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Lm music grade10_q2

The document outlines the curriculum for Music in Grade 10, focusing on Afro-Latin American and popular music. It covers several learning competencies including observing dance styles and instruments, describing historical and cultural backgrounds, analyzing musical characteristics, singing selections, and evaluating music performances using knowledge of elements and style. A variety of African musical genres are also defined such as Afrobeat, Apala, Jive, Juju, and types of instruments commonly used like the balafon, shekere, agogo bells, and slit drums.

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DEPED COPY Quarter II: AFRO-LATIN AMERICAN AND POPULAR MUSIC CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of Afro-Latin American music and Popular music. PERFORMANCE STANDARDS The learner... 1. Performs vocal and dance forms of Afro-Latin American music and selections of Popular music. LEARNING COMPETENCIES The learner... 1. Observes dance styles, instruments, and rhythms of Afro Latin American and popular music through video, movies and live performances. 2. Describes the historical and cultural background of Afro-Latin American and popular music. 3. Listens perceptively to Afro-Latin American and popular music. 4. Dances to different selected styles ofAfro-LatinAmerican and popular music. 5. Analyzes musical characteristics ofAfro-LatinAmerican and popular music. 6. Sings selections of Afro-Latin American and popular music in appropriate pitch, rhythm, style, and expression. 7. Explores ways of creating sounds on a variety of sources suitable to chosen vocal and instrumental selections. 8. Improvises simple vocal/instrumental accompaniments to selected songs. 9. Choreographs a chosen dance music. 10. Evaluates music and music performances using knowledge of musical elements and style. From the Department of Education curriculum for MUSIC Grade 10 (2014) 37 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 38 MUSIC OFAFRICA Music has always been an important part in the daily life of theAfrican, whether for work, religion, ceremonies, or even communication. Singing, dancing, hand clapping and the beating of drums are essential to many African ceremonies, including those for birth, death, initiation, marriage, and funerals. Music and danceare also important to religious expression and political events. However, because of its wide influences on global music that has permeated contemporary American, Latin American, and European styles, there has been a growing interest in its own cultural heritage and musical sources. Of particular subjects of researches are its rhythmic structures and spiritual characteristics that have led to the birth of jazz forms. African music has been a collective result from the cultural and musical diversity of the more than 50 countries of the continent. The organization of this continent is a colonial legacy from European rule of the different nations up to the end of the 19th century, whosevastness has enabled it to incorporateits music with language, environment, political developments, immigration, and cultural diversity. TRADITIONAL MUSIC OFAFRICA African traditional music is largely functional in nature, used primarily in ceremonial rites, such as birth, death, marriage, succession, worship, and spirit invocations. Others are work related or social in nature, while many traditional societies view their music as entertainment. Ithas abasicallyinterlockingstructural format, due mainlyto its overlapping and dense textural characteristics as well as its rhythmic complexity. Its many sources of stylistic influence have produced varied characteristics and genres. Some Types of African Music Afrobeat Afrobeat is a term used to describe the fusion of WestAfrican with blackAmerican music. Apala (Akpala) Apala 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. Percussion instrumentation includes the rattle (sekere), thumb piano (agidigbo), bell (agogo), and two or three talking drums. Yoruba Apala Musicians All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 39 Axe Axe is a popular musical genre from Salvador, Bahia, and Brazil. It fuses the Afro- Caribbean styles of the marcha, reggae, and calypso. Jit Jit is a hard and fast percussive Zimbabwean dance music played on drums with guitar accompaniment, influenced by mbira-based guitar styles. Jive Jive is a popular form of South African music featuring a lively and uninhibited variation of the jitterbug, a form of swing dance. Juju Juju is a popular music style from Nigeria that relies on the traditional Yoruba rhythms, where the instruments in Juju are more Western in origin. A drum kit, keyboard, pedal steel guitar, and accordion are used along with the traditional dun-dun (talking drum or squeeze drum). All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 40 Kwassa Kwassa Kwassa Kwassa is a dance style begun in Zaire in the late 1980’s, popularized by Kanda Bongo Man. In this dance style, the hips move back and forth while the arms move following the hips. Marabi Marabi is a South African three-chord township music of the 1930s-1960s which evolved into African Jazz. Possessing a keyboard style combining American jazz, ragtime and blues withAfrican roots, it is characterized by simple chords in varying vamping patterns and repetitive harmony over an extended period of time to allow the dancers more time on the dance floor. LATIN AMERICAN MUSIC INFLUENCED BYAFRICAN MUSIC Reggae Reggae is a Jamaican sound dominated by bass guitar and drums. It refers to a particular music style that was strongly influenced by traditional mento and calypso music, as well asAmerican jazz, and rhythm and blues. The most recognizable musical elements of reggae are its offbeat rhythm and staccato chords. Salsa Salsa music is Cuban, Puerto Rican, and Colombian dance music. It comprises various musical genres including the Cuban son montuno, guaracha, chachacha, mambo and bolero. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 41 Samba Samba is the basic underlying rhythm that typifies most Brazilian music. It is a lively and rhythmical dance and music with three steps to every bar, making the Samba feel like a timed dance. There is a set of dances—rather than a single dance—that define the Samba dancing scene in Brazil. Thus, no one dance can be claimed with certaintyas the “original” Samba style. Soca Soca is a modern Trinidadian and Tobago pop music combining “soul” and “calypso” music. Were This is Muslim music performed often as a wake-up call for early breakfast and prayers during Ramadan celebrations. Relying on pre-arranged music, it fuses the African and European music styles with particular usage of the natural harmonic series. Zouk Zouk is fast, carnival-like hythmic music, from the Creole slang word for ‘party,’originating in the Carribean Islands of Guadaloupe and Martinique and popularized in the 1980’s. It has a pulsating beat supplied by the gwo ka and tambour bele drums, a tibwa rhythmic pattern played on the rim of the snare drum and its hi-hat, rhythm guitar, a horn section, and keyboard synthesizers. 4 4 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 42 VOCAL FORMS OF AFRICAN MUSIC Maracatu Maracatu first surfaced in the African state of Pernambuco, combining the strong rhythms of African percussion instruments with Portuguese melodies. The maracatu groups were called “nacoes” (nations) who paraded with a drumming ensemble numbering up to 100, accompanied by a singer, chorus, and a coterie of dancers. Musical instruments used in Maracatu The Maracatu uses mostly percussion instruments such as the alfaia, tarol and caixa-de- guerra, gongue, agbe, and miniero. The alfaia is a large wooden drum that is rope-tuned, complemented by the tarol which is a shallow snare drum and the caixa-de-guerra which is a war-like snare. Providing the clanging sound is the gongue, a metal cowbell. The shakers are represented by the agbe, a gourd shaker covered by beads, and the miniero or ganza, a metal cylindrical shaker filled with metal shot or small dried seeds called “Lagrima fre Nossa Senhora.” Maracatu dance Alfaia Drum Agbe Sakere Miniero or GanzaCaixa Gongue Tarol All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 43 Blues The blues is a musical form of the late 19th century that has had deep roots in African- American communities. These communities are located in the so-called “Deep South” of the United States. The slaves and their descendants used to sing as they worked in the cotton and vegetable fields. The notes of the blues create an expressive and soulful sound. The feelings that are evoked are normally associated with slight degrees of misfortune, lost love, frustration, or loneliness. From ecstatic joy to deep sadness, the blues can communicate various emotions more effectively than other musical forms. Noted performers of the Rhythm and Blues genre are Ray Charles, James Brown, Cab Calloway, Aretha Franklin, and John Lee Hooker; as well as B.B. King, Bo Diddley, Erykah Badu, Eric Clapton, Steve Winwood, CharlieMusselwhite, BluesTraveler, Jimmie Vaughan, and Jeff Baxter. Examples of blues music are the following: Early Mornin’, A House is Not a Home and Billie’s Blues. Soul Soul music was a popular music genre of the 1950’s and 1960’s. It originated in the United States. It combines elements ofAfrican-American gospel music, rhythm and blues, and often jazz. The catchy rhythms are accompanied by handclaps and extemporaneous body moves which are among its important features. Other characteristics include “call and response” between the soloist and the chorus, and an especially tense and powerful vocal sound. Some important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, and Etta James. Ray Charles and Little Richard (who inspired Otis Redding) and James Brown were equally influential. Brown was known as the “Godfather of Soul,” while Sam Cooke and Jackie Wilson are also often acknowledged as “soul forefathers.” Examples of soul music are the following: Ain’t No Mountain High Enough, Ben, All I Could Do is Cry, Soul to Soul, and Becha by Golly, Wow. Ray Charles James Brown Etta James All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 44 Spiritual The term spiritual, normally associated with a deeply religious person, refers here to a Negro spiritual, a song form byAfrican migrants toAmerica who became enslaved by its white communities. This musical form became their outlet to vent their loneliness and anger, and is a result of the interaction of music and religion from Africa with that of America.Thetexts are mainlyreligious, sometimes taken from psalmsof Biblical passages, while the music utilizes deep bass voices. The vocal inflections, Negro accents, and dramatic dynamicchanges add to themusical interest and effectiveness of the performance. Examples of spiritual music are the following: We are Climbing Jacob’s Ladder, Rock My Soul, When the Saints Go Marching In, and Peace Be Still. Call and Response The call and response method is a succession of two distinct musical phrases usually rendered by different musicians, where the second phrase acts as a direct commentary on or response to the first. Much like the question and answer sequence in human communication, it also forms a strong resemblance to the verse-chorus form in many vocal compositions. Examples of call and response songs are the following: Mannish Boy, one of the signature songs by MuddyWaters; and School Day - Ring, Ring Goes the Bell by Chuck Berry. WHAT TO KNOW 1. Which African music is usually heard on the radios today? 2. Among the types ofAfrican music, which is usually known as a type of music that has originated from Brazil? 3. Which type of music was popularized by Bob Marley? 4. What is the music that is a New York Puerto Rican adaptation of Afro-Cuban music? 5. What are the different musical instruments included in the maracatu? All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 45 MUSICAL INSTRUMENTS OFAFRICA African music includes all the major instrumental genres of western music, including strings, winds, and percussion, along with a tremendous variety of specificAfrican musical instruments for solo or ensemble playing. Classification of Traditional African Instruments A. Idiophones These are percussion instruments that are either struck with a mallet or against one another. 1. Balafon - The balafon is a West African xylophone. It is a pitched percussion instrument with bars made from logs or bamboo. ThexylophoneisoriginallyanAsian instrument that follows the structure of a piano. It came from Madagascar to Africa, then to the Americas and Europe. 2. Rattles - Rattles are made of seashells, tin, basketry, animal hoofs, horn, wood, metal bells, cocoons, palm kernels, or tortoise shells. These rattling vessels may range from single to several objects that are either joined or suspended in such a way as they hit each other. 3. Agogo - The agogo is a single bell or multiple bells that had its origins in traditional Yoruba music and also in thesamba baterias (percussion) ensembles. The agogo may be called “the oldest samba instrument based on West African Yoruba single or double bells.” It has the highest pitch of any of the bateria instruments. 4. Atingting Kon - These are slit gongs used to communicate between villages.Theywere carved out of wood to resemble ancestors and had a “slit opening” at the bottom. In certain cases, their sound could carry for miles through the forest and even across water to neighboring islands.Aseries of gong “languages” were composed of beats and pauses, making it possible to send highly specific messages. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 46 7. Shekere - The shekere is a type of gourd and shell megaphonefrom West Africa, consisting of a dried gourd with beads woven into a net covering the gourd. Theagbe is another gourd drum with cowrie shells usually strung with white cotton thread. The axatse is a small gourd, held by the neck and placed between hand and leg. 8. Rasp - A rasp, or scraper, is a hand percussion instrument whose sound is produced by scraping the notches on a piece of wood (sometimes elaborately carved) with a stick, creating a series of rattling effects. Gourd shekere 5. Slit drum - The slit drum is a hollow percussion instrument. Although known as a drum, it is not a true drum but is an idiophone. It is usuallycarved or constructed from bamboo or wood into a box with one or more slits in the top. Most slit drums have one slit, though two and three slits (cut into the shape of an “H”) occur. If the resultant tongues are different in width or thicknesses, the drum will produce two different pitches. 6. Djembe - The West Africandjembe (pronounced zhem-bay) is one of the best-known African drums is. It is shaped like a large goblet and played with bare hands. The body is carved from a hollowed trunk and is covered in goat skin. Log drums come in different shapes and sizes as well: tubular drums, bowl-shaped drums, and friction drums. Some have one head, others have two heads. The bigger the drum, the lower the tone or pitch. The more tension in the drum head, the higher the tone produced.These drums are played using hands or sticks or both; and sometimes have rattling metal and jingles attached to the outside or seeds and beads placed inside the drum. They are sometimes held under the armpit or with a sling. Antique wooden rasp All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 47 Luna B. Membranophones Membranophones are instruments which have vibrating animal membranes used in drums. Their shapes may be conical, cylindrical, barrel, hour-glass, globular, or kettle, and are played with sticks, hands, or a combination of both.African drums are usuallycarved from a single wooden log, and mayalso be made from ceramics, gourds, tin cans, and oil drums. Examples of these are found in the different localities – entenga (Ganda), dundun (Yoruba), atumpan (Akan), and ngoma (Shona), while some are constructed with wooden staves and hoops. 1. Body percussion - Africans frequently use their bodies as musical instruments.Aside from their voices, where manyof them are superb singers, the body also serves as a drum as people clap their hands, slap their thighs, pound their upper arms or chests, or shuffle their feet. This bodypercussion creates exciting rhythms which also stir them to action. Moreover, the wearing of rattles or bells on their wrists, ankles, arms, and waists enhances their emotional response. 2. Talking drum - The talking drum is used to send messages to announce births, deaths, marriages, sporting events, dances, initiation, or war. Sometimes it may also contain gossip or jokes. It is believed that the drums can carry direct messages to the spirits after the death of a loved one. However, learning to play messages on drums is extremely difficult, resulting in its waning popularity.An example of the talking drum is the luna. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 48 C. Lamellaphone One of the most popular African percussion instruments is the lamellaphone, which is a set of plucked tongues or keys mounted on a sound board. It is known bydifferent names accordingto the regions such as mbira, karimba, kisaanj, and likembe. Mbira (hand piano or thumb piano) -The thumb piano or finger xylophone is of African origin and is used throughout the continent. It consists of a wooden board with attached staggered metal tines (a series of wooden, metal, or rattan tongues), plus an additional resonator to increase its volume. It is played by holding the instrument in the hands and plucking the tines with the thumbs, producing a soft plucked sound. D. Chordophones Chordophones are instruments which produce sounds from thevibration of strings. These include bows, harps, lutes, zithers, and lyres of various sizes. 1. Musical bow - The musical bow is the ancestor of all string instruments. It is the oldest and one of the most widely-used string instruments of Africa. It consists of a single string attached to each end of a curved stick, similar to a bow and arrow. The string is either plucked or struck with another stick, producing a per-cussive yet delicate sound. The earth bow, the mouth bow, and the resonator-bow are the principal types of musical bows. The earth bow, ground bow, or pit harp consist of a hole in the ground, a piece of flexible wood and a piece of chord. The musician plucks the taut string to accompany his singing. When the half gourd is not buried, the performer holds the instrument very tightly under his knee flat side down, so that the chord puts enough tension on the wood to bend it into the shape of a hunting bow. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 49 A more advanced form of ground bow is made from a log, half a gourd, a flat piece of wood, and cord. The wooden strip is driven firmlyinto one end of the log and the half gourd is fastened to the log about 2 feet away from the wooden strip. The cord, fastened from the wooden strip to the gourd, is stretched so tightly into the shape of a bow. The player holds the instrument on the ground by placing one leg across the log between the resonating gourd and the wooden strip. 2. Lute (konting, khalam, and the nkoni )- The lute, originating from the Arabic states, is shaped like the modern guitar and played in similar fashion. It has a resonating body, a neck, and one or more strings which stretch across the length of its body and neck. The player tunes the strings by tightening or loosening the pegs at the top of the lute’s neck. WestAfrican plucked lutes include the konting, khalam, and the nkoni. 3. Kora - The kora is Africa's most sophisticated harp, while also having features similar to a lute. Its body is made from a gourd or calabash.Asupport for the bridge is set across the opening and covered with a skin that is held in place with studs. The leather rings around the neck are used to tighten the 21 strings that givethe instrument a range of over three octaves. The kora is held upright and played with the fingers. 4. Zither - The zither is a stringed instrument with varying sizes and shapes whose strings are stretched along its body. Among the types of African zither are the raft or Inanga zither from Burundi, the tubular or Valiha zither from Malagasy, and the harp or Mvet zither from Cameroon. Nkoni Raft zither African kora All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 50 E. Aerophones Aerophones are instruments which are produced initially bytrapped vibrating air columns or which enclose a body of vibrating air. Flutes in various sizes and shapes, horns, panpipes, whistle types, gourd and shell megaphones, oboe, clarinet, animal horn and wooden trumpets fall under this category. 1. Flutes - Flutes are widely used throughout Africa and either vertical or side-blown. Theyare usually fashioned from a single tube closed at one end and blown like a bottle. Panpipes consist of cane pipes of different lengths tied in a row or in a bundle held together by wax or cord, and generally closed at the bottom. They are blown across the top, each providing a different note. Atenteben (Ghana) Fulani Flutes 5. Zeze - The zeze is an African fiddle played with a bow, a small wooden stick, or plucked with the fingers. It has one or two strings, made of steel or bicycle brake wire. It is from Sub-Saharan Africa. It is also known by the names tzetze and dzendze, izeze and endingidi; and on Madagascar is called lokanga (or lokango) voatavo. 2. Horns - Horns and trumpets, found almost everywhere in Africa, are commonly made from elephant tusks and animal horns. With their varied attractive shapes, these instruments are end-blown or side-blown and range in size from the small signal whistle of the southern cattle herders to the large ivory horns of the tribal chiefs of the interior. One trumpet variety, the wooden trumpet, maybe simple or artisticallycarved, sometimes resembling a crocodile’s head. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 51 Kudu horn - This is one type of horn made from the horn of the kudu antelope. It releases a mellow and warm sound that adds a unique African accent to the music. This instrument, which comes in aset of six horns, reflects the cross of musical traditions in Africa. Today, the kudu horn can also be seen in football matches, where fans blow it to cheer for their favourite teams. 3. Reed pipes - There are single-reed pipes made from hollow guinea corn or sorghum stems, where the reed is a flap partially cut from the stem near one end. It is the vibration of this reed that causes the air within the hollow instrument to vibrate, thus creating the sound. There are also cone-shaped double-reed instruments similar to the oboe or shawm. The most well-known is the rhaita or ghaita, an oboe-like double reed instrument from northwestAfrica. It is one of the primary instruments used by traditional music ensembles from Morocco. The rhaita was even featured in the Lord of the Rings soundtrack, specifically in the Mordor theme. 4. Whistles - Whistles found throughout the continent may be made of wood or other materials. Short pieces of horn serve as whistles, often with a short tube inserted into the mouthpiece. Clay can be molded into whistles of many shapes and forms and then baked. Pottery whistles are sometimes shaped in the form of a head, similar to the Aztec whistles of CentralAmerica and Mexico. 5. Trumpets - African trumpets are made of wood, metal, animal horns, elephant tusks, and gourds with skins from snakes, zebras, leopards, crocodiles and animal hide as ornaments to the instrument. They are mostly ceremonial in nature, often used to announce the arrival or departure of important guests. In religion and witchcraft, some tribes believe in the magical powers of trumpets to frighten away evil spirits, cure diseases, and protect warriors and hunters from harm. African whistle All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 52 African Musical Instruments from the Environment Many instruments ofAfrica are made from natural elements like wood, metal, animal, skin and horns, as well as improvised ones like tin cans and bottles. These are mainly used to provide rhythmic sounds, which are the most defining element ofAfrican music. Africans make musical instruments from the materials in the environment, like forest areas from where they make large wooden drums. Drums may also be made of clay, metal, tortoise shells, or gourds. Xylophones are made of lumber or bamboo, while flutes can be constructed wherever reeds or bamboo grow. Animal horns are used as trumpets while animal hides, lizard skins, and snake skins can function as decorations as well as provide the membranes for drum heads. Laces made of hides and skins are used for the strings of harps, fiddles, and lutes. On the other hand, bamboo was used to form the tongues of thumb pianos, the frames of stringed instruments, and stamping tubes. Strips of bamboo are even clashed together rhythmically. Gourds, seeds, stones, shells, palm leaves, and the hard-shelled fruit of the calabash tree are made into rattles. Ancient Africans even made musical instruments from human skulls decorated with human hair while singers use their body movements to accompany their singing. Modern Africans make use of recycled waste materials such as strips of roofing metal, empty oil drums, and tin cans. These people, bursting with rhythm, make music with everything and anything. At present, new materials that are more easily accessible, such as soda cans and bottles, are becoming increasingly important for the construction of percussion instruments. Some rhythmic instruments like scrapers, bells, and rattles also provide the pitch and timbre when played in an ensemble to provide contrasts in tone quality and character. WHAT TO KNOW 1. What are the classifications ofAfrican music? 2. What are the characteristics of each classification ofAfrican music? 3. Name someAfrican musical instruments under the following categories: a. idiophones b. chordophones c. membranophones d. aerophones 4. Describe how African musical instruments are sourced from the environment. Give examples. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 53 MUSIC OF LATIN AMERICA The music of Latin America is the product of three major influences – Indigenous, Spanish-Portuguese, and African. Sometimes called Latin music, it includes the countries that have had a colonial history from Spain and Portugal, divided into the following areas: a. Andean region (a mountain system of western South America along the Pacific coast from Venezuela to Tierra del Fuego) – Argentina, Bolivia, Chile, Ecuador, Peru, and Venezuela b. Central America – Belize, Costa Rica, El Salvador, Guatemala, Honduras, and Panama c. Carribean – Cuba, Dominican Republic, Guadeloupe, Haiti, Martinique, and Puerto Rico d. Brazil At the same time, because of the inter-racial cross breeding and migration, the above- named countries were also somewhat commonlypopulated byfive major ancestral groups as follows: a. Indian descendants ofthe original nativeAmericans who were the inhabitants of the region before the arrival of Christopher Columbus b. African descendants from Western and Central Africa c. European descendants mainly from Spain and Portugal but also including the French, Dutch, Italian, and British d. Asian descendants from China, Japan, India, and Indonesia/Java e. Mixed descendants from the above-named groups INFLUENCES ON LATIN AMERICAN MUSIC 1. Indigenous Latin-American Music Before the arrival of the Spanish, Portuguese, and other European colonizers, the natives were found to be using local drum and percussion instruments such as the guiro, maracas, and turtle shells, and wind instruments such as zampona (pan pipes) and quena (notched-end flutes) remain popular and are traditionally made out of the same aquatic canes, although PVC pipe is sometimes used due to its resistance to heat, cold, and humidity. Generally, quenas only are played during the dryseason. Materials came from hollow tree trunks, animal skins, fruit shells, dry seeds, cane and clay, hardwood trees, jaguar claws, animal and human bones, and specially-treated inflated eyes of tigers. Quena All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 54 Zampona Turtle shells Guiro The indigenous music of Latin America was largely functional in nature, being used for religious worship and ceremonies. The use of instruments as well as singing and dancing served to implore the gods for good harvest, victoryin battles, guard against sickness and natural disasters, and of course provide recreation. 2. Native American/Indian Music The ethnic and cultural groups of the principal native Americans share many similar yet distinctive music elements pertaining to melody, harmony, rhythm, form, and dynamics. Short musical motives from descending melodic lines were a common feature, where tempo, rhythm, and tone colors vary with the specific occasion or ritual. Many dance forms were repetitious, while songs had a wide range of volume levels. Some of the Native American music includes courtship songs, dancing songs, and popularAmerican or Canadian tunes like Amazing Grace, Dixie, Jambalaya, and Sugar Time. Many songs celebrate themes like harvest, planting season or other important times of year. 3. Afro-Latin American Music TheAfrican influence on LatinAmerican music is most pronounced in its rich and varied rhythmic patterns produced by the drums and various percussion instruments. Complex layering of rhythmic patterns was a favorite device, where Maracas All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 55 fast paced tempos add to the rhythmic density. Vocal music was often deep- chested while instrumental music greatlyrelied on resonant drums and sympathetic buzzers to produce rich sounds and occasional loud volume levels to reflect their intensity. 4. Euro-Latin American Music The different regions of LatinAmerica adopted various characteristics from their European colonizers. Melodies of the Renaissance period were used in Southern Chile and the Colombian Pacific coasts, while step-wise melodies were preferred in the heavilyHispanic and Moorish-influenced areas ofVenezuela and Colombia. Alternating dual meters, such as and , known as “sesquialtera” found in Chile and adopted in Cuba and Puerto Rico, were immortalized in the song I Wanna Be in America from Leonard Bernstein’s Broadway hit West Side Story. Other European influences were manifested in the texture of Euro-LatinAmerican music, from unaccompanied vocal solos to those accompanied by stringed instruments. 5. Mixed American Music The diversity of races and cultures from the Native Americans, Afro-Latin Americans, and Euro-LatinAmericans account for the richcombinations ofmusical elements including the melodic patterns, harmonic combinations, rhythmic complexities, wide range of colors and dynamics, and various structural formats. This musical fusion of LatinAmerica combining nativeinstruments with European counterparts and musical theories was further enriched bythe instruments brought by the African slaves. The result of the massive infusion of African culture also brought about the introduction of other music and dance forms such as theAfro- Cuban rumba, Jamaican reggae, Colombian cumbia, and the Brazilian samba. 6. Popular Latin American Music LatinAmerica has produced a number of musical genres and forms that had been influenced by European folk music,African traditional music, and native sources. Much of its popular music has in turn found its way to the many venues and locales of America, Europe, and eventually the rest of the world. Its danceable rhythms, passionate melodies, and exotic harmonies continue to enthrall music and dance enthusiasts worldwide even as the forms themselves undergo constant modifications that are more relevant to the times. Some of these Latin American popular music forms are tango, bossa nova, samba, son, and salsa. 6 8 4 4 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 56 a. Samba The samba is a dance form of African origins around 1838 which evolved into an African- Brazilian invention in the working class and slum districts of Rio de Janeiro. Its lively rhythm, consisting of a meter but containing three steps each that create a feeling of a meter instead, was meant to be executed for singing, dancing, and parading in the carnival. Samba has a number of variations, so that there is no clear-cut definition of a single samba form. Its most adventurous kind is known as the batucada, referring at once to a large percussion ensemble of up to a hundred players, a jam session, or an intensely polyrhythmic style of drumming. b. Son The son is a fusion of the popular music or canciones (songs) of Spain and theAfrican rumba rhythms of Bantu origin. Originating in Cuba, it is usually played with the tres (guitar), contrabass, bongos, maracas, and claves (two wooden sticks that are hit together). Although the son is seldom heard today, its most important legacy is its influence on present-day Latin American music, particularly as the forerunner of the salsa. c. Salsa The salsa is a social dance with marked influences from Cuba and Puerto Rico that started in New York in the mid 1970’s. Its style contains elements from the swing dance and hustle as well as the complexAfro-Cuban andAfro-Carribean dance forms of pachanga and guaguanco. The execution of the salsa involves shifting the weight bystepping sideways, causing the hips to move while the upper body remains level. The arms and shoulders are also incorporated with the upper body position. In each, a moderate tempo is used while the upper and lower bodies act in seeming disjoint as described above. 2 4 3 4 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 57 MUSICAL INSTRUMENTS OF LATIN AMERICA The varied cultures developed in Latin America gave rise to different types of wind and percussion instruments. As with the African continent, their rich history dating back thousands of years ago with the Aztec, Maya, and other prehistoric cultural groups in LatinAmerica understandablygenerates theirown brands of creativityin making music. In CentralAmerica, the ancient civilizations of theAztec and Maya peoples used various instruments mainlyfor religious functions and usuallybyprofessional musicians.As some instruments were considered holy and it was further believed that music was supposed to glorify the gods, mistakes in playing these instruments were considered offensive and insulting to them. Some of their instruments include the following: Tlapitzalli The tlapitzalli is a flute variety from theAztec culture made of clay with decorations of abstract designs or images of their deities. Teponaztli The teponaztli is a Mexican slit drum hollowed out and carved from a piece of hardwood. It is then decorated with designs in relief or carved to represent human figures or animals to be used for both religious and recreational purposes. Conch The conch is a wind instrument made from a seashell usually of a large sea snail. It is prepared by cutting a hole in its spine near the apex, then blown into as if it were a trumpet. Rasp The rasp is a hand percussion instrument whose sound is produced by scraping a group of notched sticks with another stick, creating a series of rattling effects. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 58 Huehueti The huehueti is a Mexican upright tubular drum used by the Aztecs and other ancient civilizations. It is made of wood opened at the bottom and standing on three legs cut from the base, with its stretched skin beaten by the hand or a wooden mallet. Whistles Whistles areinstruments madeof natural elements such as bone from animals. The eagle-bone whistle is the most common whose function is to help symbolize the piece’s purpose. Incan Instruments Among the Incas of South America, two instrumental varieties were most common: a. Ocarina The ocarina was an ancient vessel flute made of clay or ceramic with four to 12 finger holes and a mouthpiece that projected from the body. b. Panpipes (Zamponas) The zamponas were ancient instruments tuned to different scalar varieties, played by blowing across the tubetop. Typical models were either in pairs or as several bamboo tubes of different lengths tied together to produce graduated pitches of sound. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 59 Andean Instruments TheAndean highlands made use of several varieties of flutes and string instruments that include the following: a. Pitus The pitus are side-blown cane flutes that are played all year round. b. Wooden Tarkas The tarkas are vertical duct flutes with a mouthpiece similar to that of a recorder, used during the rainy season. c. Quenas The quenas are vertical cane flutes with an end-notched made from fragile bamboo. They are used during the dry season. d. Charango The charango is a ten-stringedAndean guitar from Bolivia. It is the size of a ukulele and a smaller version of the mandolin, imitating the early guitar and lute brought by the Spaniards. It produces bright sounds and is often used in serenades in Southern Peru. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 60 Mariachi The Mariachi is an extremelypopular band in Mexico whose original ensemble consisted of violins, guitars, harp, and an enormous guitarron (acoustic bass guitar). Trumpets were later added, replacing the harp. Mariachi music is extremelypassionate and romantic with their blended harmonies and characterized by catchy rhythms. Its musicians are distinctly adorned with wide-brimmed hats and silver buttons. WHAT TO KNOW 1. What are the different musical instruments of LatinAmerican music? 2. What are the characteristics of each instrument? VOCALAND DANCE FORMS OF LATIN AMERICAN MUSIC Latin American instruments are extremely useful in adding life, color, and variety to their many vocal and dance forms which have captured the world’s attention and affectionate adoption. In the Philippines, many of these characteristics have been taken in, particularly in the Brazilian bossa nova, cha cha, rumba, and the Argentine tango. Other dance forms became locally popular especially in the 1960’s and 1970’s until the arrival of disco and rock music. However, the original Latin dance forms have been experiencing constant revivals of their popularityespecially in “ballroom dancing” as the trendier modern styles also fade almost as quickly as they come. 1. Cumbia Originating in Panama and Colombia, the cumbia became a popular African courtship dance with European and African instrumentation and characteristics. It contained varying rhythmic meters among the major locations – meter in Colombia; , , and meters in Panama, and meter in Mexico. Instruments used are the drums of African origin, such as the tabora (bass drum), claves, 2 4 2 4 4 4 6 8 2 2 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 61 which are hard, thick sticks that sets the beat, guitar, accordion, clarinet, modern flute, and caja, a type of snare drum. 2. Tango The word tango may have been of African origin meaning “African dance” or from the Spanish word taner meaning “to play” (an instrument). It is a foremost Argentinian and Uruguayan urban popular song and dance that is related to the Cuban contradanza, habanera, and Cuban tango, and remains a 20th century nationalistic Argentinian piece of music that is most expressive. Its main development was in the slum areas of Buenos Aires, and eventually became fashionable in Parisian society in the early part of the 20th century, as well as in England and other parts of Western Europe. During the 1890’s, the working class of Buenos Aires, Argentina came across a new kind of rhythm known as the tango, whose choreographic steps followed the dance trend of the Viennese Waltz and the polka involving close contact between the male and female dancers. Tango later became more intellectual in the 1940’s when more poetic lyrics were inserted and allowed little freedom. Later in the 1960’s, more improvisation and movement were incorporated into the form, allowing the singers and dancers more room for creative expressions. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 62 3. Cha Cha The cha cha is a ballroom dance the originated in Cuba in 1953, derived from the mambo and its characteristic rhythm of 2 crochets – 3 quavers – quaver rest, with a syncopation on the fourth beat. The cha cha may be danced with Cuban music, Latin Pop, or Latin Rock. The Cuban cha cha, considered more sensual that may contain polyrhythmic patterns, has a normal count of ‘two-three-chachacha’ and ‘four and one, two, three’. 4. Rumba The rumba popular recreational dance of Afro-Cuban origin, performed in a complex duple meter pattern and tresillo, which is a dotted quaver – dotted quaver – dotted semiquaver rhythm. It is normallyused as a ballroom dance where a solo dancer or couple would be in an embrace though slightly apart, with the rocking of the hips to a fast-fast-slow sequence and often containing cross rhythms. There is a repetitive melody with an ostinato pattern played by the maracas, claves, and other Cuban percussion instruments. It contains jazz elements that became a model for the cha cha, mambo, and other Latin American dances. It was also used for concert music, as it appeared in the Second Piano Concerto ofthe French composer Darius Milhaud. 5. Bossa nova Bossa nova originated in 1958-59 as a movement effecting a radical change in the classic Cuban samba. The word bossa comes from the Brazilian capital of Rio de Janeiro, which means either “trend” or “something charming,” integrating melody, harmony, and rhythm into a swaying feel, where the vocal style is often nasal. The nylon-stringed classical guitar is the most important instrument of this style. Bossa nova contains themes centering on love, women, longing, nature, and youthfulness. Bossa nova emerged in the 1950’s when a slower, gentler version of the samba became popular with the upper and middle class sectors of society. It was music for easy and relaxed listening, conducive to romantic dates and quiet moments at the lounges. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 63 A foremost figure of bossa nova is Antonio Carlos Jobim, who became famous with his song Desafinado (1957). He collaborated with Vincius de Moraes in the play Orfeu da Conceicao (1956), musical recording of Cancao do Amor Demais (1958), and the song Garota de Ipanema or Girl from Ipanema (1962) that turned bossa nova’s popularityinto a worldwide phenomenon. In the Philippine pop music scene, Sitti Navarro is a singer who has become known as the “Philippines’ Queen of Bossa Nova.” Some of her bossanova songs include Para sa Akin, Hey Look at the Sun, Lost in Space, and Kung Di Rin Lang Ikaw. 6. Reggae Reggae is an urban popular music and dance style that originated in Jamaica in the mid 1960’s. It contained English text coupled with Creole expressions that were not so familiar to the non-Jamaican. It was a synthesis of WesternAmerican (Afro-American) popular music and the traditional Afro-Jamaican music, containing a western-style melodic-harmonic base with African sounds and characteristics,American pop and rock music mannerisms, and a preference for a loud volume in the bass. The best-known proponent of reggae music is Bob Marley, a Jamaican singer-songwriter, musician, and guitarist. He achieved international fameand acclaim for songs such as: One Love, Three Little Birds; No Woman, No Cry; Redemption Song; and Stir It Up. Antonio Carlos Jobim Sitti Navarro Bob Marley All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 64 7. Foxtrot The foxtrot is a 20th century social dance that originated after 1910 in the USA. It was executed as a one step, two step and syncopated rhythmic pattern. The tempo varied from 30 to 40 bars per minute and had a simple duple meter with regular 4-bar phrases. There was no fixed step pattern, instead borrowing from other dance forms and having a simple forward/backward sequence. The foxtrot gave rise to other dances such as the black bottom, Charleston, and shimmy. 8. Paso Doble The paso doble (meaning “double step”) is a theatrical Spanish danceused bythe Spaniardsin bullfights, where the music was played as the matador enters (paseo) and during passes just before the kill (faena). The dance is arrogant and dignified with a duple meter, march-like character, where the dancer takes strong steps forward with the heels accompanied by artistic hand movements, foot stomping, sharp and quick movements, with the head and chest held high. WHAT TO KNOW 1. What are the different vocal and dance forms of Latin American music? 2. What are the characteristics of each vocal and dance form of Latin American music? 3. Which type of music was popularized by Bob Marley? 4. Which type of music was popularized byAntonio Carlos Jobim? 5. Who is known as the “Philippines’ Queen of Bossa Nova”? All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 65 JAZZ The arrival of the jazz genre did not come overnight. It was an offshoot of the music ofAfrican slaves who migrated toAmerica.As music is considered a therapeutic outlet for human feelings, the Africans used music to recall their nostalgic past in their home country as well as to voice out their sentiments on their desperate condition at that time. Since then, these melancholy beginnings have evolved into various more upbeat jazz forms which the world has adopted and incorporated into other contemporary styles. RAGTIME Ragtime is an American popular musical style mainly for piano, originating in theAfro- American communities in St. Louis and New Orleans. Its stylewas said to bea modification of the “marching mode” made popular byJohn Philip Sousa, where the effect is generated by an internally syncopated melodic line pitted against a rhythmically straightforward bass line. Its music is written unlike jazz which is mainly improvised, and contains regular meters and clear phrases, with an alternation of low bass or bass octaves and chords. Foremost exponents of ragtime were Jelly Roll Morton who was an American ragtime and early jazz pianist and composed Frog I More Rag. Scott Joplin, who also composed the popular Maple Leaf Rag, Solace, and The Entertainer. Joplin is also knows as the “King of Ragtime.” Ragtime also influenced a number of classical composers, among them Erik Satie, Claude Debussy, and Igor Stravinsky, who injected ragtime rhythmic elements in their compositions. BIG BAND The term ‘Big Band” refers to a large ensemble form originating in the United States in the mid 1920’s closely associated with the Swing Era with jazz elements. Relying heavily on percussion (drums), wind, rhythm section (guitar, piano, double bass, vibes), and Scott Joplin Jelly Roll Morton All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 66 brass instruments (saxophones), with a lyrical string section (violins and other string instruments) to accompanya lyrical melody. Astandard big band 17-piece instrumentation consists of the following musical instruments percussion, brass, and woodwind instrruments: five saxophones (most often two altos, two tenors, and one baritone), four trumpets, four trombones (often including one bass trombone), and a four-piece rhythm section (composed of drums, acoustic bass or electric bass, piano and guitar). Some big bands use additional instruments. Big band music originated in the United States and is associated with jazz and the swing. Among the great big bands were the Glenn MillerOrchestra (AString of Pearls, Moonlight Serenade, In The Mood, American Patrol, and Smoke Gets in Your Eyes); the Count Basie Orchestra (April in Paris); and the Benny Goodman Orhcestra (Sing, Sing, Sing); while some solo signers such as Cab Calloway(Minnie the Moocher) Doris Day(Stardust, I’m in the Mood for Love); Roy Eldridge, and others also collaborated with big bands. BEBOP Bebop or bop is a musical style of modern jazz which is characterized by a fast tempo, instrumental virtuosity, and improvisation that emerged during World War II. The speed of the harmony, melody, and rhythm resulted in a heavy performance where the instrumental sound became more tense and free. Its main exponents were trumpeter Dizzy Gillespie, alto sax player Charlie Parker, drummers Max Roach and Roy Haynes, pianists Bud Powell and Thelonius Monk; guitarist Charlie Christian; tenor sax players Dexter Gordon and Sonny Rollins, who was also a composer; and trombonist JJ Johnson. Glenn Miller Orchestra Dizzy Gillespie All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 67 JAZZ ROCK Jazz rock is the music of 1960’s and 1970’s bands that inserted jazz elements into rock music. A synonym for “jazz fusion,” jazz rock is a mix of funk and R&B (“rhythm and blues”) rhythms, where the music used amplification and electronic effects, complex time signatures, and extended instrumental compositions with lengthy improvisations in the jazz style. Popular singer/songwriters Joni Mitchell, Tim Buckley, and Van Morrison were among those who adopted the jazz rock style. Some popular groups that emerged using the above music styles were the following:  Grateful Dead  Cream  Blood, Sweat, and Tears  Santana  Traffic  Chicago  Steely Dan  Lighthouse  Frank Zappa  Soft Machine  Hatfield and the North WHAT TO KNOW 1. What are the different jazz forms? 2. What are the characteristics of each jazz form? 3. Name one of the Big Bands that became popular. 4. Which type of music was adopted by singer-songwriter Joni Mitchell? 5. Name three of the popular groups that used the jazz rock style. Joni Mitchell All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 68 POPULAR MUSIC Popular music literallymeans “music of the populace,” similar to traditional folk music of the past. As it developed in the 20th century, pop music (as it has come to be called) generallyconsisted of music for entertainment of large numbers of people, whether on radio or in live performances. From the standard songs and ballads of the legendary Cole Porter, George Gershwin, and Frank Sinatra to the rock and roll craze of Elvis Presley and the Beatles and the present day idols in the alternative music and disco modes, popular music is now shared by the entire world. BALLADS Theballad originated as an expressive folksongin narrative verse with text dealing typically about love. The word is derived both from the medieval French “chanson balladee” and “ballade” which refers to a dancing song. Used by poets and composers since the 18th century, it became a slow popular love song in the 19th century. Today, the term ballad now refers to a love song in a slightly pop or rock style, with the following characteristics: 1. Blues Ballads This is afusion ofAnglo-American andAfro-American styles from the19th century that deals with the anti-heroes resisting authority. The form emphasizes the character of the performer more than the narrative content, and is accompanied by the banjo or guitar. 2. Pop Standard and Jazz Ballads This is a blues style built from a single verse of 16 bars ending on the dominant or half-cadence, followed by a refrain/chorus part of 16 or 32 bars in AABA form. The B section acts as the bridge, and the piece normally ends with a brief coda. Some enduring pop standard and jazz ballads include The Man I Love (George Gershwin, above left), Always (Irving Berlin, above center), and In a Sentimental Mood (Duke Ellington, above right). All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 69 3. Pop and Rock Ballads A pop and rock ballad is an emotional love song with suggestions of folk music, as in the Beatles’ composition “The Ballad of John and Yoko” and Billy Joel’s “The Ballad of Billy.” This style is sometimes applied to strophic story-songs, such as Don McLean’s “American Pie.” STANDARDS In music, the term “standard” is used to denote the most popular and enduring songs from a particular genre or style, such as those by Irving Berlin, Cole Porter, and Rodgers and Hart. Its style is 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, also known as “Ol Blue Eyes,” “Chairman of the Board,” or “The Voice.” His genre was categorized as traditional pop and jazz. He was a successful singer, actor, producer, director, and conductor. His hit singles include My Way and Strangers in the Night. Another well-loved standards singer was American balladeer Nat King Cole. Although an accomplished pianist, he owes most ofhis popular musical fame to his soothing baritone voice, which he used to perform in big band, vocal jazz, swing. traditional pop, and jump blues genres. He was the first black American to host his own television show and maintained worldwide popularity over 40 years past his death. He is widely considered “one of the most important musical personalities in United States history.” His hit songs include Unfogettable, Mona Lisa, and Too Young. Matt Monroe was an English singer who became one of the most popular entertainers in the international music scene during the 1960s. Throughout his 30-year career, he filled cabarets, nightclubs, music halls, and stadia inAustralia, Japan, the Philippines, and Hong Kong toAfrica, the Middle East, Europe, and theAmericas.Among his hit singles Don McLean Frank Sinatra (far left) and Nat King Cole (left) All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 70 included Portrait of My Love, Softly as I Leave You, the James bond theme From Russia with Love, Born Free, which became his signature song, and Walk Away. Other popular singers of standards were PerryComo, Bing Crosby, Andy Williams, Sammy Davis Jr., Doris Day, Patti Page, Barbra Streisand, and Paul Anka. ROCK AND ROLL Rock and roll was a hugely popular song form in the United States during the late 1940’s to the 1950’s. It combinedAfro-American forms such as the blues, jump blues, jazz, and gospel music with the Western swing and country music. The lead instruments were the piano and saxophone, but these were eventually replaced by modern instruments. In its classic form, rock and roll employed one or two electric guitars (lead, rhythm), a string bass or bass guitar, and a set of drums that provided the rhythmic pattern. This form cameduring the age oftechnological change when electricguitars were supplemented by amplifiers and microphones to raise the volume. It derived its name from the mot of a sonhip on the ocean, “rock and roll.” The greatest exponent of the rock and roll style was the legendary Elvis Presley. His hit songs such as Heartbreak Hotel and Blue Suede Shoes were complemented byhis good looks and elaborate movements that included hugging the microphone as he sang. Presley’s style was the precursor of the British band known as The Beatles, whose compositions further boosted rock and roll as the favorite genre of the times. Examples of The Beatles’ songs in this genre are I Saw Her Standing There, Get Back, While My Guitar Gently Weeps, Rock and Roll Music, and Ticket to Ride. Matt Monroe Elvis Presley The Beatles All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 71 The Beatles’ John Lenon and Paul McCartney as Composers/Songwriters John Lennon (1940-1980) was an English musician, singer, performer, songwriter and co-songwriter. He was born and raised in Liverpool, England. He rose to worldwide fame as a founder member of the rock band The Beatles, which was considered as “the most commercially successful band in the history of popular music.” Lennon formed as songwriting partnership with Paul McCartney, which is considered as “one of the most celebrated songwriting partnerships of the 20th century.” Lennon’s hit compositions for the Beatles include Strawberry Fields Forever, Help, In My Life, Tomorrow Never Knows, Rain, Norwegian Road, I am the Walrus, Come Together, You’ve Got to Hide Your Love Away, and Happiness is a Warm Gun. When The Beatles disbanded in 1970, Lennon embarked on a solo career. Among his solo top billboard hits include Imagine, Mind Games, Power to the People, Dream, Nobody Told Me, Watching the Wheels, Woman, Whatever Gets You Through the Night, and Instant Karma. In 2002, according to a BBC poll on the 100 Greatest Britons, John was voted in eighth place. In 2008, Rolling Stone Magazine ranked him the “fifth-greatest singer of all time.” He was posthumously inducted into the Songwriters Hall of Fame in 1987; and into the Rock and Roll Hall of Fame twice as a member of The Beatles in 1988 and as a solo artist in 1994. Sir James Paul McCartney (1942- ) is an English singer, songwriter, multi-instrumentalist, co-writer, and composer. Paul gained worldwide popularity and fame as a member of The Beatles, which included John Lennon, George Harrison, and Ringo Starr. Beatles was one of the most influential groups in the history of pop music. The songwriting partnership with Lennon for the Beatles is one of the most celebrated of the 20th century. McCartney has been “recognized as one of the most successful composers and performers of all time, with 60 gold discs and sales of over 100 million albums and 100 million singles of his work with the Beatles and as a solo artist.” It has been known that more than 2,200 artists have covered his Beatles song Yesterday, which is more than any other copyrighted song in history. McCartney was a two-time inductee into the Rock and Roll Hall of Fame as a member of The Beatles in 1988, and as a solo artist in 1999. He is a 21-time GrammyAward winner All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 72 having won both individually and with The Beatles. He has written or co-written 32 songs that have reached number one on the Billboard Hot 100. As of 2014, McCartney had sold more than “15.5 million RIAA-certified units” in the United States. He was knighted in England for his services to music. His top hit compositions for The Beatles include Hey Jude; Fool on the Hill; I’ll Follow the Sun; I Will; I Saw Her Standing There; All My Loving; Paperback Writer; Michelle; Eleanor Rigby; We Can Work It Out; And I Love Her; Here, There, and Everywhere; Penny Lane; and others. DISCO The 1970s saw the rise of another form of pop music known as “disco.” Disco music pertained to rock music that was more danceable, thus leading to the establishment of venues for public dancing also called discos. The term originated from the French word “discotheque” which means a library for phonograph records. The disco style had a soaring and reverberating sound rhythmically controlled by a steady beat (usually meter) for ease of dancing, and accompanied by strings, horns, electric guitars, and electric pianos or synthesizers. Famous figures of the disco genre include ABBA, DonnaSummer (“The Queen ofDisco”),The Bee Gees; Earth, Wind, and Fire; KC and the Sunshine Band; The Village People; and Gloria Gaynor, bringing us such hits as Dancing Queen, Stayin’Alive, Boogie Wonderland, and Hot Stuff. 4 4 The Bee Gees ABBA Donna Summer Earth, Wind, and Fire All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 73 POP MUSIC Parallel with the disco era, other pop music superstars continued to emerge. Among them were Neil Sedaka (Laughter in the Rain), Diana Ross and the Supremes (Stop in the Name of Love), Olivia Newton John (Hopelessly Devoted to You), Stevie Wonder (You Are the Sunshine of My Life), Elton John (Skyline Pigeon), The Carpenters (We’ve Only Just Begun), and Barry Manilow (Mandy). Pop superstars in more recent years include solor artists Celine Dion (My Heart Will Go On), Madonna (Material Girl), Whitney Houston (I Will Always Love You), Mariah Carey(Hero), Justin Timberlake (Justified), Britney Spears (Oops, I Did It Again), Beyonce (Irreplaceable), Lady Gaga (Bad Romance), and Bruno Mars (Just The Way You Are); as well as vocal groups such as Boyz II Men (Four Seasons of Loneliness), The Backstreet Boys (I Want It That Way), N’Sync (This I Promise You), Destiny’s Child (Survivor), among many others. Michael Jackson, “The King of Pop” Perhaps the most popular solo performer of all time is Michael Joseph Jackson who was born on August 29, 1958 and died on June 25, 2009. He was an American recording artist, entertainer, singer-songwriter, record producer, musical arranger, dancer, choreographer, actor, businessman, and philanthropist. The seventh child of the Jackson family, he made his debut as an entertainer in 1968 as a member of The Jackson 5. He then began a solo career in 1971 while still a member of the group and was referred to as the "King of Pop" in subsequent years. Jackson's 1982 album Thriller remains the world's best-selling album of all time, and four of his other solo studio albums are among the world's best-selling records: Off the Wall (1979), Bad (1987), Dangerous (1991), and HIStory (1995). In the early 1980s, he became a dominant figure inAmerican popular music and culture. He was the first African American entertainer to amass a strong crossover following on MTV. The popularity of his music videos airing on MTV, such as Beat It, Billie Jean, and Thriller—widely credited with transforming the music video from a promotional tool into an art form—helped bring the relatively new channel to fame. Videos such as Black or White and Scream made Jackson an enduring staple on MTV in the 1990s. Diana Ross and the Supremes All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 74 With stage performances and music videos, Jackson popularized a number of physically complicated dance techniques, such as the “robot” and the “moonwalk.” His distinctive musical sound and vocal style influenced many hip hop, pop music, and contemporary R&B artists across several generations world-wide. Jackson donated and raised millions of dollars for beneficial causes through his “Heal the World Foundation,” charity singles, and support of 39 charities. One of the few artists to have been inducted into the Rock and Roll Hall of Fame twice, his other achievements include “Multiple Guinness World Records”—including one for "Most Successful Entertainer ofAll Time"—13 GrammyAwards, 13 number one singles in his solo career, and the sale of 750 million records worldwide. Jackson is one of the world’s most famous artists because of his highly successful career which made him a part of popular culture for nearly four decades. At the time of his death, Jackson was preparing for “This Is It,” a series of 50 concerts that would have been held at The O2 arena in London beginning July 13, 2009, and a world tour to follow after the series of concerts. After Michael Jackson's death, Billboard's entire top nine positions on Billboard's Top Pop Catalog Albums chart housed Jackson- related titles on July 1, 2009. Today’s Pop Music Idols As the21st centurycontinues to unfold, more and more pop groups emerge spanning an entire range of musical styles and genres. There aremusic groups like Black Eyed Peas, K Pop (Korean), MyChemical Romance, Fall Out Boys, The Red Jumpsuit Apparatus, Souja Boy, Train, Maroon 5, and One Direction. While solo performers includeAdele, Taylor Swift, Ed Sheeran, Rihanna, Chris Brown, Ariana Grande, Justin Beiber, Miley Cyrus, Katy Perry, Nikki Minaj, Selena Gomez, and others. One Direction Rihanna Ed Sheeran HIP HOPAND RAP Hip hop music is a stylized, highly rhythmic type of music that usually (but not always) includes portions of rhytmically chanted words called “rap.” In rapping, the artist speaks All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 75 ALTERNATIVE MUSIC 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. Thus, it was known for its unconventional practices such as distorted guitar sounds, oppressive lyrics, and defiant attitudes. It was also characterized by high energy levels that bred new styles such as new wave, punk rock, post-punk, indie rock, gothic rock, jangle pop, noise pop, C86, Madchester, Industrial Rock, and Shoegazing. Examples of alternative music are You Belong with Me, Shake It Off. WHAT TO KNOW 1. Brieflydescribe the historical and cultural background ofAfrican, LatinAmerican, jazz, and popular music. 2. Analyze the musical characteristics ofAfrican, LatinAmerican, jazz, and popular music. 3. How did the following music reflect life in their respective cultures and the conditions at that time? a. African music – maracatu, blues, soul, spiritual, call and response b. Latin American Music – cumbia, tango, cha cha, rumba, bossa nova, reggae, foxtrot, paso doble c. Jazz – ragtime, big band, bebop, jazz rock d. Popular music – ballads, standards, rock and roll, disco, pop, hip hop and rap, alternative music along with an instrumental or synthesized beat. Hip hop arose in the 1970s within theAfro-American and Latino youth in the Bronx area of New York City. But by the 1980s, it had spread to many other countries. It has since evolved into a subculture that encompasses music (rapping, DJing, scratching, and beatboxing);a nearlyacrobatic styleofdancing, called break dancing; a distinct manner of dress; and graffiti-style artwork. Among the early hip hop artists were LL Cool J and Run-D.M.C. Whilemore recent popular names in this genre have been Beastie Boys, Eminem, and Kanye West. Eminem Kanye West All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 76 PHILIPPINE POPULAR MUSIC 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. In the 1960s to 1970s, NoraAunor, Pilita Corrales, Eddie Peregrina, Victor Wood,Asin, APO Hiking Society, and others were highly popular OPM singers. In the 1970s to 1980s, the major commercial Philippine pop music artists were Claire dela Fuente, Didith Reyes, Rico Puno, Ryan Cayabyab, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Rey Valera, Freddie Aguilar, Imelda Papin, Eva Eugenio, Nonoy Zuñiga, and many others. ORIGINAL PILIPINO MUSIC (OPM) 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) Most of these compositions made use of Western-type melody and harmony, while expressing uniquely Filipino emotions in movinglypoetic lyrics. These came to be known as OPM, and were popularized by solo artists like Pilita Corales, Nora Aunor, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Leah Navarro, Sharon Cuneta, Martin Nievera, Gary Valenciano, ZsaZsa Padilla, Regine Velasquez, and OgieAlcasid. At the start, OPM was centered in Manila, where Tagalog and English are the dominant languages. However, other ethno-linguistic groups such as the Visayan, Bikol, Kapampangan, and Ilocano also began to sing and record their songs in their native dialects. Ryan Cayabyab George Canseco All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 77 Between the 1980s and 1990s, OPM was led by artists such as Martin Nievera, Gary Valenciano, Lea Salonga, Regine Velasquez, Sharon Cuneta, Vina Morales, Raymond Lauchengco, Francis Magalona, Pops Fernandez, José Mari Chan, DingdongAvanzado, Janno Gibbs, OgieAlcasid, JoeyAlbert, Manilyn Reynes, among many others. In the 1990s, the famous solo artists and bands included The Eraserheads, Smokey Mountain, Donna Cruz, Jessa Zaragoza,Ariel Rivera, Southborder,Afterimage,Andrew E., Jaya, Rivermaya, Parokya ni Edgar, among many others. Underground bands emerged and along with them were their perceptions of idealism and self-expression. More recently, OPM stars have included Yeng Constantino, Sarah Geronimo, Aisa Seguerra, and international singersArnel Pineda(of the international rock group, Journey), Charice Pempengco, and others. 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. Rico J. Puno Gary Valenciano Martin Nievera Sarah Geronimo Arnel Pineda Charice All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 78 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 RomyKatindig 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. The start of the “Manila Sound” in the mid-1970s gave rise to songs using a colloquial language called Taglish, a combination of Tagalog and English. These Filipino lyrics sung to pop melodies resulted in highly singable songs with contemporary appeal. Among the proponents of the Manila Sound were the Hotdog, Cinderella,TheRainmakers, and the Apo Hiking Society. After waning briefly in the 1990’s, this sound regained popularity in recent years with remakes of the 1970’s originals by contemporary rock bands. Hotdog (above) and The Apo Hiking Society (right) Bobby Enriquez Lito Molina and the Jazz Friends Eddie Katindig All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 79 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 bythe legendaryJuan dela Cruz Band (with their song Ang Himig Natin) which had for its members Joey “Pepe” Smith, Wally Gonzales, and the originator of Jeproks, Mike Hanopol, who later became a major symbol of Pinoy rock. Other early exponents of Pinoy rock included the band Maria Cafra; Sampaguita, the female rocker; 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 groups and bands that include River Maya, The Dawn, True Faith, The Eraserheads, Wolfgang, Bamboo, Parokya ni Edgar, Hale, Sandwich, SugarFree, Sponge Cola,and others. PHILIPPINE ALTERNATIVE FOLK MUSIC The Philippines also saw the rise ofalternative 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”). Among other Filipino composers whose styles ranged from folk to semi-ethnic werewere 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. Juan de la Cruz Band Freddie Aguilar Parokya ni Edgar Bamboo All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 80 PINOY RAP In the Philippines, rap was also made popular by such composers and performers as Francis Magalona (Mga Kababayan Ko and Watawat) and Andrew E (Humanap Ka ng Pangit). Francis Magalona was born on October 4, 1964 and died on March 6, 2009. He is also known as FrancisM, “Master Rapper,” and “The Man From Manila.” He was a Filipino rapper, songwriter, producer, actor, director, television host, and photographer. He is often hailed as the “King of Pinoy Rap” and is considered a legend in the Philippine music community. With the success of his earliest albums, Magalona was the first Filipino rapper to cross over to the mainstream. He is also credited for having pioneered the merging of rap with Pinoy rock, becoming a significant influence on artists in that genre as well. He was later awarded a posthumous Presidential Medal of Merit “for his musical and artistic brilliance, his deep faith in the Filipino, and his sense of national pride that continue to inspire us.” Pop Music Collaborations Philippine pop artists have also collaborated with classical artists and orchestras in a number of their recordings and concerts. Some of the concerts of Martin Nievera, Gary Valenciano, Regine Velazquez, Lea Salonga, and Sharon Cuneta have featured the Philippine Philharmonic Orchestra, theABS-CBN Orchestra, and the Manila Philharmonic Orchestra in performances at the Cultural Center of the Philippines (CCP) and the PhilippineInternational ConventionCenter (PICC), both known venues forclassical music, as well as at theAraneta Coliseum and FolkArts Theater (FAT). Classical musicians have also performed in malls and othercommercial venues to popularizeclassical music, popular music, and OPM. SUMMARY From theater tunes to rock and roll, pop, standards, hip hop, rap, and contemporary ballads—whether in theWest, in the Philippines, or anywhere else in the world—these all provided a rich and diverse musical background in the development of Philippine contemporary music. The development of Philippine music was also influenced by the history of the country—from its pre-Spanish roots, through the Spanish and American periods, up to the present. It has since evolved to have its own rich and distinct identity. Francis Magalona All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 81 WHAT TO KNOW 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 playin the development of these different musical genres? 4. Describe the “Manila Sound” in Philippine pop music. 5. Name some well-known OPM performers. WHAT TO PROCESS Class Activity 1. Your teacher will play one recording of each of the following: African Music, LatinAmerican Music, Jazz, Popular Music (standards, rock and roll, disco), and OPM (ballad, Pinoy rock, Pinoy rap). Listen carefully to each recording. 2. Participate in a class discussion on the distinctive features and qualities of each musical genre and style. WHAT TO UNDERSTAND Activity 1: Making Improvised African and Latin American Instruments Individual or Group Activity 1. Make improvisedAfrican or LatinAmerican instruments using dried vegetables, animal hide, wood, strips of roofing metal, tin cans, bamboo, etc. 2. Create a rhythmic/harmonic accompaniment for any song you know using these improvisedAfrican or LatinAmerican instrument. 3. How did you relate in making improvised African or Latin American musical instruments found in the environment? Activity 2: Choreography to Express the Music Individual or Group Activity 1. Conceptualize a choreography to show some dance steps set to the following music: a. African b. LatinAmerican All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 82 c. Jazz d. Popular (Pop) Music e. OPM 2. How does it feel to conceptualize the dance movements in each music category? WHAT TO PERFORM Group Activities 1. 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 singa song from oneof the following musical genres: For African Music - choose from Kumbaya, Waka Waka, or Mbube For Latin-American music - One Note Samba For Jazz - choose from Someone to Watch Over Me by Ella Fritzgerald or All That Jazz from the movie Chicago For Pop and OPM - choose your own song. 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. 2. Dance Interaction a. As your group performs in class, invite the other class members to join you in the dance movements or choreography that you have prepared. b. Do an impromptu selection of “Best Dance Performance” among your classmates. 3. Music Video Award a. During the class performance, the assigned group member(s) will record your group’s performance using a mobile phone, tablet, or video camera. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 83 Kum-ba-ya Kum-bay-ya is a spiritual song that was first recorded in the 1920s. It became a popular standard campfire song in Girl or Boy Scouting and during summer camps. The song is originally a simple petition to God to come and help those in need. This inspiring hymn is heard in many countries of Central Africa. It has great personal meaning and the singer often creates his own words as he works or pray. The words “Kum Bay Ya” mean “come by here” or “stay nearby.” Kum bay ya, my Lord, kum bay ya; Kum bay ya, my Lord, kum bay ya; Kum bay ya, my Lord, kum bay ya O Lord, kum bay ya. Someone’s laughing, my Lord, kum bay ya Someone’s laughing, my Lord, kum bay ya Someone’s laughing, my Lord, kum bay ya O Lord, kum bay ya. Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya O Lord, kum bay ya. Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya O Lord, kum bay ya. Someone’s singing, my Lord, kum bay ya Someone’s singing, my Lord, kum bay ya Someone’s singing, my Lord, kum bay ya O Lord, kum bay ya. b. Simulate a “Music Video Award” event by joining the other groups in presenting your respective videos in class. c. The class members will choose the “Best Song Performance” based on how well the group presented their assigned music genre. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 84 One Note Samba Samba de Uma Nota Só ("One-Note Samba") is a song composed by Antonio Carlos Jobim, with Portuguese lyrics by Newton Mendonça and English lyrics by Jobim. The song title refers to the main melody line, which at first consists of a long series of notes of a single tone. This is just a little samba Built upon a single note Other notes are bound to follow But the root is still that note Now this new note is the consequence Of the one we've just been through As I'm bound to be The unavoidable consequence of you There's so many people Who can talk and talk, and talk And just say nothing Or nearly nothing You're a good soldier Choosing your battles Pick yourself up And dust yourself off And back in the saddle You're on the frontline Everyone's watching Waka Waka (This Time forAfrica) FIFAWorld Cup 2010 OfficialAnthem "Waka Waka (This Time for Africa)" or in Spanish, "Waka Waka (Esto es África)" is asong byColombian singer-songwriterShakira. It feautures South African band, Freshlyground, and pairs an African Colombian rhythm with a Soca-inspired beat. Its lyrics encourage one to aim for one’s goals, like a soldier on a battlefield. The song was used as the official song of the 2010 FIFAWorld Cup held in South Africa. You know it's serious We're getting closer This isn’t over The pressure is on You feel it But you've got it all Believe it All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 85 I have used up all the scale I know and at the end I've come to nothing I mean nothing So I come back to my first note As I come back to you I will pour into that one note All the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know So I come back to my first note I must come back to you I will pour into that one note All the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know Someone To Watch Over Me There's a saying old, says that love is blind Still we're often told, "Seek and ye shall find" So I'm going to seek a certain lad I've had in mind Looking everywhere, haven't found him yet He's the big affair I cannot forget Only man I ever think of with regret I'd like to add his initial to my monogram Tell me, where is the shepherd for this lost lamb? All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY MUSIC  Quarter II 86 There's a somebody I'm longin' to see I hope that he, turns out to be Someone who'll watch over me I'm a little lamb who's lost in the wood I know I could, always be good To one who'll watch over me Although he may not be the man some Girls think of as handsome To my heart he carries the key Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me Someone to watch over me Evaluation of Performing Activities Rating scale: 5 = Very Good 2 = Poor 4 = Good 1 = Needs Follow-up 3 = Fair Rate scores are based on the groups’ performance quality. 1. How well did our group perform our assigned music? a. African Music _______________ b. LatinAmerican Music _______________ c. Jazz _______________ d. Pop Music / OPM _______________ 2 How well can I identify the different musical genres based on instrumentation, melody, rhythm, text, timbre, harmony, and purpose? _______________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
DEPED COPY Afro-Latin American and Popular Music 87 3. How well can I describe the characteristics of each genre as I listened to the melody, harmony, rhythm, and lyrics? _______________ 4. 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. LatinAmerican Music _______________ c. Jazz _______________ d. Popular / Pop Music _______________ e. 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%) _______________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

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Lm music grade10_q2

  • 1.
    DEPED COPY Quarter II:AFRO-LATIN AMERICAN AND POPULAR MUSIC CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of Afro-Latin American music and Popular music. PERFORMANCE STANDARDS The learner... 1. Performs vocal and dance forms of Afro-Latin American music and selections of Popular music. LEARNING COMPETENCIES The learner... 1. Observes dance styles, instruments, and rhythms of Afro Latin American and popular music through video, movies and live performances. 2. Describes the historical and cultural background of Afro-Latin American and popular music. 3. Listens perceptively to Afro-Latin American and popular music. 4. Dances to different selected styles ofAfro-LatinAmerican and popular music. 5. Analyzes musical characteristics ofAfro-LatinAmerican and popular music. 6. Sings selections of Afro-Latin American and popular music in appropriate pitch, rhythm, style, and expression. 7. Explores ways of creating sounds on a variety of sources suitable to chosen vocal and instrumental selections. 8. Improvises simple vocal/instrumental accompaniments to selected songs. 9. Choreographs a chosen dance music. 10. Evaluates music and music performances using knowledge of musical elements and style. From the Department of Education curriculum for MUSIC Grade 10 (2014) 37 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 2.
    DEPED COPY MUSIC Quarter II 38 MUSIC OFAFRICA Music has always been an important part in the daily life of theAfrican, whether for work, religion, ceremonies, or even communication. Singing, dancing, hand clapping and the beating of drums are essential to many African ceremonies, including those for birth, death, initiation, marriage, and funerals. Music and danceare also important to religious expression and political events. However, because of its wide influences on global music that has permeated contemporary American, Latin American, and European styles, there has been a growing interest in its own cultural heritage and musical sources. Of particular subjects of researches are its rhythmic structures and spiritual characteristics that have led to the birth of jazz forms. African music has been a collective result from the cultural and musical diversity of the more than 50 countries of the continent. The organization of this continent is a colonial legacy from European rule of the different nations up to the end of the 19th century, whosevastness has enabled it to incorporateits music with language, environment, political developments, immigration, and cultural diversity. TRADITIONAL MUSIC OFAFRICA African traditional music is largely functional in nature, used primarily in ceremonial rites, such as birth, death, marriage, succession, worship, and spirit invocations. Others are work related or social in nature, while many traditional societies view their music as entertainment. Ithas abasicallyinterlockingstructural format, due mainlyto its overlapping and dense textural characteristics as well as its rhythmic complexity. Its many sources of stylistic influence have produced varied characteristics and genres. Some Types of African Music Afrobeat Afrobeat is a term used to describe the fusion of WestAfrican with blackAmerican music. Apala (Akpala) Apala 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. Percussion instrumentation includes the rattle (sekere), thumb piano (agidigbo), bell (agogo), and two or three talking drums. Yoruba Apala Musicians All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 3.
    DEPED COPY Afro-Latin Americanand Popular Music 39 Axe Axe is a popular musical genre from Salvador, Bahia, and Brazil. It fuses the Afro- Caribbean styles of the marcha, reggae, and calypso. Jit Jit is a hard and fast percussive Zimbabwean dance music played on drums with guitar accompaniment, influenced by mbira-based guitar styles. Jive Jive is a popular form of South African music featuring a lively and uninhibited variation of the jitterbug, a form of swing dance. Juju Juju is a popular music style from Nigeria that relies on the traditional Yoruba rhythms, where the instruments in Juju are more Western in origin. A drum kit, keyboard, pedal steel guitar, and accordion are used along with the traditional dun-dun (talking drum or squeeze drum). All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 4.
    DEPED COPY MUSIC Quarter II 40 Kwassa Kwassa Kwassa Kwassa is a dance style begun in Zaire in the late 1980’s, popularized by Kanda Bongo Man. In this dance style, the hips move back and forth while the arms move following the hips. Marabi Marabi is a South African three-chord township music of the 1930s-1960s which evolved into African Jazz. Possessing a keyboard style combining American jazz, ragtime and blues withAfrican roots, it is characterized by simple chords in varying vamping patterns and repetitive harmony over an extended period of time to allow the dancers more time on the dance floor. LATIN AMERICAN MUSIC INFLUENCED BYAFRICAN MUSIC Reggae Reggae is a Jamaican sound dominated by bass guitar and drums. It refers to a particular music style that was strongly influenced by traditional mento and calypso music, as well asAmerican jazz, and rhythm and blues. The most recognizable musical elements of reggae are its offbeat rhythm and staccato chords. Salsa Salsa music is Cuban, Puerto Rican, and Colombian dance music. It comprises various musical genres including the Cuban son montuno, guaracha, chachacha, mambo and bolero. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 5.
    DEPED COPY Afro-Latin Americanand Popular Music 41 Samba Samba is the basic underlying rhythm that typifies most Brazilian music. It is a lively and rhythmical dance and music with three steps to every bar, making the Samba feel like a timed dance. There is a set of dances—rather than a single dance—that define the Samba dancing scene in Brazil. Thus, no one dance can be claimed with certaintyas the “original” Samba style. Soca Soca is a modern Trinidadian and Tobago pop music combining “soul” and “calypso” music. Were This is Muslim music performed often as a wake-up call for early breakfast and prayers during Ramadan celebrations. Relying on pre-arranged music, it fuses the African and European music styles with particular usage of the natural harmonic series. Zouk Zouk is fast, carnival-like hythmic music, from the Creole slang word for ‘party,’originating in the Carribean Islands of Guadaloupe and Martinique and popularized in the 1980’s. It has a pulsating beat supplied by the gwo ka and tambour bele drums, a tibwa rhythmic pattern played on the rim of the snare drum and its hi-hat, rhythm guitar, a horn section, and keyboard synthesizers. 4 4 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 6.
    DEPED COPY MUSIC Quarter II 42 VOCAL FORMS OF AFRICAN MUSIC Maracatu Maracatu first surfaced in the African state of Pernambuco, combining the strong rhythms of African percussion instruments with Portuguese melodies. The maracatu groups were called “nacoes” (nations) who paraded with a drumming ensemble numbering up to 100, accompanied by a singer, chorus, and a coterie of dancers. Musical instruments used in Maracatu The Maracatu uses mostly percussion instruments such as the alfaia, tarol and caixa-de- guerra, gongue, agbe, and miniero. The alfaia is a large wooden drum that is rope-tuned, complemented by the tarol which is a shallow snare drum and the caixa-de-guerra which is a war-like snare. Providing the clanging sound is the gongue, a metal cowbell. The shakers are represented by the agbe, a gourd shaker covered by beads, and the miniero or ganza, a metal cylindrical shaker filled with metal shot or small dried seeds called “Lagrima fre Nossa Senhora.” Maracatu dance Alfaia Drum Agbe Sakere Miniero or GanzaCaixa Gongue Tarol All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 7.
    DEPED COPY Afro-Latin Americanand Popular Music 43 Blues The blues is a musical form of the late 19th century that has had deep roots in African- American communities. These communities are located in the so-called “Deep South” of the United States. The slaves and their descendants used to sing as they worked in the cotton and vegetable fields. The notes of the blues create an expressive and soulful sound. The feelings that are evoked are normally associated with slight degrees of misfortune, lost love, frustration, or loneliness. From ecstatic joy to deep sadness, the blues can communicate various emotions more effectively than other musical forms. Noted performers of the Rhythm and Blues genre are Ray Charles, James Brown, Cab Calloway, Aretha Franklin, and John Lee Hooker; as well as B.B. King, Bo Diddley, Erykah Badu, Eric Clapton, Steve Winwood, CharlieMusselwhite, BluesTraveler, Jimmie Vaughan, and Jeff Baxter. Examples of blues music are the following: Early Mornin’, A House is Not a Home and Billie’s Blues. Soul Soul music was a popular music genre of the 1950’s and 1960’s. It originated in the United States. It combines elements ofAfrican-American gospel music, rhythm and blues, and often jazz. The catchy rhythms are accompanied by handclaps and extemporaneous body moves which are among its important features. Other characteristics include “call and response” between the soloist and the chorus, and an especially tense and powerful vocal sound. Some important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, and Etta James. Ray Charles and Little Richard (who inspired Otis Redding) and James Brown were equally influential. Brown was known as the “Godfather of Soul,” while Sam Cooke and Jackie Wilson are also often acknowledged as “soul forefathers.” Examples of soul music are the following: Ain’t No Mountain High Enough, Ben, All I Could Do is Cry, Soul to Soul, and Becha by Golly, Wow. Ray Charles James Brown Etta James All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 8.
    DEPED COPY MUSIC Quarter II 44 Spiritual The term spiritual, normally associated with a deeply religious person, refers here to a Negro spiritual, a song form byAfrican migrants toAmerica who became enslaved by its white communities. This musical form became their outlet to vent their loneliness and anger, and is a result of the interaction of music and religion from Africa with that of America.Thetexts are mainlyreligious, sometimes taken from psalmsof Biblical passages, while the music utilizes deep bass voices. The vocal inflections, Negro accents, and dramatic dynamicchanges add to themusical interest and effectiveness of the performance. Examples of spiritual music are the following: We are Climbing Jacob’s Ladder, Rock My Soul, When the Saints Go Marching In, and Peace Be Still. Call and Response The call and response method is a succession of two distinct musical phrases usually rendered by different musicians, where the second phrase acts as a direct commentary on or response to the first. Much like the question and answer sequence in human communication, it also forms a strong resemblance to the verse-chorus form in many vocal compositions. Examples of call and response songs are the following: Mannish Boy, one of the signature songs by MuddyWaters; and School Day - Ring, Ring Goes the Bell by Chuck Berry. WHAT TO KNOW 1. Which African music is usually heard on the radios today? 2. Among the types ofAfrican music, which is usually known as a type of music that has originated from Brazil? 3. Which type of music was popularized by Bob Marley? 4. What is the music that is a New York Puerto Rican adaptation of Afro-Cuban music? 5. What are the different musical instruments included in the maracatu? All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 9.
    DEPED COPY Afro-Latin Americanand Popular Music 45 MUSICAL INSTRUMENTS OFAFRICA African music includes all the major instrumental genres of western music, including strings, winds, and percussion, along with a tremendous variety of specificAfrican musical instruments for solo or ensemble playing. Classification of Traditional African Instruments A. Idiophones These are percussion instruments that are either struck with a mallet or against one another. 1. Balafon - The balafon is a West African xylophone. It is a pitched percussion instrument with bars made from logs or bamboo. ThexylophoneisoriginallyanAsian instrument that follows the structure of a piano. It came from Madagascar to Africa, then to the Americas and Europe. 2. Rattles - Rattles are made of seashells, tin, basketry, animal hoofs, horn, wood, metal bells, cocoons, palm kernels, or tortoise shells. These rattling vessels may range from single to several objects that are either joined or suspended in such a way as they hit each other. 3. Agogo - The agogo is a single bell or multiple bells that had its origins in traditional Yoruba music and also in thesamba baterias (percussion) ensembles. The agogo may be called “the oldest samba instrument based on West African Yoruba single or double bells.” It has the highest pitch of any of the bateria instruments. 4. Atingting Kon - These are slit gongs used to communicate between villages.Theywere carved out of wood to resemble ancestors and had a “slit opening” at the bottom. In certain cases, their sound could carry for miles through the forest and even across water to neighboring islands.Aseries of gong “languages” were composed of beats and pauses, making it possible to send highly specific messages. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 10.
    DEPED COPY MUSIC Quarter II 46 7. Shekere - The shekere is a type of gourd and shell megaphonefrom West Africa, consisting of a dried gourd with beads woven into a net covering the gourd. Theagbe is another gourd drum with cowrie shells usually strung with white cotton thread. The axatse is a small gourd, held by the neck and placed between hand and leg. 8. Rasp - A rasp, or scraper, is a hand percussion instrument whose sound is produced by scraping the notches on a piece of wood (sometimes elaborately carved) with a stick, creating a series of rattling effects. Gourd shekere 5. Slit drum - The slit drum is a hollow percussion instrument. Although known as a drum, it is not a true drum but is an idiophone. It is usuallycarved or constructed from bamboo or wood into a box with one or more slits in the top. Most slit drums have one slit, though two and three slits (cut into the shape of an “H”) occur. If the resultant tongues are different in width or thicknesses, the drum will produce two different pitches. 6. Djembe - The West Africandjembe (pronounced zhem-bay) is one of the best-known African drums is. It is shaped like a large goblet and played with bare hands. The body is carved from a hollowed trunk and is covered in goat skin. Log drums come in different shapes and sizes as well: tubular drums, bowl-shaped drums, and friction drums. Some have one head, others have two heads. The bigger the drum, the lower the tone or pitch. The more tension in the drum head, the higher the tone produced.These drums are played using hands or sticks or both; and sometimes have rattling metal and jingles attached to the outside or seeds and beads placed inside the drum. They are sometimes held under the armpit or with a sling. Antique wooden rasp All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 11.
    DEPED COPY Afro-Latin Americanand Popular Music 47 Luna B. Membranophones Membranophones are instruments which have vibrating animal membranes used in drums. Their shapes may be conical, cylindrical, barrel, hour-glass, globular, or kettle, and are played with sticks, hands, or a combination of both.African drums are usuallycarved from a single wooden log, and mayalso be made from ceramics, gourds, tin cans, and oil drums. Examples of these are found in the different localities – entenga (Ganda), dundun (Yoruba), atumpan (Akan), and ngoma (Shona), while some are constructed with wooden staves and hoops. 1. Body percussion - Africans frequently use their bodies as musical instruments.Aside from their voices, where manyof them are superb singers, the body also serves as a drum as people clap their hands, slap their thighs, pound their upper arms or chests, or shuffle their feet. This bodypercussion creates exciting rhythms which also stir them to action. Moreover, the wearing of rattles or bells on their wrists, ankles, arms, and waists enhances their emotional response. 2. Talking drum - The talking drum is used to send messages to announce births, deaths, marriages, sporting events, dances, initiation, or war. Sometimes it may also contain gossip or jokes. It is believed that the drums can carry direct messages to the spirits after the death of a loved one. However, learning to play messages on drums is extremely difficult, resulting in its waning popularity.An example of the talking drum is the luna. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 12.
    DEPED COPY MUSIC Quarter II 48 C. Lamellaphone One of the most popular African percussion instruments is the lamellaphone, which is a set of plucked tongues or keys mounted on a sound board. It is known bydifferent names accordingto the regions such as mbira, karimba, kisaanj, and likembe. Mbira (hand piano or thumb piano) -The thumb piano or finger xylophone is of African origin and is used throughout the continent. It consists of a wooden board with attached staggered metal tines (a series of wooden, metal, or rattan tongues), plus an additional resonator to increase its volume. It is played by holding the instrument in the hands and plucking the tines with the thumbs, producing a soft plucked sound. D. Chordophones Chordophones are instruments which produce sounds from thevibration of strings. These include bows, harps, lutes, zithers, and lyres of various sizes. 1. Musical bow - The musical bow is the ancestor of all string instruments. It is the oldest and one of the most widely-used string instruments of Africa. It consists of a single string attached to each end of a curved stick, similar to a bow and arrow. The string is either plucked or struck with another stick, producing a per-cussive yet delicate sound. The earth bow, the mouth bow, and the resonator-bow are the principal types of musical bows. The earth bow, ground bow, or pit harp consist of a hole in the ground, a piece of flexible wood and a piece of chord. The musician plucks the taut string to accompany his singing. When the half gourd is not buried, the performer holds the instrument very tightly under his knee flat side down, so that the chord puts enough tension on the wood to bend it into the shape of a hunting bow. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 13.
    DEPED COPY Afro-Latin Americanand Popular Music 49 A more advanced form of ground bow is made from a log, half a gourd, a flat piece of wood, and cord. The wooden strip is driven firmlyinto one end of the log and the half gourd is fastened to the log about 2 feet away from the wooden strip. The cord, fastened from the wooden strip to the gourd, is stretched so tightly into the shape of a bow. The player holds the instrument on the ground by placing one leg across the log between the resonating gourd and the wooden strip. 2. Lute (konting, khalam, and the nkoni )- The lute, originating from the Arabic states, is shaped like the modern guitar and played in similar fashion. It has a resonating body, a neck, and one or more strings which stretch across the length of its body and neck. The player tunes the strings by tightening or loosening the pegs at the top of the lute’s neck. WestAfrican plucked lutes include the konting, khalam, and the nkoni. 3. Kora - The kora is Africa's most sophisticated harp, while also having features similar to a lute. Its body is made from a gourd or calabash.Asupport for the bridge is set across the opening and covered with a skin that is held in place with studs. The leather rings around the neck are used to tighten the 21 strings that givethe instrument a range of over three octaves. The kora is held upright and played with the fingers. 4. Zither - The zither is a stringed instrument with varying sizes and shapes whose strings are stretched along its body. Among the types of African zither are the raft or Inanga zither from Burundi, the tubular or Valiha zither from Malagasy, and the harp or Mvet zither from Cameroon. Nkoni Raft zither African kora All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 50 E. Aerophones Aerophones are instruments which are produced initially bytrapped vibrating air columns or which enclose a body of vibrating air. Flutes in various sizes and shapes, horns, panpipes, whistle types, gourd and shell megaphones, oboe, clarinet, animal horn and wooden trumpets fall under this category. 1. Flutes - Flutes are widely used throughout Africa and either vertical or side-blown. Theyare usually fashioned from a single tube closed at one end and blown like a bottle. Panpipes consist of cane pipes of different lengths tied in a row or in a bundle held together by wax or cord, and generally closed at the bottom. They are blown across the top, each providing a different note. Atenteben (Ghana) Fulani Flutes 5. Zeze - The zeze is an African fiddle played with a bow, a small wooden stick, or plucked with the fingers. It has one or two strings, made of steel or bicycle brake wire. It is from Sub-Saharan Africa. It is also known by the names tzetze and dzendze, izeze and endingidi; and on Madagascar is called lokanga (or lokango) voatavo. 2. Horns - Horns and trumpets, found almost everywhere in Africa, are commonly made from elephant tusks and animal horns. With their varied attractive shapes, these instruments are end-blown or side-blown and range in size from the small signal whistle of the southern cattle herders to the large ivory horns of the tribal chiefs of the interior. One trumpet variety, the wooden trumpet, maybe simple or artisticallycarved, sometimes resembling a crocodile’s head. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 51 Kudu horn - This is one type of horn made from the horn of the kudu antelope. It releases a mellow and warm sound that adds a unique African accent to the music. This instrument, which comes in aset of six horns, reflects the cross of musical traditions in Africa. Today, the kudu horn can also be seen in football matches, where fans blow it to cheer for their favourite teams. 3. Reed pipes - There are single-reed pipes made from hollow guinea corn or sorghum stems, where the reed is a flap partially cut from the stem near one end. It is the vibration of this reed that causes the air within the hollow instrument to vibrate, thus creating the sound. There are also cone-shaped double-reed instruments similar to the oboe or shawm. The most well-known is the rhaita or ghaita, an oboe-like double reed instrument from northwestAfrica. It is one of the primary instruments used by traditional music ensembles from Morocco. The rhaita was even featured in the Lord of the Rings soundtrack, specifically in the Mordor theme. 4. Whistles - Whistles found throughout the continent may be made of wood or other materials. Short pieces of horn serve as whistles, often with a short tube inserted into the mouthpiece. Clay can be molded into whistles of many shapes and forms and then baked. Pottery whistles are sometimes shaped in the form of a head, similar to the Aztec whistles of CentralAmerica and Mexico. 5. Trumpets - African trumpets are made of wood, metal, animal horns, elephant tusks, and gourds with skins from snakes, zebras, leopards, crocodiles and animal hide as ornaments to the instrument. They are mostly ceremonial in nature, often used to announce the arrival or departure of important guests. In religion and witchcraft, some tribes believe in the magical powers of trumpets to frighten away evil spirits, cure diseases, and protect warriors and hunters from harm. African whistle All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 52 African Musical Instruments from the Environment Many instruments ofAfrica are made from natural elements like wood, metal, animal, skin and horns, as well as improvised ones like tin cans and bottles. These are mainly used to provide rhythmic sounds, which are the most defining element ofAfrican music. Africans make musical instruments from the materials in the environment, like forest areas from where they make large wooden drums. Drums may also be made of clay, metal, tortoise shells, or gourds. Xylophones are made of lumber or bamboo, while flutes can be constructed wherever reeds or bamboo grow. Animal horns are used as trumpets while animal hides, lizard skins, and snake skins can function as decorations as well as provide the membranes for drum heads. Laces made of hides and skins are used for the strings of harps, fiddles, and lutes. On the other hand, bamboo was used to form the tongues of thumb pianos, the frames of stringed instruments, and stamping tubes. Strips of bamboo are even clashed together rhythmically. Gourds, seeds, stones, shells, palm leaves, and the hard-shelled fruit of the calabash tree are made into rattles. Ancient Africans even made musical instruments from human skulls decorated with human hair while singers use their body movements to accompany their singing. Modern Africans make use of recycled waste materials such as strips of roofing metal, empty oil drums, and tin cans. These people, bursting with rhythm, make music with everything and anything. At present, new materials that are more easily accessible, such as soda cans and bottles, are becoming increasingly important for the construction of percussion instruments. Some rhythmic instruments like scrapers, bells, and rattles also provide the pitch and timbre when played in an ensemble to provide contrasts in tone quality and character. WHAT TO KNOW 1. What are the classifications ofAfrican music? 2. What are the characteristics of each classification ofAfrican music? 3. Name someAfrican musical instruments under the following categories: a. idiophones b. chordophones c. membranophones d. aerophones 4. Describe how African musical instruments are sourced from the environment. Give examples. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 53 MUSIC OF LATIN AMERICA The music of Latin America is the product of three major influences – Indigenous, Spanish-Portuguese, and African. Sometimes called Latin music, it includes the countries that have had a colonial history from Spain and Portugal, divided into the following areas: a. Andean region (a mountain system of western South America along the Pacific coast from Venezuela to Tierra del Fuego) – Argentina, Bolivia, Chile, Ecuador, Peru, and Venezuela b. Central America – Belize, Costa Rica, El Salvador, Guatemala, Honduras, and Panama c. Carribean – Cuba, Dominican Republic, Guadeloupe, Haiti, Martinique, and Puerto Rico d. Brazil At the same time, because of the inter-racial cross breeding and migration, the above- named countries were also somewhat commonlypopulated byfive major ancestral groups as follows: a. Indian descendants ofthe original nativeAmericans who were the inhabitants of the region before the arrival of Christopher Columbus b. African descendants from Western and Central Africa c. European descendants mainly from Spain and Portugal but also including the French, Dutch, Italian, and British d. Asian descendants from China, Japan, India, and Indonesia/Java e. Mixed descendants from the above-named groups INFLUENCES ON LATIN AMERICAN MUSIC 1. Indigenous Latin-American Music Before the arrival of the Spanish, Portuguese, and other European colonizers, the natives were found to be using local drum and percussion instruments such as the guiro, maracas, and turtle shells, and wind instruments such as zampona (pan pipes) and quena (notched-end flutes) remain popular and are traditionally made out of the same aquatic canes, although PVC pipe is sometimes used due to its resistance to heat, cold, and humidity. Generally, quenas only are played during the dryseason. Materials came from hollow tree trunks, animal skins, fruit shells, dry seeds, cane and clay, hardwood trees, jaguar claws, animal and human bones, and specially-treated inflated eyes of tigers. Quena All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 54 Zampona Turtle shells Guiro The indigenous music of Latin America was largely functional in nature, being used for religious worship and ceremonies. The use of instruments as well as singing and dancing served to implore the gods for good harvest, victoryin battles, guard against sickness and natural disasters, and of course provide recreation. 2. Native American/Indian Music The ethnic and cultural groups of the principal native Americans share many similar yet distinctive music elements pertaining to melody, harmony, rhythm, form, and dynamics. Short musical motives from descending melodic lines were a common feature, where tempo, rhythm, and tone colors vary with the specific occasion or ritual. Many dance forms were repetitious, while songs had a wide range of volume levels. Some of the Native American music includes courtship songs, dancing songs, and popularAmerican or Canadian tunes like Amazing Grace, Dixie, Jambalaya, and Sugar Time. Many songs celebrate themes like harvest, planting season or other important times of year. 3. Afro-Latin American Music TheAfrican influence on LatinAmerican music is most pronounced in its rich and varied rhythmic patterns produced by the drums and various percussion instruments. Complex layering of rhythmic patterns was a favorite device, where Maracas All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 55 fast paced tempos add to the rhythmic density. Vocal music was often deep- chested while instrumental music greatlyrelied on resonant drums and sympathetic buzzers to produce rich sounds and occasional loud volume levels to reflect their intensity. 4. Euro-Latin American Music The different regions of LatinAmerica adopted various characteristics from their European colonizers. Melodies of the Renaissance period were used in Southern Chile and the Colombian Pacific coasts, while step-wise melodies were preferred in the heavilyHispanic and Moorish-influenced areas ofVenezuela and Colombia. Alternating dual meters, such as and , known as “sesquialtera” found in Chile and adopted in Cuba and Puerto Rico, were immortalized in the song I Wanna Be in America from Leonard Bernstein’s Broadway hit West Side Story. Other European influences were manifested in the texture of Euro-LatinAmerican music, from unaccompanied vocal solos to those accompanied by stringed instruments. 5. Mixed American Music The diversity of races and cultures from the Native Americans, Afro-Latin Americans, and Euro-LatinAmericans account for the richcombinations ofmusical elements including the melodic patterns, harmonic combinations, rhythmic complexities, wide range of colors and dynamics, and various structural formats. This musical fusion of LatinAmerica combining nativeinstruments with European counterparts and musical theories was further enriched bythe instruments brought by the African slaves. The result of the massive infusion of African culture also brought about the introduction of other music and dance forms such as theAfro- Cuban rumba, Jamaican reggae, Colombian cumbia, and the Brazilian samba. 6. Popular Latin American Music LatinAmerica has produced a number of musical genres and forms that had been influenced by European folk music,African traditional music, and native sources. Much of its popular music has in turn found its way to the many venues and locales of America, Europe, and eventually the rest of the world. Its danceable rhythms, passionate melodies, and exotic harmonies continue to enthrall music and dance enthusiasts worldwide even as the forms themselves undergo constant modifications that are more relevant to the times. Some of these Latin American popular music forms are tango, bossa nova, samba, son, and salsa. 6 8 4 4 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 56 a. Samba The samba is a dance form of African origins around 1838 which evolved into an African- Brazilian invention in the working class and slum districts of Rio de Janeiro. Its lively rhythm, consisting of a meter but containing three steps each that create a feeling of a meter instead, was meant to be executed for singing, dancing, and parading in the carnival. Samba has a number of variations, so that there is no clear-cut definition of a single samba form. Its most adventurous kind is known as the batucada, referring at once to a large percussion ensemble of up to a hundred players, a jam session, or an intensely polyrhythmic style of drumming. b. Son The son is a fusion of the popular music or canciones (songs) of Spain and theAfrican rumba rhythms of Bantu origin. Originating in Cuba, it is usually played with the tres (guitar), contrabass, bongos, maracas, and claves (two wooden sticks that are hit together). Although the son is seldom heard today, its most important legacy is its influence on present-day Latin American music, particularly as the forerunner of the salsa. c. Salsa The salsa is a social dance with marked influences from Cuba and Puerto Rico that started in New York in the mid 1970’s. Its style contains elements from the swing dance and hustle as well as the complexAfro-Cuban andAfro-Carribean dance forms of pachanga and guaguanco. The execution of the salsa involves shifting the weight bystepping sideways, causing the hips to move while the upper body remains level. The arms and shoulders are also incorporated with the upper body position. In each, a moderate tempo is used while the upper and lower bodies act in seeming disjoint as described above. 2 4 3 4 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 57 MUSICAL INSTRUMENTS OF LATIN AMERICA The varied cultures developed in Latin America gave rise to different types of wind and percussion instruments. As with the African continent, their rich history dating back thousands of years ago with the Aztec, Maya, and other prehistoric cultural groups in LatinAmerica understandablygenerates theirown brands of creativityin making music. In CentralAmerica, the ancient civilizations of theAztec and Maya peoples used various instruments mainlyfor religious functions and usuallybyprofessional musicians.As some instruments were considered holy and it was further believed that music was supposed to glorify the gods, mistakes in playing these instruments were considered offensive and insulting to them. Some of their instruments include the following: Tlapitzalli The tlapitzalli is a flute variety from theAztec culture made of clay with decorations of abstract designs or images of their deities. Teponaztli The teponaztli is a Mexican slit drum hollowed out and carved from a piece of hardwood. It is then decorated with designs in relief or carved to represent human figures or animals to be used for both religious and recreational purposes. Conch The conch is a wind instrument made from a seashell usually of a large sea snail. It is prepared by cutting a hole in its spine near the apex, then blown into as if it were a trumpet. Rasp The rasp is a hand percussion instrument whose sound is produced by scraping a group of notched sticks with another stick, creating a series of rattling effects. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 58 Huehueti The huehueti is a Mexican upright tubular drum used by the Aztecs and other ancient civilizations. It is made of wood opened at the bottom and standing on three legs cut from the base, with its stretched skin beaten by the hand or a wooden mallet. Whistles Whistles areinstruments madeof natural elements such as bone from animals. The eagle-bone whistle is the most common whose function is to help symbolize the piece’s purpose. Incan Instruments Among the Incas of South America, two instrumental varieties were most common: a. Ocarina The ocarina was an ancient vessel flute made of clay or ceramic with four to 12 finger holes and a mouthpiece that projected from the body. b. Panpipes (Zamponas) The zamponas were ancient instruments tuned to different scalar varieties, played by blowing across the tubetop. Typical models were either in pairs or as several bamboo tubes of different lengths tied together to produce graduated pitches of sound. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 59 Andean Instruments TheAndean highlands made use of several varieties of flutes and string instruments that include the following: a. Pitus The pitus are side-blown cane flutes that are played all year round. b. Wooden Tarkas The tarkas are vertical duct flutes with a mouthpiece similar to that of a recorder, used during the rainy season. c. Quenas The quenas are vertical cane flutes with an end-notched made from fragile bamboo. They are used during the dry season. d. Charango The charango is a ten-stringedAndean guitar from Bolivia. It is the size of a ukulele and a smaller version of the mandolin, imitating the early guitar and lute brought by the Spaniards. It produces bright sounds and is often used in serenades in Southern Peru. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 60 Mariachi The Mariachi is an extremelypopular band in Mexico whose original ensemble consisted of violins, guitars, harp, and an enormous guitarron (acoustic bass guitar). Trumpets were later added, replacing the harp. Mariachi music is extremelypassionate and romantic with their blended harmonies and characterized by catchy rhythms. Its musicians are distinctly adorned with wide-brimmed hats and silver buttons. WHAT TO KNOW 1. What are the different musical instruments of LatinAmerican music? 2. What are the characteristics of each instrument? VOCALAND DANCE FORMS OF LATIN AMERICAN MUSIC Latin American instruments are extremely useful in adding life, color, and variety to their many vocal and dance forms which have captured the world’s attention and affectionate adoption. In the Philippines, many of these characteristics have been taken in, particularly in the Brazilian bossa nova, cha cha, rumba, and the Argentine tango. Other dance forms became locally popular especially in the 1960’s and 1970’s until the arrival of disco and rock music. However, the original Latin dance forms have been experiencing constant revivals of their popularityespecially in “ballroom dancing” as the trendier modern styles also fade almost as quickly as they come. 1. Cumbia Originating in Panama and Colombia, the cumbia became a popular African courtship dance with European and African instrumentation and characteristics. It contained varying rhythmic meters among the major locations – meter in Colombia; , , and meters in Panama, and meter in Mexico. Instruments used are the drums of African origin, such as the tabora (bass drum), claves, 2 4 2 4 4 4 6 8 2 2 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 61 which are hard, thick sticks that sets the beat, guitar, accordion, clarinet, modern flute, and caja, a type of snare drum. 2. Tango The word tango may have been of African origin meaning “African dance” or from the Spanish word taner meaning “to play” (an instrument). It is a foremost Argentinian and Uruguayan urban popular song and dance that is related to the Cuban contradanza, habanera, and Cuban tango, and remains a 20th century nationalistic Argentinian piece of music that is most expressive. Its main development was in the slum areas of Buenos Aires, and eventually became fashionable in Parisian society in the early part of the 20th century, as well as in England and other parts of Western Europe. During the 1890’s, the working class of Buenos Aires, Argentina came across a new kind of rhythm known as the tango, whose choreographic steps followed the dance trend of the Viennese Waltz and the polka involving close contact between the male and female dancers. Tango later became more intellectual in the 1940’s when more poetic lyrics were inserted and allowed little freedom. Later in the 1960’s, more improvisation and movement were incorporated into the form, allowing the singers and dancers more room for creative expressions. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 62 3. Cha Cha The cha cha is a ballroom dance the originated in Cuba in 1953, derived from the mambo and its characteristic rhythm of 2 crochets – 3 quavers – quaver rest, with a syncopation on the fourth beat. The cha cha may be danced with Cuban music, Latin Pop, or Latin Rock. The Cuban cha cha, considered more sensual that may contain polyrhythmic patterns, has a normal count of ‘two-three-chachacha’ and ‘four and one, two, three’. 4. Rumba The rumba popular recreational dance of Afro-Cuban origin, performed in a complex duple meter pattern and tresillo, which is a dotted quaver – dotted quaver – dotted semiquaver rhythm. It is normallyused as a ballroom dance where a solo dancer or couple would be in an embrace though slightly apart, with the rocking of the hips to a fast-fast-slow sequence and often containing cross rhythms. There is a repetitive melody with an ostinato pattern played by the maracas, claves, and other Cuban percussion instruments. It contains jazz elements that became a model for the cha cha, mambo, and other Latin American dances. It was also used for concert music, as it appeared in the Second Piano Concerto ofthe French composer Darius Milhaud. 5. Bossa nova Bossa nova originated in 1958-59 as a movement effecting a radical change in the classic Cuban samba. The word bossa comes from the Brazilian capital of Rio de Janeiro, which means either “trend” or “something charming,” integrating melody, harmony, and rhythm into a swaying feel, where the vocal style is often nasal. The nylon-stringed classical guitar is the most important instrument of this style. Bossa nova contains themes centering on love, women, longing, nature, and youthfulness. Bossa nova emerged in the 1950’s when a slower, gentler version of the samba became popular with the upper and middle class sectors of society. It was music for easy and relaxed listening, conducive to romantic dates and quiet moments at the lounges. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 63 A foremost figure of bossa nova is Antonio Carlos Jobim, who became famous with his song Desafinado (1957). He collaborated with Vincius de Moraes in the play Orfeu da Conceicao (1956), musical recording of Cancao do Amor Demais (1958), and the song Garota de Ipanema or Girl from Ipanema (1962) that turned bossa nova’s popularityinto a worldwide phenomenon. In the Philippine pop music scene, Sitti Navarro is a singer who has become known as the “Philippines’ Queen of Bossa Nova.” Some of her bossanova songs include Para sa Akin, Hey Look at the Sun, Lost in Space, and Kung Di Rin Lang Ikaw. 6. Reggae Reggae is an urban popular music and dance style that originated in Jamaica in the mid 1960’s. It contained English text coupled with Creole expressions that were not so familiar to the non-Jamaican. It was a synthesis of WesternAmerican (Afro-American) popular music and the traditional Afro-Jamaican music, containing a western-style melodic-harmonic base with African sounds and characteristics,American pop and rock music mannerisms, and a preference for a loud volume in the bass. The best-known proponent of reggae music is Bob Marley, a Jamaican singer-songwriter, musician, and guitarist. He achieved international fameand acclaim for songs such as: One Love, Three Little Birds; No Woman, No Cry; Redemption Song; and Stir It Up. Antonio Carlos Jobim Sitti Navarro Bob Marley All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 64 7. Foxtrot The foxtrot is a 20th century social dance that originated after 1910 in the USA. It was executed as a one step, two step and syncopated rhythmic pattern. The tempo varied from 30 to 40 bars per minute and had a simple duple meter with regular 4-bar phrases. There was no fixed step pattern, instead borrowing from other dance forms and having a simple forward/backward sequence. The foxtrot gave rise to other dances such as the black bottom, Charleston, and shimmy. 8. Paso Doble The paso doble (meaning “double step”) is a theatrical Spanish danceused bythe Spaniardsin bullfights, where the music was played as the matador enters (paseo) and during passes just before the kill (faena). The dance is arrogant and dignified with a duple meter, march-like character, where the dancer takes strong steps forward with the heels accompanied by artistic hand movements, foot stomping, sharp and quick movements, with the head and chest held high. WHAT TO KNOW 1. What are the different vocal and dance forms of Latin American music? 2. What are the characteristics of each vocal and dance form of Latin American music? 3. Which type of music was popularized by Bob Marley? 4. Which type of music was popularized byAntonio Carlos Jobim? 5. Who is known as the “Philippines’ Queen of Bossa Nova”? All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 65 JAZZ The arrival of the jazz genre did not come overnight. It was an offshoot of the music ofAfrican slaves who migrated toAmerica.As music is considered a therapeutic outlet for human feelings, the Africans used music to recall their nostalgic past in their home country as well as to voice out their sentiments on their desperate condition at that time. Since then, these melancholy beginnings have evolved into various more upbeat jazz forms which the world has adopted and incorporated into other contemporary styles. RAGTIME Ragtime is an American popular musical style mainly for piano, originating in theAfro- American communities in St. Louis and New Orleans. Its stylewas said to bea modification of the “marching mode” made popular byJohn Philip Sousa, where the effect is generated by an internally syncopated melodic line pitted against a rhythmically straightforward bass line. Its music is written unlike jazz which is mainly improvised, and contains regular meters and clear phrases, with an alternation of low bass or bass octaves and chords. Foremost exponents of ragtime were Jelly Roll Morton who was an American ragtime and early jazz pianist and composed Frog I More Rag. Scott Joplin, who also composed the popular Maple Leaf Rag, Solace, and The Entertainer. Joplin is also knows as the “King of Ragtime.” Ragtime also influenced a number of classical composers, among them Erik Satie, Claude Debussy, and Igor Stravinsky, who injected ragtime rhythmic elements in their compositions. BIG BAND The term ‘Big Band” refers to a large ensemble form originating in the United States in the mid 1920’s closely associated with the Swing Era with jazz elements. Relying heavily on percussion (drums), wind, rhythm section (guitar, piano, double bass, vibes), and Scott Joplin Jelly Roll Morton All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 66 brass instruments (saxophones), with a lyrical string section (violins and other string instruments) to accompanya lyrical melody. Astandard big band 17-piece instrumentation consists of the following musical instruments percussion, brass, and woodwind instrruments: five saxophones (most often two altos, two tenors, and one baritone), four trumpets, four trombones (often including one bass trombone), and a four-piece rhythm section (composed of drums, acoustic bass or electric bass, piano and guitar). Some big bands use additional instruments. Big band music originated in the United States and is associated with jazz and the swing. Among the great big bands were the Glenn MillerOrchestra (AString of Pearls, Moonlight Serenade, In The Mood, American Patrol, and Smoke Gets in Your Eyes); the Count Basie Orchestra (April in Paris); and the Benny Goodman Orhcestra (Sing, Sing, Sing); while some solo signers such as Cab Calloway(Minnie the Moocher) Doris Day(Stardust, I’m in the Mood for Love); Roy Eldridge, and others also collaborated with big bands. BEBOP Bebop or bop is a musical style of modern jazz which is characterized by a fast tempo, instrumental virtuosity, and improvisation that emerged during World War II. The speed of the harmony, melody, and rhythm resulted in a heavy performance where the instrumental sound became more tense and free. Its main exponents were trumpeter Dizzy Gillespie, alto sax player Charlie Parker, drummers Max Roach and Roy Haynes, pianists Bud Powell and Thelonius Monk; guitarist Charlie Christian; tenor sax players Dexter Gordon and Sonny Rollins, who was also a composer; and trombonist JJ Johnson. Glenn Miller Orchestra Dizzy Gillespie All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 67 JAZZ ROCK Jazz rock is the music of 1960’s and 1970’s bands that inserted jazz elements into rock music. A synonym for “jazz fusion,” jazz rock is a mix of funk and R&B (“rhythm and blues”) rhythms, where the music used amplification and electronic effects, complex time signatures, and extended instrumental compositions with lengthy improvisations in the jazz style. Popular singer/songwriters Joni Mitchell, Tim Buckley, and Van Morrison were among those who adopted the jazz rock style. Some popular groups that emerged using the above music styles were the following:  Grateful Dead  Cream  Blood, Sweat, and Tears  Santana  Traffic  Chicago  Steely Dan  Lighthouse  Frank Zappa  Soft Machine  Hatfield and the North WHAT TO KNOW 1. What are the different jazz forms? 2. What are the characteristics of each jazz form? 3. Name one of the Big Bands that became popular. 4. Which type of music was adopted by singer-songwriter Joni Mitchell? 5. Name three of the popular groups that used the jazz rock style. Joni Mitchell All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 68 POPULAR MUSIC Popular music literallymeans “music of the populace,” similar to traditional folk music of the past. As it developed in the 20th century, pop music (as it has come to be called) generallyconsisted of music for entertainment of large numbers of people, whether on radio or in live performances. From the standard songs and ballads of the legendary Cole Porter, George Gershwin, and Frank Sinatra to the rock and roll craze of Elvis Presley and the Beatles and the present day idols in the alternative music and disco modes, popular music is now shared by the entire world. BALLADS Theballad originated as an expressive folksongin narrative verse with text dealing typically about love. The word is derived both from the medieval French “chanson balladee” and “ballade” which refers to a dancing song. Used by poets and composers since the 18th century, it became a slow popular love song in the 19th century. Today, the term ballad now refers to a love song in a slightly pop or rock style, with the following characteristics: 1. Blues Ballads This is afusion ofAnglo-American andAfro-American styles from the19th century that deals with the anti-heroes resisting authority. The form emphasizes the character of the performer more than the narrative content, and is accompanied by the banjo or guitar. 2. Pop Standard and Jazz Ballads This is a blues style built from a single verse of 16 bars ending on the dominant or half-cadence, followed by a refrain/chorus part of 16 or 32 bars in AABA form. The B section acts as the bridge, and the piece normally ends with a brief coda. Some enduring pop standard and jazz ballads include The Man I Love (George Gershwin, above left), Always (Irving Berlin, above center), and In a Sentimental Mood (Duke Ellington, above right). All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 69 3. Pop and Rock Ballads A pop and rock ballad is an emotional love song with suggestions of folk music, as in the Beatles’ composition “The Ballad of John and Yoko” and Billy Joel’s “The Ballad of Billy.” This style is sometimes applied to strophic story-songs, such as Don McLean’s “American Pie.” STANDARDS In music, the term “standard” is used to denote the most popular and enduring songs from a particular genre or style, such as those by Irving Berlin, Cole Porter, and Rodgers and Hart. Its style is 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, also known as “Ol Blue Eyes,” “Chairman of the Board,” or “The Voice.” His genre was categorized as traditional pop and jazz. He was a successful singer, actor, producer, director, and conductor. His hit singles include My Way and Strangers in the Night. Another well-loved standards singer was American balladeer Nat King Cole. Although an accomplished pianist, he owes most ofhis popular musical fame to his soothing baritone voice, which he used to perform in big band, vocal jazz, swing. traditional pop, and jump blues genres. He was the first black American to host his own television show and maintained worldwide popularity over 40 years past his death. He is widely considered “one of the most important musical personalities in United States history.” His hit songs include Unfogettable, Mona Lisa, and Too Young. Matt Monroe was an English singer who became one of the most popular entertainers in the international music scene during the 1960s. Throughout his 30-year career, he filled cabarets, nightclubs, music halls, and stadia inAustralia, Japan, the Philippines, and Hong Kong toAfrica, the Middle East, Europe, and theAmericas.Among his hit singles Don McLean Frank Sinatra (far left) and Nat King Cole (left) All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 70 included Portrait of My Love, Softly as I Leave You, the James bond theme From Russia with Love, Born Free, which became his signature song, and Walk Away. Other popular singers of standards were PerryComo, Bing Crosby, Andy Williams, Sammy Davis Jr., Doris Day, Patti Page, Barbra Streisand, and Paul Anka. ROCK AND ROLL Rock and roll was a hugely popular song form in the United States during the late 1940’s to the 1950’s. It combinedAfro-American forms such as the blues, jump blues, jazz, and gospel music with the Western swing and country music. The lead instruments were the piano and saxophone, but these were eventually replaced by modern instruments. In its classic form, rock and roll employed one or two electric guitars (lead, rhythm), a string bass or bass guitar, and a set of drums that provided the rhythmic pattern. This form cameduring the age oftechnological change when electricguitars were supplemented by amplifiers and microphones to raise the volume. It derived its name from the mot of a sonhip on the ocean, “rock and roll.” The greatest exponent of the rock and roll style was the legendary Elvis Presley. His hit songs such as Heartbreak Hotel and Blue Suede Shoes were complemented byhis good looks and elaborate movements that included hugging the microphone as he sang. Presley’s style was the precursor of the British band known as The Beatles, whose compositions further boosted rock and roll as the favorite genre of the times. Examples of The Beatles’ songs in this genre are I Saw Her Standing There, Get Back, While My Guitar Gently Weeps, Rock and Roll Music, and Ticket to Ride. Matt Monroe Elvis Presley The Beatles All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 71 The Beatles’ John Lenon and Paul McCartney as Composers/Songwriters John Lennon (1940-1980) was an English musician, singer, performer, songwriter and co-songwriter. He was born and raised in Liverpool, England. He rose to worldwide fame as a founder member of the rock band The Beatles, which was considered as “the most commercially successful band in the history of popular music.” Lennon formed as songwriting partnership with Paul McCartney, which is considered as “one of the most celebrated songwriting partnerships of the 20th century.” Lennon’s hit compositions for the Beatles include Strawberry Fields Forever, Help, In My Life, Tomorrow Never Knows, Rain, Norwegian Road, I am the Walrus, Come Together, You’ve Got to Hide Your Love Away, and Happiness is a Warm Gun. When The Beatles disbanded in 1970, Lennon embarked on a solo career. Among his solo top billboard hits include Imagine, Mind Games, Power to the People, Dream, Nobody Told Me, Watching the Wheels, Woman, Whatever Gets You Through the Night, and Instant Karma. In 2002, according to a BBC poll on the 100 Greatest Britons, John was voted in eighth place. In 2008, Rolling Stone Magazine ranked him the “fifth-greatest singer of all time.” He was posthumously inducted into the Songwriters Hall of Fame in 1987; and into the Rock and Roll Hall of Fame twice as a member of The Beatles in 1988 and as a solo artist in 1994. Sir James Paul McCartney (1942- ) is an English singer, songwriter, multi-instrumentalist, co-writer, and composer. Paul gained worldwide popularity and fame as a member of The Beatles, which included John Lennon, George Harrison, and Ringo Starr. Beatles was one of the most influential groups in the history of pop music. The songwriting partnership with Lennon for the Beatles is one of the most celebrated of the 20th century. McCartney has been “recognized as one of the most successful composers and performers of all time, with 60 gold discs and sales of over 100 million albums and 100 million singles of his work with the Beatles and as a solo artist.” It has been known that more than 2,200 artists have covered his Beatles song Yesterday, which is more than any other copyrighted song in history. McCartney was a two-time inductee into the Rock and Roll Hall of Fame as a member of The Beatles in 1988, and as a solo artist in 1999. He is a 21-time GrammyAward winner All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 72 having won both individually and with The Beatles. He has written or co-written 32 songs that have reached number one on the Billboard Hot 100. As of 2014, McCartney had sold more than “15.5 million RIAA-certified units” in the United States. He was knighted in England for his services to music. His top hit compositions for The Beatles include Hey Jude; Fool on the Hill; I’ll Follow the Sun; I Will; I Saw Her Standing There; All My Loving; Paperback Writer; Michelle; Eleanor Rigby; We Can Work It Out; And I Love Her; Here, There, and Everywhere; Penny Lane; and others. DISCO The 1970s saw the rise of another form of pop music known as “disco.” Disco music pertained to rock music that was more danceable, thus leading to the establishment of venues for public dancing also called discos. The term originated from the French word “discotheque” which means a library for phonograph records. The disco style had a soaring and reverberating sound rhythmically controlled by a steady beat (usually meter) for ease of dancing, and accompanied by strings, horns, electric guitars, and electric pianos or synthesizers. Famous figures of the disco genre include ABBA, DonnaSummer (“The Queen ofDisco”),The Bee Gees; Earth, Wind, and Fire; KC and the Sunshine Band; The Village People; and Gloria Gaynor, bringing us such hits as Dancing Queen, Stayin’Alive, Boogie Wonderland, and Hot Stuff. 4 4 The Bee Gees ABBA Donna Summer Earth, Wind, and Fire All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 73 POP MUSIC Parallel with the disco era, other pop music superstars continued to emerge. Among them were Neil Sedaka (Laughter in the Rain), Diana Ross and the Supremes (Stop in the Name of Love), Olivia Newton John (Hopelessly Devoted to You), Stevie Wonder (You Are the Sunshine of My Life), Elton John (Skyline Pigeon), The Carpenters (We’ve Only Just Begun), and Barry Manilow (Mandy). Pop superstars in more recent years include solor artists Celine Dion (My Heart Will Go On), Madonna (Material Girl), Whitney Houston (I Will Always Love You), Mariah Carey(Hero), Justin Timberlake (Justified), Britney Spears (Oops, I Did It Again), Beyonce (Irreplaceable), Lady Gaga (Bad Romance), and Bruno Mars (Just The Way You Are); as well as vocal groups such as Boyz II Men (Four Seasons of Loneliness), The Backstreet Boys (I Want It That Way), N’Sync (This I Promise You), Destiny’s Child (Survivor), among many others. Michael Jackson, “The King of Pop” Perhaps the most popular solo performer of all time is Michael Joseph Jackson who was born on August 29, 1958 and died on June 25, 2009. He was an American recording artist, entertainer, singer-songwriter, record producer, musical arranger, dancer, choreographer, actor, businessman, and philanthropist. The seventh child of the Jackson family, he made his debut as an entertainer in 1968 as a member of The Jackson 5. He then began a solo career in 1971 while still a member of the group and was referred to as the "King of Pop" in subsequent years. Jackson's 1982 album Thriller remains the world's best-selling album of all time, and four of his other solo studio albums are among the world's best-selling records: Off the Wall (1979), Bad (1987), Dangerous (1991), and HIStory (1995). In the early 1980s, he became a dominant figure inAmerican popular music and culture. He was the first African American entertainer to amass a strong crossover following on MTV. The popularity of his music videos airing on MTV, such as Beat It, Billie Jean, and Thriller—widely credited with transforming the music video from a promotional tool into an art form—helped bring the relatively new channel to fame. Videos such as Black or White and Scream made Jackson an enduring staple on MTV in the 1990s. Diana Ross and the Supremes All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 74 With stage performances and music videos, Jackson popularized a number of physically complicated dance techniques, such as the “robot” and the “moonwalk.” His distinctive musical sound and vocal style influenced many hip hop, pop music, and contemporary R&B artists across several generations world-wide. Jackson donated and raised millions of dollars for beneficial causes through his “Heal the World Foundation,” charity singles, and support of 39 charities. One of the few artists to have been inducted into the Rock and Roll Hall of Fame twice, his other achievements include “Multiple Guinness World Records”—including one for "Most Successful Entertainer ofAll Time"—13 GrammyAwards, 13 number one singles in his solo career, and the sale of 750 million records worldwide. Jackson is one of the world’s most famous artists because of his highly successful career which made him a part of popular culture for nearly four decades. At the time of his death, Jackson was preparing for “This Is It,” a series of 50 concerts that would have been held at The O2 arena in London beginning July 13, 2009, and a world tour to follow after the series of concerts. After Michael Jackson's death, Billboard's entire top nine positions on Billboard's Top Pop Catalog Albums chart housed Jackson- related titles on July 1, 2009. Today’s Pop Music Idols As the21st centurycontinues to unfold, more and more pop groups emerge spanning an entire range of musical styles and genres. There aremusic groups like Black Eyed Peas, K Pop (Korean), MyChemical Romance, Fall Out Boys, The Red Jumpsuit Apparatus, Souja Boy, Train, Maroon 5, and One Direction. While solo performers includeAdele, Taylor Swift, Ed Sheeran, Rihanna, Chris Brown, Ariana Grande, Justin Beiber, Miley Cyrus, Katy Perry, Nikki Minaj, Selena Gomez, and others. One Direction Rihanna Ed Sheeran HIP HOPAND RAP Hip hop music is a stylized, highly rhythmic type of music that usually (but not always) includes portions of rhytmically chanted words called “rap.” In rapping, the artist speaks All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 75 ALTERNATIVE MUSIC 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. Thus, it was known for its unconventional practices such as distorted guitar sounds, oppressive lyrics, and defiant attitudes. It was also characterized by high energy levels that bred new styles such as new wave, punk rock, post-punk, indie rock, gothic rock, jangle pop, noise pop, C86, Madchester, Industrial Rock, and Shoegazing. Examples of alternative music are You Belong with Me, Shake It Off. WHAT TO KNOW 1. Brieflydescribe the historical and cultural background ofAfrican, LatinAmerican, jazz, and popular music. 2. Analyze the musical characteristics ofAfrican, LatinAmerican, jazz, and popular music. 3. How did the following music reflect life in their respective cultures and the conditions at that time? a. African music – maracatu, blues, soul, spiritual, call and response b. Latin American Music – cumbia, tango, cha cha, rumba, bossa nova, reggae, foxtrot, paso doble c. Jazz – ragtime, big band, bebop, jazz rock d. Popular music – ballads, standards, rock and roll, disco, pop, hip hop and rap, alternative music along with an instrumental or synthesized beat. Hip hop arose in the 1970s within theAfro-American and Latino youth in the Bronx area of New York City. But by the 1980s, it had spread to many other countries. It has since evolved into a subculture that encompasses music (rapping, DJing, scratching, and beatboxing);a nearlyacrobatic styleofdancing, called break dancing; a distinct manner of dress; and graffiti-style artwork. Among the early hip hop artists were LL Cool J and Run-D.M.C. Whilemore recent popular names in this genre have been Beastie Boys, Eminem, and Kanye West. Eminem Kanye West All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 76 PHILIPPINE POPULAR MUSIC 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. In the 1960s to 1970s, NoraAunor, Pilita Corrales, Eddie Peregrina, Victor Wood,Asin, APO Hiking Society, and others were highly popular OPM singers. In the 1970s to 1980s, the major commercial Philippine pop music artists were Claire dela Fuente, Didith Reyes, Rico Puno, Ryan Cayabyab, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Rey Valera, Freddie Aguilar, Imelda Papin, Eva Eugenio, Nonoy Zuñiga, and many others. ORIGINAL PILIPINO MUSIC (OPM) 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) Most of these compositions made use of Western-type melody and harmony, while expressing uniquely Filipino emotions in movinglypoetic lyrics. These came to be known as OPM, and were popularized by solo artists like Pilita Corales, Nora Aunor, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Leah Navarro, Sharon Cuneta, Martin Nievera, Gary Valenciano, ZsaZsa Padilla, Regine Velasquez, and OgieAlcasid. At the start, OPM was centered in Manila, where Tagalog and English are the dominant languages. However, other ethno-linguistic groups such as the Visayan, Bikol, Kapampangan, and Ilocano also began to sing and record their songs in their native dialects. Ryan Cayabyab George Canseco All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 77 Between the 1980s and 1990s, OPM was led by artists such as Martin Nievera, Gary Valenciano, Lea Salonga, Regine Velasquez, Sharon Cuneta, Vina Morales, Raymond Lauchengco, Francis Magalona, Pops Fernandez, José Mari Chan, DingdongAvanzado, Janno Gibbs, OgieAlcasid, JoeyAlbert, Manilyn Reynes, among many others. In the 1990s, the famous solo artists and bands included The Eraserheads, Smokey Mountain, Donna Cruz, Jessa Zaragoza,Ariel Rivera, Southborder,Afterimage,Andrew E., Jaya, Rivermaya, Parokya ni Edgar, among many others. Underground bands emerged and along with them were their perceptions of idealism and self-expression. More recently, OPM stars have included Yeng Constantino, Sarah Geronimo, Aisa Seguerra, and international singersArnel Pineda(of the international rock group, Journey), Charice Pempengco, and others. 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. Rico J. Puno Gary Valenciano Martin Nievera Sarah Geronimo Arnel Pineda Charice All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 78 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 RomyKatindig 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. The start of the “Manila Sound” in the mid-1970s gave rise to songs using a colloquial language called Taglish, a combination of Tagalog and English. These Filipino lyrics sung to pop melodies resulted in highly singable songs with contemporary appeal. Among the proponents of the Manila Sound were the Hotdog, Cinderella,TheRainmakers, and the Apo Hiking Society. After waning briefly in the 1990’s, this sound regained popularity in recent years with remakes of the 1970’s originals by contemporary rock bands. Hotdog (above) and The Apo Hiking Society (right) Bobby Enriquez Lito Molina and the Jazz Friends Eddie Katindig All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 79 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 bythe legendaryJuan dela Cruz Band (with their song Ang Himig Natin) which had for its members Joey “Pepe” Smith, Wally Gonzales, and the originator of Jeproks, Mike Hanopol, who later became a major symbol of Pinoy rock. Other early exponents of Pinoy rock included the band Maria Cafra; Sampaguita, the female rocker; 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 groups and bands that include River Maya, The Dawn, True Faith, The Eraserheads, Wolfgang, Bamboo, Parokya ni Edgar, Hale, Sandwich, SugarFree, Sponge Cola,and others. PHILIPPINE ALTERNATIVE FOLK MUSIC The Philippines also saw the rise ofalternative 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”). Among other Filipino composers whose styles ranged from folk to semi-ethnic werewere 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. Juan de la Cruz Band Freddie Aguilar Parokya ni Edgar Bamboo All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 80 PINOY RAP In the Philippines, rap was also made popular by such composers and performers as Francis Magalona (Mga Kababayan Ko and Watawat) and Andrew E (Humanap Ka ng Pangit). Francis Magalona was born on October 4, 1964 and died on March 6, 2009. He is also known as FrancisM, “Master Rapper,” and “The Man From Manila.” He was a Filipino rapper, songwriter, producer, actor, director, television host, and photographer. He is often hailed as the “King of Pinoy Rap” and is considered a legend in the Philippine music community. With the success of his earliest albums, Magalona was the first Filipino rapper to cross over to the mainstream. He is also credited for having pioneered the merging of rap with Pinoy rock, becoming a significant influence on artists in that genre as well. He was later awarded a posthumous Presidential Medal of Merit “for his musical and artistic brilliance, his deep faith in the Filipino, and his sense of national pride that continue to inspire us.” Pop Music Collaborations Philippine pop artists have also collaborated with classical artists and orchestras in a number of their recordings and concerts. Some of the concerts of Martin Nievera, Gary Valenciano, Regine Velazquez, Lea Salonga, and Sharon Cuneta have featured the Philippine Philharmonic Orchestra, theABS-CBN Orchestra, and the Manila Philharmonic Orchestra in performances at the Cultural Center of the Philippines (CCP) and the PhilippineInternational ConventionCenter (PICC), both known venues forclassical music, as well as at theAraneta Coliseum and FolkArts Theater (FAT). Classical musicians have also performed in malls and othercommercial venues to popularizeclassical music, popular music, and OPM. SUMMARY From theater tunes to rock and roll, pop, standards, hip hop, rap, and contemporary ballads—whether in theWest, in the Philippines, or anywhere else in the world—these all provided a rich and diverse musical background in the development of Philippine contemporary music. The development of Philippine music was also influenced by the history of the country—from its pre-Spanish roots, through the Spanish and American periods, up to the present. It has since evolved to have its own rich and distinct identity. Francis Magalona All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 81 WHAT TO KNOW 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 playin the development of these different musical genres? 4. Describe the “Manila Sound” in Philippine pop music. 5. Name some well-known OPM performers. WHAT TO PROCESS Class Activity 1. Your teacher will play one recording of each of the following: African Music, LatinAmerican Music, Jazz, Popular Music (standards, rock and roll, disco), and OPM (ballad, Pinoy rock, Pinoy rap). Listen carefully to each recording. 2. Participate in a class discussion on the distinctive features and qualities of each musical genre and style. WHAT TO UNDERSTAND Activity 1: Making Improvised African and Latin American Instruments Individual or Group Activity 1. Make improvisedAfrican or LatinAmerican instruments using dried vegetables, animal hide, wood, strips of roofing metal, tin cans, bamboo, etc. 2. Create a rhythmic/harmonic accompaniment for any song you know using these improvisedAfrican or LatinAmerican instrument. 3. How did you relate in making improvised African or Latin American musical instruments found in the environment? Activity 2: Choreography to Express the Music Individual or Group Activity 1. Conceptualize a choreography to show some dance steps set to the following music: a. African b. LatinAmerican All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 82 c. Jazz d. Popular (Pop) Music e. OPM 2. How does it feel to conceptualize the dance movements in each music category? WHAT TO PERFORM Group Activities 1. 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 singa song from oneof the following musical genres: For African Music - choose from Kumbaya, Waka Waka, or Mbube For Latin-American music - One Note Samba For Jazz - choose from Someone to Watch Over Me by Ella Fritzgerald or All That Jazz from the movie Chicago For Pop and OPM - choose your own song. 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. 2. Dance Interaction a. As your group performs in class, invite the other class members to join you in the dance movements or choreography that you have prepared. b. Do an impromptu selection of “Best Dance Performance” among your classmates. 3. Music Video Award a. During the class performance, the assigned group member(s) will record your group’s performance using a mobile phone, tablet, or video camera. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY Afro-Latin Americanand Popular Music 83 Kum-ba-ya Kum-bay-ya is a spiritual song that was first recorded in the 1920s. It became a popular standard campfire song in Girl or Boy Scouting and during summer camps. The song is originally a simple petition to God to come and help those in need. This inspiring hymn is heard in many countries of Central Africa. It has great personal meaning and the singer often creates his own words as he works or pray. The words “Kum Bay Ya” mean “come by here” or “stay nearby.” Kum bay ya, my Lord, kum bay ya; Kum bay ya, my Lord, kum bay ya; Kum bay ya, my Lord, kum bay ya O Lord, kum bay ya. Someone’s laughing, my Lord, kum bay ya Someone’s laughing, my Lord, kum bay ya Someone’s laughing, my Lord, kum bay ya O Lord, kum bay ya. Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya O Lord, kum bay ya. Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya O Lord, kum bay ya. Someone’s singing, my Lord, kum bay ya Someone’s singing, my Lord, kum bay ya Someone’s singing, my Lord, kum bay ya O Lord, kum bay ya. b. Simulate a “Music Video Award” event by joining the other groups in presenting your respective videos in class. c. The class members will choose the “Best Song Performance” based on how well the group presented their assigned music genre. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 84 One Note Samba Samba de Uma Nota Só ("One-Note Samba") is a song composed by Antonio Carlos Jobim, with Portuguese lyrics by Newton Mendonça and English lyrics by Jobim. The song title refers to the main melody line, which at first consists of a long series of notes of a single tone. This is just a little samba Built upon a single note Other notes are bound to follow But the root is still that note Now this new note is the consequence Of the one we've just been through As I'm bound to be The unavoidable consequence of you There's so many people Who can talk and talk, and talk And just say nothing Or nearly nothing You're a good soldier Choosing your battles Pick yourself up And dust yourself off And back in the saddle You're on the frontline Everyone's watching Waka Waka (This Time forAfrica) FIFAWorld Cup 2010 OfficialAnthem "Waka Waka (This Time for Africa)" or in Spanish, "Waka Waka (Esto es África)" is asong byColombian singer-songwriterShakira. It feautures South African band, Freshlyground, and pairs an African Colombian rhythm with a Soca-inspired beat. Its lyrics encourage one to aim for one’s goals, like a soldier on a battlefield. The song was used as the official song of the 2010 FIFAWorld Cup held in South Africa. You know it's serious We're getting closer This isn’t over The pressure is on You feel it But you've got it all Believe it All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 49.
    DEPED COPY Afro-Latin Americanand Popular Music 85 I have used up all the scale I know and at the end I've come to nothing I mean nothing So I come back to my first note As I come back to you I will pour into that one note All the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know So I come back to my first note I must come back to you I will pour into that one note All the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know Someone To Watch Over Me There's a saying old, says that love is blind Still we're often told, "Seek and ye shall find" So I'm going to seek a certain lad I've had in mind Looking everywhere, haven't found him yet He's the big affair I cannot forget Only man I ever think of with regret I'd like to add his initial to my monogram Tell me, where is the shepherd for this lost lamb? All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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    DEPED COPY MUSIC Quarter II 86 There's a somebody I'm longin' to see I hope that he, turns out to be Someone who'll watch over me I'm a little lamb who's lost in the wood I know I could, always be good To one who'll watch over me Although he may not be the man some Girls think of as handsome To my heart he carries the key Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me Someone to watch over me Evaluation of Performing Activities Rating scale: 5 = Very Good 2 = Poor 4 = Good 1 = Needs Follow-up 3 = Fair Rate scores are based on the groups’ performance quality. 1. How well did our group perform our assigned music? a. African Music _______________ b. LatinAmerican Music _______________ c. Jazz _______________ d. Pop Music / OPM _______________ 2 How well can I identify the different musical genres based on instrumentation, melody, rhythm, text, timbre, harmony, and purpose? _______________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
  • 51.
    DEPED COPY Afro-Latin Americanand Popular Music 87 3. How well can I describe the characteristics of each genre as I listened to the melody, harmony, rhythm, and lyrics? _______________ 4. 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. LatinAmerican Music _______________ c. Jazz _______________ d. Popular / Pop Music _______________ e. 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%) _______________ All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.