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Republic of the Philippines
Department of Education
Regional Office IX, Zamboanga Peninsula
MUSIC
Quarter 3 – Module 1:
CONTEMPORARY PHILIPPINE MUSIC
) TRADITIONAL, NEW MUSIC AND SONG COMPOSERS (
Z est for P rogress Z eal of P artnership
10
Name of Learner: ___________________________
Grade & Section: ___________________________
Name of School: ___________________________
What I Need To Know
At the end of the module, each student is expected 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.
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
1. 20th century Filipino composers have managed to retain some traditional
elements in their assimilation of Western techniques.
2.
Composers of experimental New Music in the Philippines retained the
Filipino spirit by incorporating traditional music forms as well as
indigenous rhythms and instruments in their compositions
3.
With the American influences brought by our colonizers, it was inevitable
that the musical styles of 20th century Western composers found their way
into Philippine compositions.
4. Traditional Music became popular with their musical compositions used as
musical background or theme songs in movies and films.
5.
The 20th century Filipino Song composers/lyricists had produced a
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?
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.
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.
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.
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).
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.
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.
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
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. ______________ 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.
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.
STANDARDS Very Good 5
POINTS
Good 4
POINTS
Fair
3 POINTS Score
IDEA
Ideas were expressed
in a clear and
organized fashion.
Ideas were
ezpressed in a
pretty clear
manner, but the
organization could
have been better.
Ideas were somewhat organized, but were not very clear.
NEATNESS
OF OUTPUT
Penmanship
Followed the prescribed instruction.
Observed proper
margin.
Penmanship
Followed the
prescribed
instruction
Penmanship
SUBMMITED
THE OUTPUT
ON TIME
Submitted on time.
Submitted two days after the scheduled time. Submitted one week after the scheduled time.
Submitted on time.
Submitted two days after the scheduled time.
Submitted on time.
TOTAL
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 mouthblown 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)?
Identify the lives and works of the following 20th century Filipino composers.
A. Ryan Cayabyab
B. Lucrecia Kasilag
C. George Canseco
Additional Activity
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
