring “minus one” music on a CD, or from their mobile phones or
USB.
4. They may add instrumental accompaniment using a guitar, flute, recorder, maracas, tambourine, or keyboard.
Or they may improvise simple vocal accompaniment.
5. Have them explore ways of creating sounds as instrumental accompaniment to the song from varied sources
or from the environment.
6. All the groups will then perform their song medleys in class, interpreting the music with appropriate pitch,
rhythm, style, timbre, dynamics, melody, texture, harmony, and expression.
7. Choose the “Best Singing Group” based on the following criteria:

- musicianship (musical elements) 60%

- audience impact and showmanship 20%
- ensemble coordination and organization 20%

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? __________
 MUSIC Grade-10

ACTIVITY 4.1

ACTIVITY TITLE: OPERA IN THE PHILIPPINES

LEARNING TARGET: demonstrates understanding of features of Philippine Opera.

REFERENCES: Music 10 Learner’s Manual, pp 142-155

The opera is an art and music form in which singers and musicians perform a dramatic work combining
text (called al ibretto) and a musical score, usually in an elaborate theatrical setting. It incorporates many of the
elements of spoken theater, such as acting, scenery, costumes, and sometimes includes dance. The performance
is typically given in an opera house, cultural center, theater, or auditorium. It is accompanied by an orchestra or
smaller musical ensemble. The dialogue is entirely sung and not spoken.
Local Theaters and Early Philippine Operas
Local theaters, including the Zorilla, Principe Alfonso, Variedades, Quiapo and Tondo Theaters, were
the choice venues for the mainly Italian operas that came to the country, later other opera venues were
established, led by the Manila Grand Opera House and the Metropolitan Theater (Met).
Operatic divas included Nelia Manalo, Mercedes Matias-Santiago, National Artist Jovita Fuentes,The
establishment of the Cultural Center of the Philippines (CCP) by then First Lady Imelda Romualdez-Marcos in
1969 paved the way for other Filipino operas to be staged at a legitimate venue of international standard.

Philippine Operas
Operas based on Rizal’s two novels Noli Me Tangere and El Filibusterismo composed by National
Artist Felipe Padilla de Leon , and La Loba Negra by Francisco Feliciano.

Suggested Activities :

A. Video Showing of any of the Philippine Operas. (ex. Noli Me Tangere)

B. After watching and listening to the opera, let the students express their personal reactions or feelings
about these works through group discussion and analysis.
Report the outcome of the group discussion in class.
 MUSIC Grade-10

ACTIVITY 4.2

ACTIVITY TITLE: BALLET IN THE PHILIPPINES

LEARNING TARGET: demonstrates understanding of features of Philippine Ballet.

REFERENCES: Music 10 Learner’s Manual, pp 156-162

The medium of dance and ballet to interpret novels, folktales, and stories provides visual excitement as the
characters come alive not in spoken dialogue but in body movements. Much of the communication is relayed in
pantomime. It is a performance in which a story is told without words by using body movements and facial
expressions. The lack of spoken words or sung lyrics is more than made up for by the creative steps and arm
gestures of the dancers. Their facial expressions and body movements add more meaning to the story being
revealed. The performance is further enhanced by colourful costumes, elaborate sets, visually suggestive music,
and synchronized choreography.

Together, the dance or ballet production makes for a complete drama by itself without a single word being
spoken. Filipino ballets vividly present folktales based on local fables for example, Lola Basyang as well as
epics from neighboring regions, such as India’s Ramayana.

1. What are the features of Philippine Ballet?

2. Who are the personalities behind the Philippine Ballet Production?

(Answer: 1.Filipino ballets vividly present folktales based on local fable; 2. Joey Ayala, Liza Macuja Elizalde,
Ryan Cayabyab, Tony Fabella, Osias Barroso and Mon Faustino)

Suggested Videos to watch : Tatlong Kwento ni Lola Basyang, Rama Hari

 MUSIC Grade-10

ACTIVITY 4.3

ACTIVITY TITLE: MUSICAL PLAYS IN THE PHILIPPINES

LEARNING TARGET: demonstrates understanding of features of Philippine Musicals.

REFERENCES: Music 10 Learner’s Manual, pp 163-180

The musical play is a popular and generally lighter form of musical drama than the opera. The themes are
usually more contemporary, and the musical melodies more manageable by the average singer. The acting is
less intense and dramatic. The choreography and dance sequences provide visual breaks from the ongoing plots.

In the Philippines, the musical play is a more recent development than Broadway and West End, relying mostly
on adaptations from novels, literary works, or biographical sketches of famous artists.

1.ANDRES BONIFACIO, ANG DAKILANGANAK-PAWIS,is a five-act work commissioned by Alfonso

Puyat in 1979, depicting the life of revolutionary hero Andres Bonifacio.
2. Atang, The Musical written by Floy Quintos, directed by Alexander Cortes, and with music by Von de
Guzman.
3. KATY! THE MUSICAL is about the life of bodabil (vaudeville) star Katy de la Cruz. It was initially
presented by Actors Studio East Production in 1988. The play commissioned Ryan Cayabyab for the music and
Jose Javier Reyes for the lyrics. It starred Mitch Valdes.
4. FLORANTE AT LAURA, THE MUSICAL presented by Tanghalang Pilipino at the CCP Little Theater
(Tanghalang Aurelio Tolentino) from July 7 to 24, 1988. This was in celebration of the 200th birth anniversary
of the author Francisco Balagtas-Baltazar.
5. DARAGANG MAGAYON is a production for poetry and mixed media for male and female narrators, female
voice, two percussionists, two pianists, and two dancers. It was first presented at the Cultural Center of the
Philippines Loading Dock in March 1991. It was produced by the CCP Women’s Desk and the Coordinating
Center for Dance to mark Women’s Month based on a poem by Merlinda C. Bobis.
6.Noli Me Tangere , The Musical
7. El Filibusterismo, the Musical
8. MAGSIMULA KA, THE MUSICAL by Gines Tan was staged at the CCP Main Theater from April 7 to 24,
1988.

Suggested Activities : Video Showing of above mentioned Musicals

Question:

1. How did Philippine Musical reflect life in the 20th century?

2. Explain how the theatrical elements in selected parts of the musical play combined with music and media
achieves certain effects?
 MUSIC Grade-10

ACTIVITY 4.5

ACTIVITY TITLE: BALLET IN THE PHILIPPINES (The Performance)

LEARNING TARGET: Appreciate through listening sample compositions of the Philippine Ballet.

REFERENCES: Ballet Video Clips from you tube

A. Listening Activity: Music for Ballet

1. Play music recordings from Philippine ballet –Lola Basyang or Rama Hari.
2. Let the students listen carefully to the recordings and let them analyze the music. Let them take note of the
elements of music present, such as rhythm, melody, tempo and dynamics, texture and harmony, form, and
timbre.
3. Let them express a visual figure or visual interpretation for a particular piece that they like.

Evaluation of Listening Activity: Music for Ballet

Let the students answer the following:
Rating scale: 5 = Very Good 2 = Poor
4 = Good 1 = Needs Follow-up
3 = Fair
Rate scores are based on melodic appeal and suitability for the ballet’s theme and
story line.
1. How well did I listen to the musical interpretations of Philippine ballet? _____________

Other Film Viewing on Ballet

1. Let the students watch video clips of the following ballets on the internet or You Tube.
a. Swan Lake
b. The Nutcracker Suite
c. Giselle

2. Let them write a reaction paper on the viewed ballet performances.

 MUSIC Grade-10

ACTIVITY 4.6

ACTIVITY TITLE: MUSICALS IN THE PHILIPPINES (The Performance)

LEARNING TARGET: Appreciate through listening sample compositions of the Philippine Musicals.

REFERENCES: Musical Video Clips from you tube

Group Activity I
1. Divide the class into four groups.
2. Within each group, let the students brainstorm among themselves one work from a Philippine musical play.
3. Let them create a short musical play using media and technology. They may use local folktales, legends,
history, biographies of heroes, and customs and traditions as themes of their musical work.
4. For the music, they may compose their own songs or they may use or adapt the melodies of existing songs
such as folksongs, indigenous music of your area, pop, classical, Broadway, and OPM. Then, let them write
their own lyrics suited to the melody for the song adaptation for their musical play.
5. Have the students create or improvise appropriate sounds, music, gestures, movements, and costumes using
media and technology.
6. After this activity, let them answer this question on a 1/2 sheet of bondpaper: “What insights did I gain
from this activity?”

Activity II. Live Performance of Philippine musicals

1. Divide the class into two groups.
2. Let each group present an excerpt of a 20th or 21st century Philippine musical and an excerpt of a Broadway
musical.
3. Let them highlight the similarities and differences between these two forms of musicals.
4. They may use musical instruments as accompaniment for their music works or they may perform a capella
(without accompaniment).
5. They may use props and costumes, if needed. Let them create or improvise appropriate sounds, music,
gestures, movements, and costume using media and technology for a selected part of the musical play and
broadway musical.
6. Let them perform the short musical play in class. They may add some choreography or movements and
improvised props and costumes, if needed.
7. Evaluate the performance based on:
- musicianship (musical elements) 50%
- audience impact 20%
- stage presence 20%
- stage discipline and deportment 10%
8. Announce the “Best Group Performance Award.”

Activity III. Recording or Music Video

1. Divide the class into groups and let the students choose a group leader who will assign 1 or 2 members to
record the performance of their group. They may use a cassette recorder or they make a music video using their
mobile phone, digital camera, or video camera.
2. Have each group play their recorded performance or music video to their classmates.
3. Choose the “Best Video.”

Evaluation of Performing Activities

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