TXT-B/SLM + QA LAS

Textbook/Supplementary LEARNING ACTIVITY SHEET No. 1

Materials/Self-Learning In MUSIC 10
Modules based instruction
paired with MELC-Based Quarter 3 Week 1
Quality Assured Learning
Activity Sheet (LAS)

Name: _____________________________Grade and Section: ________________________

Teacher: ___________________________Date Submitted: ___________________________

MELC 1: Narrate the life of selected contemporary Filipino composer/s MU10CM-III-C-g-3

MELC 2: Analyze the musical characteristics of traditional and contemporary Philippine music.
MU10CM- IIIa-h-2
MELC 3: Improvise simple vocal/instrumental accompaniments to selected contemporary Philippine
music; MU10CM-IIId-e-5
MELC 4: Perform selections of contemporary Philippine music; MU10CM-IIIb-h-4
MELC 5: Evaluate music and music performances using guided rubrics. MU10CM-IIIh-8

Lesson/Topic: Contemporary Philippine Music

References/Sources
 HORIZON Music and Arts Appreciation for Young Filipinos Learner’s Materials Page No. 92-
138
 All about Contemporary music and its features - Mostlywind
www.mostlywind.co.uk › contemp
 https://www.coursehero.com/file/51392071/CONTEMPORARY-PHILIPPINE-MUSICpptx/

MELC 1: Narrate the life of selected contemporary Filipino composer/s.

MELC 2: Analyze the musical characteristics of traditional and contemporary Philippine music.
Activity No.: 1 Title: Philippine Contemporary Music Day: 1
TRADITIONAL COMPOSERS
COMPOSERS BIOGRAPHY SAMPLE COMPOSITIONS

1. Francisco Santiago Is known as the “Father of the Kundiman”  PILIPINAS KONG MAHAL
(1889-1947) and belongs to the “Triumvirate of  PAKIUSAP
Filipino Composers.” along with Nicanor  MADALING ARAW
Abelardo and Antonio Molina. He  SAKALI MAN
finished his music specialization at the  ANO KAYA ANG
American Conservatory of Music in KAPALARAN
Chicago, where he obtained his  KUNDIMAN (ANAK
Doctorate Degree in 1924. Santiago’s DALITA)
music was Romantic in style,
incorporating Western forms and
techniques with folk materials.

2. Felipe P. De Leon Sr.

(1912 – 1992) National Was born on May 1, 1912 in Barrio  PAYAPANG DAIGDIG
Artist for Music Papaya (now General Tinio) in (1946)
Penaranda, Nueva Ecija. He is the son of  NOCHE BUENA
Juan de Leon and Natalia Padilla. Felipe  PASKO NA NAMAN
de Leon married pianist Iluminada
Mendoza with whom he had six children.
He was known as a nationalist composer
who expressed the Philippines' cultural
identity through his compositions.
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3. LUCIO D. SAN Was born on February11, 1913 in  SA UGOY NG DUYAN
PEDRO (1913-2002) Angono, Rizal. Since his elementary  LAHING KAYUMANGGI
National Artist for days, he started composing. He studied  SUITE PASTORALE
Music the banjo which inspired him to become
a serious musician.He later pursued his
music degreeat theUniversity of the
PhilippinesandtheJuilliardSchoolin New
York, USA. Upon returning to the
Philippines, he became a professor of
theory and composition at the University
of the Philippines’ College of Music. San
Pedro is known as a “romantic
nationalist.” He incorporated Philippine
folk elements in his compositions with
Western forms and harmony.
4. RAYMUNDO
CIPRIANO “RYAN “ Is a popular contemporary composer  KAY GANDA NG ATING
P. CAYABYAB who has classical compositions to his MUSIKA (2003)
(BORN 1954) credit, such as Misa, Four Poems for  LIMANG DIPANG TAO
Soprano and Piano, and Te Deum. His  DA COCONUT NUT
compositional style makes much use of  SPOLARIUM
syncopation, extended chords, and  ALIKABOK
chromatic harmony. Cayabyab was born  KUMUKUTI-KUTITAP
on May 4, 1954 in Manila. He obtained
his Bachelor of Music degree at the
University of the Philippines’ College of
Music. After which, he became a faculty
member for Composition at the same
University. He also served as the
Executive and Artistic Director of the San
Miguel Foundation for the Performing
Arts, which oversaw the operations and
programming of the San Miguel
Philharmonic Orchestra and the San
Miguel Master Chorale. At present, he
continues to be a much sought-after
professor, musical director, composer,
arranger, and conductor in the Philippine
concert and recording scenes.

NEW MUSIC COMPOSERS

COMPOSERS BIOGRAPHY SAMPLE COMPOSITIONS

1. JOSE M. MACEDA Was born in Manila on January 17, 1917.  UGMA-UGMA

(1917-2004) He started his music studies at the  AGUNGAN
National Artist for Academy of Music in Manila. Later, he  PAGSAMBA
went to Paris to study with Alfred Cortot.  UGNAYAN
He eventually pursued advanced studies  UDLOT UDLOT
in the USA with E. Robert Schmitz and
earned a Doctorate Degree in
Ethnomusicology from UCLA. Maceda’s
musical style changed when he
encountered the music of the indigenous
tribes of Mindoro in 1953.He then
embarked on his life’s work, dedicated to
the understanding and preservation of
Music Filipino traditional music.

2. LUCRECIA R. Was born in San Fernando, La Union on  TOCCATA FOR

KASILAG August 31, 1918. She went to Manila to PERCUSSION AND
(1918-2008) pursue a degree in Music at the WINDS
2
 National Artist for Music Philippine Women’s University. She then  THE LEGEND OF THE
obtained her Master’s degree from the SARIMANOK
Eastman School of Music in New York,  DIVERTISSEMENT AND
USA. Her compositions were influenced CONCERTANTE
by her professors Irving McHose and  DULARAWAN
Wayne Barlow. Kasilag’s compositions
demonstrated a fusion of Eastern and
Western styles in using instruments,
melody, harmony, and rhythm. She is
particularly known for incorporating
indigenous Filipino instruments into
orchestral productions.

3. RAMON P. SANTOS was born in Pasig on February 25, 1941.  DING DING NGA DIYAWA
(BORN 1941) He completed his Bachelor of Music  NABASAG NA BANGA
National Artist for degree at the College of Music, AT IBA’T IBA PANG
University of the Philippines. He finished PINAG-UGPONG-
his Master of Music degree at Indiana UGPONG NA
University, USA. He received his Doctor PANANALITA SA
of Philosophy degree in Composition at WIKANG PILIPINO PARA
the State University of New York, USA. SA LABING ANIM NA
He had also pursued graduate studies in TINIG
Ethnomusicology at the University of  L’BAD
Illinois, USA. Santos’ compositional style
features chromaticism, music seria, and
electronic components, combined with
indigenous Philippine music elements.
Music

4. FRANCISCO F. Avant garde composer and conductor for  SIKHAY SA KABILA NG

FELICIANO band and chorus, was born on February PAALAM
(1942-2014) 19, 1942 in Morong, Rizal. His first  ASHEN WNGS
National Artist for exposure to music was with the Morriz  LA NOBE NEGRA
Music Band, a brass ensemble established and  SALIMBAYAN
owned by his father, Maximiano  UMIINOG
Feliciano. He started his music career in  WALANG TINAG
the high school band where he had
played the cymbals and the clarinet.
Feliciano obtained his Teacher’s Diploma
in Composition and Conducting at the
Conservatory of Music, University of the
Philippines (UP) in 1964, and a Bachelor
of Music degree major in Composition in
1967.

3
 SONG COMPOSERS
COMPOSERS BIOGRAPHY SAMPLE COMPOSITIONS

1. LEVI CELERIO Prolific lyricist and composer Levi  ANG PIPIT

(1910-2002) Celerio was named National Artist for  SA UGOY NG DUYAN
National Artist for Music and Literature in 1997. Also a  MISA DE GALLO
Literature and Music violinist, he had written the lyrics for over  ITIK-ITIK (FOLK SONG)
4,000 songs in his lifetime, including  TINIKLING (FOLK
many for film. A great number of SONG)
kundimans and Filipino love songs have  ANG PASKO AY
lyrics written by him, most notable of SUMAPIT
which are Dahil sa Iyo, Buhat, and Ang
Pasko ay Sumapit. Celerio was born in
Tondo on April 30, 1910. He studied at
the Academy of Music in Manila under a
scholarship. Later, he went on to join the
Manila Symphony Orchestra.

2. CONSTANCIO C. DE Was born on November 11, 1903 in  BAYAN KO

GUZMAN Guiguinto, Bulacan. He grew up in  BABALIK KA RIN
(1903-1982) Manila where he studied piano and  ANG TANGI KONG
composition under Nicanor Abelardo. At PAG-IBIG
the prodding of his father, he went to law  BERHING WALANG
school but switched to pursue and finish DAMBANA
a BS Commerce degree at Jose Rizal  MAALAALA MO KAYA
College in 1928. He passed the certified  SA PILING MO
public accountants (CPA) board  ANG LANGIT KO’Y
examinations in 1932. After he took the IKAW
CPA board exam, he started working for
the movies.
Acknowledged as the “Dean of Filipino
Movie Composers and Musical
Directors,” De Guzman became the
music director of movie production
companies like Sampaguita, LVN, Royal,
Excelsior, Lea, and Tagalog Ilang-Ilang
Productions.
An American SVD Father referred him as
3. JOSE CINCO GOMEZ “The Music Man of Samar” in a published  CALBAYOG
article in the Leyte-Samar Studies journal
of the Divine Word University, Tacloban
City. An admirer was quoted referring
him as an “Immortal Communicator of
the sweetest sounds” to Calbayognons
and Samareños. A cultural worker says
he was a “genius”. Born on February 27,
1911, in barrio Tabok (now, Brgy.
Obrero) of Calbayog City, Samar, Jose
Gomez was the eldest among the seven
children of Mr. Licarion Gomez and Mrs.
Benigna Cinco. His siblings were:
Conrado, Ricardo, Angeles, Josefa,
Francisca and Trinidad.

4. ERNANI J. CUENCO A composer, film scorer, musical director  PILIPINAS

(1936-1988) and music teacher, was conferred the  INANG BAYAN
National Artist for National Artist musicality that contain the  BATO SA BUHANGIN
Music classical sound of the kundiman Award  KAHIT NA NAGTITIS
for Music in 1999. His works embody a  GAANO KO IKAW
Filipino sense Cuenco was born on May KAMAHAL
10, 1936 in Malolos, Bulacan. As a boy,
he was encouraged to learn the violin.
He was mentored by his mother, his
godmother Doña Belen Aldaba Bautista,
4
 and his first teacher, Jovita Tantoco. He
earned his Bachelor’s Degree in Music,
major in Piano at the UST Conservatory
of Music in 1956. A UST scholarship
grant in the same year enabled him to
study the cello under Professor Modesto
Marquiz, which he finished in 1965. In
1968, he completed his Master of Music
degree at the Sta. Isabel College.

5. GEORGE M. Was born on April 23, 1934 in Naic,  KAILANGAN KITA

CANSECO Cavite. He graduated with a Liberal Arts  HIRAM
(1934-2004) degree at the University of the East. After  LANGIS AT TUBIG
graduation, he worked for the Philippines  HANGGANG SA DULO
Herald and the Associated Press as a NG WALANG
journalist. He also worked as a “free- HANGGAN
lance scriptwriter for hire” in Manila.  KASTILYONG
Canseco was considered as “a nationally BUHANGIN
acclaimed composer of numerous  NGAYON AT KAILAN
popular classics.” He was commissioned MAN
by
Former First Lady Imelda R. Marcos to
compose a national tribute hymn entitled
Ako Ay Pilipino (I Am A Filipino).

CHARACTERISTICS
 Filipino traditional music reflects the way of life,
beliefs, and traditions of the rural folks.
 Usually glorifies the beauty of nature and man’s
TRADITIONAL PHILIPPINE MUSIC
strong connection with his environment.
 Influenced by other cultures as a result of either
intercultural meeting of colonization.
 Fewer lyrical melodies than the music of former
periods.
 Dissonant harmonies.
 Complex rhythms.
CONTEMPORARY PHILIPPINE MUSIC
 Percussiveness.
 Greater use of woodwind, brass and percussion
instruments than in music of earlier periods.
 The use of synthetic and electronic sounds.

ACTIVITY 1a.

Directions: Match the composers found in column A with its short biography in column B. Write the
correct letter in the space provided.

A. COMPOSERS B. BIOGRAPHY

______ 1. Francisco Santiago A. Acknowledged as the “Dean of Filipino

______ 2. Raymundo Cipriano “RYAN” P. Movie Composers and Musical Directors,”
Cayabyab he became the music director of movie
production companies like Sampaguita,
______ 3. Constancio C. De Guzman
LVN, Royal, Excelsior, Lea, and Tagalog
Ilang-Ilang Productions.
_______ 4. Jose M. Maceda
B. Is known as the “Father of the Kundiman”
_______ 5. Ernani J. Cuenco
and belongs to the “Triumvirate of Filipino
Composers.”
C. He served as the Executive and Artistic
Director of the San Miguel Foundation for
the Performing Arts, which oversaw the
operations and programming of the San
Miguel Philharmonic Orchestra and the San
5
 Miguel Master Chorale.
D. A composer, film scorer, musical director
and music teacher, was conferred the
National Artist musicality that contain the
classical sound of the kundiman Award for
Music in 1999.
E. He started his music studies at the
Academy of Music in Manila. Later, he went
to Paris to study with Alfred Cortot. He
eventually pursued advanced studies in the
USA with E. Robert Schmitz and earned a
Doctorate Degree in Ethnomusicology from
UCLA.

Activity 1b.

Directions: Listen to the selected contemporary songs below. After listening write the distinct
characteristics of the songs on the box provided.

Note: Ask your teacher for the copy of the music. If internet is available just click/copy the link provided.

“PILIPINAS KONG MAHAL” MUSICALITY/STYLE:

Francisco Santiago

Ang bayan ko’y tanging ikaw

Pilipinas kong mahal
Ang puso ko at buhay man
Sa iyo’y ibibigay
Tungkulin ko’y gagampanan
Na lagi kang paglingkuran
Ang laya mo’y babantayan THEME:
Pilipinas kong hirang

Link:
https://www.youtube.com/watch?v=RAjHJ65cAh8

“Calbayog” MUSICALITY/STYLE:
Jose C. Gomez

Calbayog ko, mutya ka nga pinili

An dagway mo labi sin kahamili
Burabod ka san kahimyang
Langit nga kahimtang ug kalinaw
Tugahan an imo ngaran sa bisan diin
Calbayog sangyaw.
THEME:
Link:
https://www.youtube.com/watch?v=
k4tAunmf7FY
6
 MUSICALITY/STYLE:
“MAALAALA MO KAYA”
Constancio C. De Guzman

Maala-ala mo kaya THEME:

Ang sumpa mo sa akin
Na ang pag-ibig mo ay
Sadyang di magmamaliw

Link:
https://www.youtube.com/watch?v=LRyuatTPVns

MELC 3: Improvise simple vocal/instrumental accompaniments to selected contemporary Philippine

music.
Activity No.: 1 Title: Improvisation of Contemporary Music Day: 2

Directions:

 Choose a song from the given examples of Contemporary Music.

 Create your own rendition of the song for a maximum of 1 minute.
 Use any instruments available as your accompaniment or you can do an acapella
(singing without accompaniment).
 Practice and master your rendition in preparation for your performance.

MELC 4: Perform selections of contemporary Philippine music.

MELC 5: Evaluate music and music performances using guided rubrics.
Activity No.: 1 Title: Contemporary Philippine Music Performance Day: 3-4

Directions:

 Video record yourself performing the chosen song with your own rendition.
 Submit the video record to your teacher
 Evaluate your performance using the guided rubrics below.

Poor (1) Fair (2) Good (3) Excellent (4)

Tone Quality Weak poor tone 5030785 5030786 5030787
production.
Many of the pitch Sings most of the Confidently sings

0 0 0
Muc Som Ev
h inconsistency e inconsistency in en tone quality
between the vocal the vocal range, throughout the
registers, but mostly supported, vocal range, well-
beginning to be mostly consistent supported,
7
 focus and clear; breath support, resonant,
more breath beginning to be focused, vibrant,
support needed. resonant projecting
5030788 5030789 5030790 5030791

Intonation/Pitch Most of the rhyth Some basic rhyth Most of the rhyth Confidently perfo
Accuracy 0 0 0 0
N Som Alwa Al
ever on pitch. ewhat on pitch with ys on pitch with a ways on pitch
a few incorrect few incorrect notes. with correct
notes. notes.
5030792 5030793 5030794 5030795

The style and inte Some parts of the Most of the piece The performance

0 0 0 0
T Som Most Th
Style/Interpretation he style and e parts of the piece of the piece is e performance of
interpretation of are performed performed using the piece is
the piece is not using both style correct style and beautifully
executed during and interpretation. interpretation. executed with
performance. both appropriate
style and
interpretation.
5030796 5030797 5030798 5030799

No dynamics. No Some dynamics a Most of the dynam Student performs

Musicianship 0 0 0 0
N Som Most St
(rhythm, melody, o dynamics. No e dynamics are of the dynamics are udent performs
dynamics) use of observed. Some followed, and most the piece with
articulation. articulation is of the articulation appropriate
Most phrases performed. Some signs are observed. dynamics,
are performed phrases are Most phrases are phrasings, and
incorrectly. complete and performed correctly. articulation.
musically accurate.
Poor Has potential in Shows great Shows an
interpretation of performing song potential in excellent
the song. but lacks performing the song performance and
Overall
consistency in with an occasional a complete
Performance
interpreting the lapse in interpreting commitment in
sing. the song. interpreting the
song.
Criteria Score
Tone Quality

Intonation/Pitch Accuracy

Style/Interpretation

Musicianship
(rhythm, melody, dynamics)

Overall Performance

TOTAL

KEY TO CORRECTION

ACTIVITY 1.

1. B
2. C
3. A
4. E
5. D 8

B. ANSWERS MAY VARY

Prepared by: Inspected:

BRIGETTE M. CORCIEGA RINALYN C. BESO, PhD.

SST - I Content Editor

JASON T. BALADAD NICOLAS B. TARRAYO, Jr.

SST – I Content Editor

REGGIE A. DIMAAYO CORIE B. SENOLOS

SST – I Language Editor

TEACHER WRITERS

CRISTIAN JAY Q. ESCARPE

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