2. CONTENT STANDARDS
The learner demonstrates
understanding of...
1. Characteristic features of
contemporary music.
PERFORMANCE STANDARDS
The learner...
1. Sings contemporary songs.
3. CONTENT STANDARDS
The learner demonstrates
understanding of...
1. Characteristic features of
contemporary music.
PERFORMANCE STANDARDS
The learner...
1. Sings contemporary songs.
4. LEARNING COMPETENCIES
The learner...
1. Listens perceptively to excerpts of major contemporary
works.
2. Describes characteristics of traditional and new music.
3. Gives a brief biography of selected contemporary
Philippine composers.
4. Sings selections of contemporary music with
appropriate pitch, rhythm, style, and expression.
5. Explores ways of creating sounds on a variety of
sources.
5. 6. Improvises simple vocal/instrumenta
accompaniments to selected songs.
7. Creates a musical on the life of a
selected contemporary Philippine
composer.
8. Evaluates music and music
performances using knowledge of
musical elements and style.
8. 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.”
9. Antonio J. Molina (1894-1980)
The first National Artist for
Music, is considered one of
the “Triumvirate of Filipino
Composers” which includes
Nicanor Abelardo and
Francisco Santiago. He
began his music career as an
orchestral soloist at the
Manila Grand Opera House.
10. He is best known for his poignantly
romantic serenade for violin and piano
Hatinggabi.
-Misa Antoniana Grand Festival Mass,
-Ang Batingaw, Kundiman-Kundangan;
- chamber music - String Quartet, Kung sa
Iyong Gunita, Pandangguhan;
and vocal music - Amihan, Awit ni Maria
Clara, and Larawan Nitong Pilipinas.
11. Lucio San Pedro (1913-2002)
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.
12. Sa Ugoy ng Duyan, Suite
Pastorale, Lahing
Kayumanggi
13. Cipriano “Ryan” Cayabyab (1954)
Ryan Cayabyab is a popular
contemporary composer who
also has classical compositions to
his credit, such as Misa,
Four Poems for Soprano and
Piano, and Te Deum. His
compositional style makes much
use of syncopation, extended
chords, and chromatic harmony.
14. Misa, Four Poems for Soprano and Piano, Te
Deum, Kay Ganda ng Ating Musika, Limang
Dipang Tao, Da Coconut Nut, Alikabok,
Spoliarium, Kumukuti-kutitap
15. Col. Antonino R. Buenaventura
(1904-1996)
Col. Antonino Ramirez
Buenaventura was a
renowned composer,
conductor, and teacher. His
father Lucio was the chief
musician of the Spanish
artillery band in Intramuros and
founder of Banda
Buenaventura.
16. Minuet, Mindanao Sketches, Divertimento for
Piano and Orchestra, Variations and Fugue,
and Greetings, Pandanggo sa Ilaw, Princesa
ng Kumintang, Pandanggo ni Neneng
17. Dr. Alfredo Santos
Buenaventura, composer,
conductor and
teacher, was born in Sta. Maria,
Bulacan on October 14, 1929.
He grew up in a musical
environment and became a
band
member in his hometown at a
young age.
18. 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).
19. Rodolfo S. Cornejo (1909-1991)
was born on May 15, 1909 in
Singalong,
Manila. Inspired by his
mother’s genuine support,
the young
Cornejo started formal music
lessons at the age of six.
20. A la Juventud Filipina, Bailes de Ayer, Caprice
on a Folksong, Cello Sonata, Cello Sonata,
Ibong Adarna, Kandingan, Malakas at
Maganda Overture, Okaka, Oriental Fantasy,
Ibong Adarna, Piano Concerto Nos. 1,2,3,
Ruby, Song of the Miners,
21. Hilarion Rubio Y. Francisco (1902-1985)
Hilarion Rubio 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.
22. Bulaklaken, Dance of the Nymphs Rondo,
Florente at Laura, Halik, Danza, Ang
Konsyerto (ballet), Ang Magsasaka, Bukang
Liwayway, Concertino in C (Marimba and
piano), Filipinas Kong Mahal, Hatulan Mo
Ako, Ginintuang Araw, In a Tropcal Sea,
Filipino Youth, Nela, Light, Narra, Mutya ng
Silangan
24. Nasaan Ka Irog?, Bituing Marikit,
Mutya ng Pasig, Paskong Anong
Saya, Cavatina,
Kundiman ng Luha, Magbalik Ka
Hirang
25. Francisco Beltran Buencamino Sr.
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.
26. Harana, Pandanggo ni Neneng, Collar de
Sampaguita, Dulces las Horas, Mayon
(Fantasia de Concierto), My Soul’s Lament,
Larawan, Mazurka, Boholana, Mi Bandera,
Princesa ng Kumintang, Maligayang Bati,
Ang Bukang Liwayway, Pandanggo ni Neneng,
Ang Bagong Balitaw, Himig ng Nayon,
Damdamin (Romance), and Pizzicato Caprice.
27.
28. Jose Maceda (1917-2004)
Considered as the first
Filipino avant garde
composer, he also
worked at a recording
studio in Paris in 1958
which specialized in
musique concrète.
30. Lucrecia R. Kasilag (1918-2008)
Kasilag’s compositions
demonstrated a fusion of
Eastern and Western styles in
using instruments,melody,
harmony, and rhythm. She is
particularlyknown for
incorporating indigenous
Filipino instruments into
orchestral productions.
32. Ramon P. Santos (1941)
Santos’ compositional
style features
chromaticism, music
seria, and electronic
components,
combined with
indigenous Philippine
music elements.
33. Ding Ding nga Diyawa ;
Nabasag na Banga
a t Ib a’t i ba p an g P in ag - ug
po ng -u g po ng n a Pananalita
sa Wikang Pilipino para sa labing
anim na tinig, and L’BAD
34. Josefino “Chino” Toledo (1959)
His own music, including
works for chorus,
orchestra, chamber
ensemble,
solo instrument, and
music theater have been
performed by well-known
international
artists and ensembles.
35. 2nd Og-og; Abe; Ako ang Daigdig;
Alitaptap; Aliwiw;
Awiting Bayan; Barasyon; Asia; Kah-non;
Humigit Kumulang;
Lima; Mi-sa; Missa de gallo; Oyog-Oyog;
Musika para sa; Pasyon
at Buhay; Pompyang; Pintigan; Pilipino
Komiks; Sigaw; Tatluhan;
Auit, Ub-og; Ug-nay; Tula-li
36. Francisco F. Feliciano (1942-2014)
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.
37. Sikhay sa Kabila ng Paalam; Ashen Wings;
La Loba Negra; Prelude and Toccata ;
Fragments; Yerma; The life
of wartime Filipino hero, Jose Abad Santos;
Transfiguration; Missa
Mysterium; Pokpok Alimpako; Salimbayan;
Umiinog, Walang Tinag;
Pamugún and Restless
38. Jerry Dadap (1935)
The first Filipino
composer to conduct his
own works at the
Carnegie Recital Hall in
New York City, was born
on November 5, 1935 in
Hinunangan, Southern
Leyte.
39. The Passionate and the Wild; Mangamuyo I) and
Mangamuyo II; The Redemption; Five Little Fingers; Tubig
ng Buhay; Dakilang Pagpapatawad; Andres Bonifacio,
Ang Dakilang Anak Pawis; Ang Pag-ibig ng Diyos; Balitaw
Nos. 1-7; Lam-ang Epic; Lorenzo Ruiz; Chorale
Symphonic Ode Nos. 1 and 2; Aniway at Tomaneg; Song
Cycle, Nos. 1-4; Choral Cycle Nos. 1-3; Diyos
Ama ay Purihin; Lam-ang Epic; Mangamuyo I and II; Five
LittleFingers; Tubig ng Buhay; The Redemption.
40. Jonas Baes (1961)
Baes is known for writing
music utilizing unorthodox
musical instruments such as
beanpod rattles, leaves, iron-
nail chimes, and various
Asian instruments such as
bamboo scrapers, bamboo
flutes, and vocal music using
Asian vocal techniques.
42. Fr. Manuel P. Maramba, OSB
The most accomplished
musicians and liturgists
in the Philippines
emerging during the
second half of the 20th
century. He was born on
July4, 1936 in
Pangasinan.
43. Aba!, Sto. Nino; La Naval; Lord Takayama
Ukon; Awakening ; Seven Mansions; Papal Mass
for World Youth Day, 1995; Mass in Honor of St.
Lorenzo Ruiz; Mass in Honor of the Sto. Nino;
cantatas St. Lorenzo Ruiz, St. Benedict, and St.
Scholastica; Three Psalms—A hymn in honor of St.
Lorenzo Ruiz, and the official hymn of the 1996
National Eucharistic Congress; Ang Sarswela sa
San Salvador; Pugad Lawin; The Virgin of Naval;
andTransfiguration.
46. Ang Pipit; Sa Ugoy ng Duyan;
Misa de Gallo;
Itik-itik (folk song); Tinikling
(folk song); and Ang
Pasko ay Sumapit.
47. Constancio C. de Guzman (1903-1982)
Acknowledged as
the “Dean of
Filipino Movie
Composers and
Musical
Directors,”
48. Bayan Ko, Babalik Ka Rin, Ang
Tangi Kong Pagibig,
Birheng Walang Dambana,
Maalaala Mo
Kaya, Sa Piling Mo, Ang Langit
ko’y Ikaw
49. Miguel “Mike” Velarde, Jr. (1913)
In subsequent years, Velarde
created his own style as he
composed highly melodious and
romantic songs such as Ikaw,
Lahat ng Araw, Habang
Buhay,Minamahal Kita , Ikaw ay
Akin, andDahil Sa Iyo. In 1970,
he won the Best Conductor
award at the First International
Popular Song Contest in Japan
with his composition As Long as
Forever.
50. Buhat, Ikaw, Bituing Marikit,
Minamahal Kita,
Dating Sumpaan, Dalisay,
Eternally Yours, Gabi
at Araw, Dahil sa Iyo
51. Ernani J. Cuenco (1936-1988)
Composer, film scorer,
musical director and music
teacher, was conferred the
National Artist Award for
Music in 1999. His works
embody a Filipino sense
of musicality that contain the
classical sound of the
kundiman.
52. Nahan, Kahit na Magtiis, Diligin Mo
ng Hamog ang Uhaw na Lupa,
Pilipinas, Inang Bayan, Isang
Dalangin, Kalesa, Gaano Ko Ikaw
Kamahal, Bato
sa Buhangin
53. Restie Umali (1916-1998)
Umali played the E-flat horn,
trombone, and tuba when he was
part of the UST (University
of Santo Tomas) Band. He also
taught choral arranging and
orchestration at the UST
Conservatory of Music. He
majored in Composition and
Conducting at the Conservatory
of Music, University of the
Philippines (UP) and Commerce
at the Jose Rizal College
54. Saan Ka Man Naroroon,
Alaala ng Lumipas, Ang
Pangarap Ko’y Ikaw, Sa Libis
ng Barrio, Di Ka
Nag-iisa, Paano Kita
Lilimutin
56. Ikaw, Kailangan Kita, Dito Ba, Hiram, Langis at
Tubig, 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
57. Angel Matias Peña (1921)
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.”
59. Leopoldo Silos, Jr.
He was a composer,
singer, and arranger.
He composed and
recorded a number of
romantic
songs,
60. . Dahil sa Isang Bulaklak, Hindi Kita Malimot,
Aling Kutsero, Ay Anong Saklap, Basta’t Mahal
Kita, Diyos lamang ang nakakaalam, Hindi ko
Malilimutan, Lagi kitang Naaalala, Langit at
Lupa, Halina Halina, Lihim na Pag-ibig, Mundo
Ma’y Mawala
61. WHAT TO PERFORM
A. Singing Activity: Song Medley
I n d i v i d u a l o r i n g r o u p s :
Sing any of the compositions of
Celerio, De Guzman,
Velarde, Cuenco, Umali, Canseco,
Peña, Silos, and Suarez.
62. B. Creating and Performing Activities: Musical
1. Your teacher will divide the class into four groups. Each group
choose a song composer that was discussed in class. Research
further on his life and works.
2. Create a contemporary musical on the life of your chosen
composer. Incorporate some of his compositions (melodic
fragments) in the musical and story.
3. Improvise simple vocal or instrumental accompaniments
(example: guitar, keyboard, percussion) to the songs that you have
chosen.
4. Explore ways of creating sounds as accompaniment on a variety
of sourcesor from the environment for the creation of the musical.
63. Evaluation of Creating and Performing
Activities: Musical
Rating Scale:
5 - Very Good 2 - Poor
4 – Good 1 - Needs Follow up
3 - Fair
64. Rating the other performers / groups:
1. How well did the performers express the
message of the musical? __________
2. How well did the performers sing and act in the musical
based on the following:
a. voice quality __________
b. expression __________
c. stage presence __________
d. audience impact __________
e. mastery of the musical __________
g. musical elements (rhythm, melody, dynamics)_________
h. technique __________
i. showmanship __________
j. acting __________
