MUSIC Teacher’s Guide
Quarter III CONTEMPORARY PHILIPPINE MUSIC
CONTENT STANDARDS The learner demonstrates understanding of... 1.
Characteristic features of contemporary music.
PERFORMANCE STANDARDS The learner... 1.
Sings contemporary songs.
DEPED COPY LEARNING COMPETENCIES
The learner... 1. 2. 3. 4. 5. 6. 7. 8.
Listens perceptively to excerpts of major contemporary works. Describes characteristics of traditional and new music. Gives a brief biography of selected contemporary Philippine composers. Sings selections of contemporary music with appropriate pitch, rhythm, style, and expression. Explores ways of creating sounds on a variety of sources. Improvises simple vocal/instrumental accompaniments to selected songs. Creates a musical on the life of a selected contemporary Philippine composer. Evaluates music and music performances using knowledge of musical elements and style.
From the Department of Education curriculum for MUSIC Grade 10 (2014)
36 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.
Quarter III: Contemporary Philippine Music
Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 1,2, and 3 TRADITIONAL COMPOSERS
I.
SUBJECT MATTER A.
Topic:
20th Century Filipino Composers: Traditional Composers
Sub Topics: Francisco Buencamino Francisco Santiago Nicanor Abelardo Antonio Molina Hilarion Rubio Col. Antonino Buenaventura Rodolfo Cornejo Felipe Padilla de Leon Sr. Lucio San Pedro Rosendo Santos Jr. Alfredo Buenaventura Ryan Cayabyab
DEPED COPY B.
Materials:
Pictures/slides of composers Charts with bullet-highlights of the composers’ lives and works Musical scores of some of the composers’ well-known compositions DVD/CD recordings of sample works CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players
C.
Reference:
Music Grade 10 Learner’s Materials Pages 89-109
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.
MUSIC Teacher’s Guide
II.
LESSON PROPER A.
PRELIMINARY ACTIVITY 1. Review: Recall concepts from the past lesson. 2. Motivation: As the class listens to the recordings, display on the board pictures of each of the composers. Choose recordings from past lessons to serve as a bridge to the new lesson. Display the chart or list of composers from the last lesson.
B.
DEVELOPMENTAL ACTIVITY Have the students do the following: 1. Let the students listen to and watch presentations of the lives, musical achievements, and works of Francisco Buencamino Sr., Francisco Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col. Antonino Buenaventura, Rodolfo Cornejo, Felipe Padilla de Leon Sr., Lucio San Pedro, Rosendo Santos Jr., Alfredo Buenaventura, and Ryan Cayabyab.
DEPED COPY 2. Have them watch the following video clips on YouTube: a. Larawan and Mayon Fantasy by Francisco Buencamino performed by Cecille Licad, international concert pianist b. Nocturne by Nicanor Abelardo performed by Raul Sunico, international concert pianist c. Serenata by Nicanor Abelardo performed by Renato Lucas, cello and Raul Sunico, pianist d. Anak Dalita by Francisco Santiago e. Sa Ugoy ng Duyan by Lucio San Pedro performed by Lea Salonga f. Kumukutikutitap and Kay Ganda ng ating Musika by Ryan Cayabyab 3. Let them express their a) personal reactions or feelings; and b) analysis of the musical elements present about these composers’ works through group discussion. Report the outcome of the group discussion in class.
C.
INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine History for a better understanding of the musical styles and their sources of influence.
38 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.
Quarter III: Contemporary Philippine Music
Infusion of values: Appreciation of our nationalist composers as major exponents of our cultural heritage. D.
GENERALIZATION Filipino composers of the 20th century contributed their share in introducing innovative sounds different from the traditional folk song and kundiman melodies that we have been accustomed to. Some espoused the impressionistic style, while others combined ethnic sounds and musical elements with Western techniques in their compositions.
III.
WHAT TO KNOW 1.
Discuss the lives and musical contributions of the following 20th century Filipino composers: a. Francisco Buencamino Sr. g. Rodolfo Cornejo b. Francisco Santiago h. Felipe Padilla de Leon Sr. c. Nicanor Abelardo i. Lucio San Pedro d. Antonio Molina j. Rosendo Santos Jr. e. Hilarion Rubio k. Alfredo Buenaventura f. Col. Antonino Buenaventura l. Ryan Cayabyab
DEPED COPY 2.
Point out the characteristics of the musical style of the above-mentioned Filipino composers. Composer
Characteristics of the Musical Style
________________
_______________________________________
________________
_______________________________________
________________
_______________________________________
________________
_______________________________________
________________
_______________________________________
________________
_______________________________________
________________
_______________________________________
________________
_______________________________________
________________
_______________________________________
________________
_______________________________________
39 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.
MUSIC Teacher’s Guide
IV.
WHAT TO PROCESS A.
Listening Activity 1. Play excerpts of recordings of any one composition by the following Filipino song composers: Antonio Molina
Lucio San Pedro Ryan Cayabyab
Col. Antonino Buenaventura
- Hatinggabi, Misa Antoniana, Grand Festival Mass, Ang Batingaw, Kundiman- Kundangan; String Quartet, Kung sa Iyong Gunita, Pandangguhan, Amihan, Awit ni Maria Clara, Larawan Nitong Pilipina - Sa Ugoy ng Duyan, Suite Pastorale, Lahing Kayumanggi - Misa, Four Poems for Soprano and Piano, Te Deum, Kay Ganda ng Ating Musika, Limang Dipang Tao, Da Coconut Nut, Alikabok, Spoliarium, Kumukuti-kutitap
DEPED COPY Alfredo Buenaventura
Rodolfo Cornejo
Hilarion Rubio
- Minuet, Mindanao Sketches, Divertimento for Piano and Orchestra, Variations and Fugue, and Greetings, Pandanggo sa Ilaw, Princesa ng Kumintang, Pandanggo ni Neneng
- Maria Makiling (1961), Diego Silang(1966), Prinsesa Urduha (1969); Ang Ating Watawat (1965), Pasko ng Barangay (1964); Dakilang Lahi (1971), Gomburza (1981), and Rizal, the Great Malayan Antagonist (1990) - A la Juventud Filipina, Bailes de Ayer, Caprice on a Folksong, Cello Sonata, Ibong Adarna, Kandingan, Malakas at Maganda Overture, Okaka, Oriental Fantasy, Ibong Adarna, Piano Concerto Nos. 1,2,3, Ruby, Song of the Miners - Bulaklaken, Dance of the Nymphs Rondo, Florente at Laura, Halik, Danza, Ang Konsyerto (ballet), Ang Magsasaka, Bukang Liwayway, Concertino in C (Marimba and piano), Filipinas Kong Mahal, Hatulan Mo Ako, Ginintuang Araw, In a Tropcal Sea, Filipino Youth, Nela, Light, Narra, Mutya ng Silangan
40 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.
Quarter III: Contemporary Philippine Music
Rosendo Santos Jr. - Melinda’s Masquerade Nicanor Abelardo - Nasaan Ka Irog?, Bituing Marikit, Mutya ng Pasig, Paskong Anong Saya, Cavatina, Kundiman ng Luha, Magbalik Ka Hirang Francisco Santiago - Kundiman (Anak Dalita), Himutok, Pakiusap, Madaling Araw, Sakali Man, Pilipinas Kong Mahal, Ano Kaya ang Kapalaran? Felipe de Leon Sr. - Bulaklak Alitaptap, Bagong Lipunan, Payapang Daigdig, Pasko na Naman, Noche Buena, Kay Tamis ng Buhay, Sapagkat Mahal Kita Francisco Buencamino - Harana, Pandanggo ni Neneng, Collar de Sampaguita, Dulces las Horas, Mayon (Fantasia de Concierto), My Soul’s Lament, Larawan, Mazurka, Boholana, Mi Bandera, Princesa ng Kumintang, Maligayang Bati, Ang Bukang Liwayway, Ang Bagong Balitaw, Himig ng Nayon, Damdamin (Romance), Pizzicato Caprice
DEPED COPY 2. Let the students listen carefully to each excerpt and recognize the different musical styles of the composers.
3. Have them analyze the music by taking note of the elements of music present: rhythm, melody, tempo, dynamics, texture, harmony, form, and timbre. 4. Let them choose a composition that they like, and then write a short reaction paper on it in relation to the musical elements.
B.
Evaluation of Listening Activity Name the Composer, Title of the Music, Musical Style, and Description 1. After the above Listening Activity, prepare selected excerpts of compositions by Lucio San Pedro, Col. Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino, Hilarion Rubio, Rosendo Santos Jr., Francisco Santiago, Nicanor Abelardo, Felipe Padilla de Leon Sr., and Ryan Cayabyab. 2. Divide the class into four teams, with each team forming a line.
41 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.
MUSIC Teacher’s Guide
3. As you play a few measures of the first musical excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. Assign one student as the scorer. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then ask them this question: What was the most significant thing that you have learned from this activity?
DEPED COPY V.
WHAT TO UNDERSTAND Activity for Solo, Duet, Trio, Quartet, Quintet 1. 2. 3.
4. 5.
VI.
Have the students compose a simple song, for which they will create both the lyrics and the music. They may adapt a certain melody from the compositions of the song composers that they like, and then write new lyrics to fit the music. They may also include an accompaniment using a guitar, flute, recorder, keyboard, drums, tambourine, maracas, or even improvised musical instruments from the environment. Have the students sing their original songs or adaptations in class, either a capella (without accompaniment) or with accompaniment. Ask them this question: What motivated you to compose or adapt the music of that particular song?
WHAT TO PERFORM A.
Singing Activity Individual or in groups: Let the students sing any of the compositions of Lucio San Pedro, Col. Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino Sr., Hilarion Rubio, Rosendo Santos Jr., Nicanor Abelardo, Francisco Santiago, Felipe Padilla de Leon, and Ryan Cayabyab.
42 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.
Quarter III: Contemporary Philippine Music
If individual activity, let the students choose one composition that they will perform. If group activity, let them do the following procedure: 1. Divide the class into four groups. 2. Let the students choose any traditional composer, and research further on his compositions, if needed. 3. After researching, have them select one composition that they like best or they are familiar with. Or they may opt to learn a new song. 4. Let them choose their group’s musical director. 5. To learn and practice their chosen song, the students may bring to class “minus one” music on a CD, mobile phone, or USB. 6. They may add instrumental accompaniment using a guitar, flute, recorder, maracas, tambourine, keyboard, or a combination of any of these.
DEPED COPY 7. They may also improvise simple vocal or instrumental accompaniment, by exploring ways of creating sounds from a variety of sources or from the environment. 8. Let them sing the song in class with their groupmates interpreting the music with appropriate pitch, rhythm, style, timbre, dynamics, melody, texture, harmony, and expression. 9. After all the performances, choose the “Best Singing Group” based on: - musicianship (musical elements) 60% - presentation impact and showmanship 20% - ensemble coordination and organization 20% 10. Have all the students evaluate by rating each other’s performance and their own performance.
Evaluation of Singing Activity Have the students rate the individuals/groups based on performance quality: Rating Scale:
5 - Very Good 4 - Good 3 - Fair
2 - Poor 1 - Needs Follow up
43 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.
MUSIC Teacher’s Guide
Rating the other performers (if individual activity): 1. How well did the performers express the message of the songs? __________ 2. How well did the performers pronounce the lyrics of the songs? __________ 3. How well did the performers sing based on musical elements and style: a. pitch __________ b. rhythm __________ c. style __________ d. expression __________ e. dynamics __________ f. melody __________ g. timbre __________ h. texture __________ i. harmony __________ Rating the group members (if group activity):
DEPED COPY 1. How well did the group members express the message of the songs? 2. How well did the group members sing? 3. How well did the group members participate?
B.
__________ __________ __________
Creating and Performing Activities: Musical 1. Divide the class into four groups. Each group will choose a traditional composer who was discussed in class, and research further on his life and works. 2. Have the students create a contemporary musical on the life of their chosen composer. Encourage them to incorporate some of his compositions (melodic fragments) in the musical’s story line. 3. For the creation of the musical, have the students improvise simple vocal or instrumental accompaniments (example: guitar, keyboard, percussion) for the songs that they have chosen. 4. Let them also explore ways of creating sounds as accompaniment on a variety of sources or from the environment. 5. Each group will then perform their original musical in class.
44 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.
Quarter III: Contemporary Philippine Music
6. Choose the “Best Group Musical Performance” based on: - musicianship (musical elements) 50% - audience impact and showmanship 20% - ensemble coordination and organization 20% - stage discipline or deportment 10%
Evaluation of Creating and Performing Activities: Musical Have the students rate the individuals/groups based on performance quality: Rating Scale:
5 - Very Good 4 - Good 3 - Fair
2 - Poor 1 - Needs Follow up
Rating the other performers/groups: 1. How well did the performers express the message of the musical? 2. How well did they perform in the musical based on the following: a. voice quality b. expression c. stage presence d. audience impact e. mastery of the musical g. musical elements (rhythm, melody, dynamics) h. technique i. showmanship
__________
DEPED COPY Rating your own group members: 1. How well did your group members express the message of the musical? 2. How well did your group members perform? 3. How well did your group members coordinate with each other during the performance in the ensemble? 4. How well did your group organize yourselves in the ensemble? Rating myself: 1. How well did I express the message of the musical? 2. How well did I perform with my group? 3. How well did I coordinate with the other members during the performance in the ensemble? 4. How well did I cooperate in the ensemble?
__________ __________ __________ __________ __________ __________ __________ __________
__________ __________ __________ __________
__________ __________ __________ __________ 45
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.
MUSIC Teacher’s Guide
Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 4 and 5 NEW MUSIC COMPOSERS I.
SUBJECT MATTER A.
Topic:
20th Century Filipino Composers: New Music Composers
Sub Topics: Jose Maceda Lucrecia Kasilag Ramon Santos Fr. Manuel Maramba, OSB Jerry Dadap Francisco Feliciano Josefino “Chino” Toledo Jonas Baes
DEPED COPY B.
Materials:
Pictures/slides of composers
Charts with bullet-highlights of the composers’ lives and works Musical scores of some of the composers’ well-known compositions DVD/CD recordings of sample works
CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players
C.
II.
Reference:
Music Grade 10 Learner’s Materials Pages 119-124
LESSON PROPER A.
PRELIMINARY ACTIVITY 1. Review: Recall concepts from the past lesson.
46 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.
Quarter III: Contemporary Philippine Music
2. Motivation: Choose recordings from past lessons to serve as a bridge to the new lesson. Display the chart of composers begun in the last lesson. As the class listens to selected excerpts of the recordings, display on the board pictures of each of the composers.
B.
DEVELOPMENTAL ACTIVITY 1. Have the students watch and listen to presentations of the lives, musical achievements, and works of Jose Maceda, Lucrecia Kasilag, Ramon Santos, Fr. Manuel Maramba, OSB, Jerry Dadap, Francisco Feliciano, Josefino “Chino” Toledo, and Jonas Baes. 2. Let them watch the following musical examples on YouTube: a. Udlot-udlot by Jose Maceda performed at Senri Expo Park, Japan b. Huntahang Gitara composed and conducted by Josefino Toledo c. Banwa by Jonas Baes d. Lullaby by Lucrecia Kasilag, National Artist for Music e. Pamugun by Francisco Feliciano, National Artist for Music f. Alay sa Inang Bayan by Jerry Dadap
DEPED COPY 3. Ask the students to express their personal reactions or feelings about these composers’ works through group discussion and analysis. Have them report the outcome of the group discussion in class.
C.
INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine History for a better understanding of the styles and their sources of influence. Infusion of values: Appreciation of our nationalist composers as major exponents of our cultural heritage.
D.
GENERALIZATION Filipino composers of the 20th century contributed their share in introducing innovative sounds different from the traditional folk song and kundiman melodies that we have been accustomed to. Some espoused the impressionistic style, while others combined ethnic sounds and musical elements with Western techniques in their compositions.
47 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.
MUSIC Teacher’s Guide
III.
WHAT TO KNOW Let the students answer the following: 1.
Research on and describe the characteristics of New Music.
2.
Discuss the lives and works of the following 20th century Filipino composers and performers: a. b. c. d.
3.
Jose Maceda Lucrecia Kasilag Ramon Santos Fr. Manuel Maramba, OSB
e. f. g. h.
Jerry Dadap Francisco Feliciano Josefino “Chino” Toledo Jonas Baes
Point out the characteristics of the musical styles of the above-mentioned Filipino composers. Composer
Characteristics of the Musical Style
DEPED COPY IV.
________________
________________________________________
________________
________________________________________
________________
________________________________________
________________
________________________________________
________________
________________________________________
________________
________________________________________
________________
________________________________________
________________
________________________________________
WHAT TO PROCESS A.
Listening Activity 1. Play excerpts of recordings of any one composition by the following Filipino New Music composers:
48 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.
Quarter III: Contemporary Philippine Music
a. Jose Maceda - Ugma-Ugma; Agungan; Pagsamba; Ugnayan; Udlot Udlot b. Lucrecia Kasilag - Toccata for Percucssion and Winds; The Legend of the Sarimanok; Divertissement and Concertante; Dularawan c. Josefino “Chino” Toledo - 2nd Og-og; Abe; Ako ang Daigdig; Alitaptap; Aliw-iw; Awiting Bayan; Barasyon; Asia; Kah-non; Humigit Kumulang; Lima; Mi-sa; Missa de gallo; Oyog-Oyog; Musika para sa; Pasyon at Buhay; Pompyang; Pintigan; Pilipino Komiks; Sigaw; Tatluhan; Auit, Ub-og; Ug-nay; Tula-li d. Francisco Feliciano - Sikhay sa Kabila ng Paalam; Ashen Wings; La Loba Negra; Prelude and Toccata ; Fragments; Yerma; The life of wartime Filipino hero, Jose Abad Santos; Transfiguration; Missa Mysterium; Pokpok Alimpako; Salimbayan; Umiinog, Walang Tinag; Pamugún; Restless e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I); Mangamuyo II; The Redemption; Five Little Fingers; Tubig ng Buhay; Dakilang Pagpapatawad; Andres Bonifacio, Ang Dakilang Anak Pawis; Ang Pag-ibig ng Diyos; Balitaw Nos. 1-7; Lam-ang Epic; Lorenzo Ruiz; Chorale Symphonic Ode Nos. 1 and 2; Aniway at Tomaneg; Song Cycle, Nos. 1-4; Choral Cycle Nos. 1-3; Diyos Ama ay Purihin
DEPED COPY f. Fr. Manuel Maramba, OSB - Aba!, Sto. Niño; La Naval; Lord Takayama Ukon; Awakening; Seven Mansions; Papal Mass for World Youth Day, 1995; Mass in Honor of St. Lorenzo Ruiz; Mass in Honor of the Sto. Niño; cantatas St. Lorenzo Ruiz, St. Benedict, and St. Scholastica; Three Psalms—A hymn in honor of St. Lorenzo Ruiz, and the official hymn of the 1996 National Eucharistic Congress; Ang Sarswela sa San Salvador; Pugad Lawin; The Virgin of Naval; Transfiguration g. Ramon Santos - Ding Ding nga Diyawa; Nabasag na Banga at Iba’t iba pang Pinag-ugpong-ugpong na Pananalita sa Wikang Pilipino (para sa labing anim na tinig); L’BAD h. Jonas Baes - WALA (Nothingness); DALUY (flow); IBOIBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA; PANTAWAG; BASBASAN (Blessing)
49 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.
MUSIC Teacher’s Guide
2. Let students listen carefully to each excerpt and be able to recognize the different musical elements and styles of the composers. 3. Have them analyze the music focusing on the elements of music present, such as rhythm, melody, tempo and dynamics, texture and harmony, form, and timbre. 4. Let them choose a composition that they like and write a reaction paper on it.
B.
Evaluation of Listening Activity: Name the Composer, Title of the Music, Musical Style, and Description 1. After the above Listening Activity, prepare selected excerpts of the compositions that the students had listened to. 2. Divide the class into four teams, with each team forming a line.
DEPED COPY 3. As you play a few measures of the first excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points.
5. The same procedure goes on until all the students in the line have had their turn. 6. One student will be assigned as the scorer. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then ask them this question: What was the most significant thing that you have learned from this activity?
V.
WHAT TO UNDERSTAND Activity for Solo, Duet, Trio, Quartet, Quintet 1.
Divide the class into groups. Let them perform in solo, duet, trio, quartet, and quintet.
50 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.
Quarter III: Contemporary Philippine Music
2.
Each group will compose a simple song incorporating indigenous music and folksongs; or they may adapt a certain melody from the compositions of the New Music composers that they like.
3.
Have them write new lyrics to fit the music, and include an accompaniment using guitar, flute, recorder, keyboard, percussion, or improvised musical instruments.
4.
If appropriate, encourage them to choreograph dance movements to interpret the music of the composer that they have chosen.
5.
All the groups will then perform their composition or song adaptation in class, either a capella (without accompaniment) or with accompaniment.
6.
Have the students answer the following: “How did you feel in incorporating our indigenous music in your composition or song adaptation?” Have them submit this paper in class next meeting.
DEPED COPY VI.
WHAT TO PERFORM
Creating and Performing Activities: Musical 1.
Divide the class into four groups. Each group will choose a traditional composer who was discussed in class, and research further on his life and works.
2.
Based on their research, have them create a contemporary musical on the life of their chosen composer, incorporating some of his compositions (melodic fragments) in the musical’s story.
3.
Encourage them to improvise simple vocal or instrumental accompaniments (example: guitar, keyboard, percussion) to the songs that they have chosen.
4.
For the creation of the musical, ask them to explore ways of creating sounds as accompaniment on a variety of sources or from the environment.
5.
All the groups will then perform their musical in class.
6.
Choose the “Best Group Musical Performance” based on: musicianship (musical elements) 50% audience impact and showmanship 20% ensemble coordination and organization 20% stage discipline or deportment 10% 51
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.
MUSIC Teacher’s Guide
Evaluation of Creating and Performing Activities: Musical Have the students rate the individuals/groups based on performance quality: Rating Scale:
5 - Very Good 4 - Good 3 - Fair
2 - Poor 1 - Needs Follow up
Rating the other performers/groups: 1. How well did the performers express the message of the musical? 2. How well did the performers sing and act in the musical based on the following: a. voice quality b. expression c. stage presence d. audience impact e. mastery of the musical f. pitch g. rhythm h. style i. acting
__________
__________ __________ __________ __________ __________ __________ __________ __________ __________
DEPED COPY Rating your own group members:
1. How well did your group members express the message of the musical? 2. How well did your group members perform? 3. How well did your group members participate?
__________ __________ __________
Rating myself: 1. How well did I express the message of the musical? 2. How well did I perform with my group? 3. How well did I coordinate with the other members during the performance in the ensemble? 4. How well did I cooperate in the ensemble?
__________ __________ __________ __________
52 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.
Quarter III: Contemporary Philippine Music
Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 6, 7, and 8 SONG COMPOSERS I.
SUBJECT MATTER A.
Topic:
20th Century Filipino Composers: Song Composers
Sub Topics: Levi Celerio Constancio de Guzman Mike Velarde Jr. Ernani Cuenco Restie Umali George Canseco Angel Peña Leopoldo Silos Santiago Suarez
DEPED COPY B.
Materials:
Pictures/slides of composers
Charts with bullet-highlights of the composers’ lives and works Musical scores of some of the composers’ well-known compositions DVD/CD recordings of sample works
CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players
C.
II.
Reference:
Music Grade 10 Learner’s Materials Pages 125-140
LESSON PROPER A.
PRELIMINARY ACTIVITY
53 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.
MUSIC Teacher’s Guide
1. Review: Recall concepts from the past lesson. 2. Motivation: As the class listens to the recordings, display on the board pictures of each of the composers. Choose recordings from past lessons to serve as a bridge to the new lesson. Display the chart of composers in the last lesson.
B.
DEVELOPMENTAL ACTIVITY Have the students do the following: 1. Let the students watch and listen to presentations of the lives, musical achievements, and works of Levi Celerio, Constancio de Guzman, Mike Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco, Angel Peña, Leopoldo Silos, Santiago Suarez 2. Have them watch the following video clips on YouTube a. Bayan Ko by Constancio de Guzman as performed by Lea Salonga b. Bato sa Buhangin by Ernani Cuenco, National Artist for Music as performed by Raul Sunico, international concert pianist c. Hanggang sa Dulo ng Walang Hanggan by George Canseco as performed by Raul Sunico, international concert pianist d. Maestro Angel Peña, The Trailblazer of Pinoy Jazz (Documentary) e. Levi Celerio on Ryan Cayabyab Show; ASAP 18 presents The Music of Levi Celerio; Regine Velazquez-Levi Celerio OPM Classics with Ryan Cayabyab f. Dahil sa Iyo by Mike Velarde Jr g. Saan Ka Man Naroroon by Restie Umali h. Dahil sa Isang Bulaklak by Leopoldo Silos Jr. i. Bakya Mo Neneng by Santiago Suarez as performed by the Mabuhay Singers
DEPED COPY 3. Let the students express their personal reactions or feelings about these composers’ works through group discussion and analysis. Then, have them report the outcome of the group discussion in class. C.
INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine History for a better understanding of the styles and their sources of influence.
54 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.
Quarter III: Contemporary Philippine Music
Infusion of values: Appreciation of our nationalist composers as major exponents of our cultural heritage.
D.
GENERALIZATION Filipino composers of the 20th century contributed their share in introducing innovative sounds different from the traditional folk song and kundiman melodies that we have been accustomed to. Some espoused the impressionistic style, while others combined ethnic sounds and musical elements with Western techniques in their compositions. Some adopted the kundiman as their form in composing their music.
III.
WHAT TO KNOW 1.
Discuss the lives and musical contributions of the following 20th century Filipino song composers
DEPED COPY a. b. c. d. e.
2.
Levi Celerio Constancio de Guzman Mike Velarde Jr. Ernani Cuenco Restie Umali
f. g. h. i.
George Canseco Angel Peña Leopoldo Silos Sr. Santiago Suarez
For each of the composers named above, ask the students to give the title of any of his compositions. Composer
Title of Any Composition
________________
________________________________________
________________
________________________________________
________________
________________________________________
________________
________________________________________
________________
________________________________________
________________
________________________________________
________________
________________________________________
________________
________________________________________
________________
________________________________________
55 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.
MUSIC Teacher’s Guide
IV.
WHAT TO PROCESS A.
Listening Activity 1. Play excerpts of recordings of any of the following works by Filipino song composers: a. Levi Celerio
- Ang Pipit, Sa Ugoy ng Duyan, Misa de Gallo, Itik-itik (folk song), Tinikling (folk song), Ang Pasko ay Sumapit
b. Constancio de Guzman
c.
- Bayan Ko, Babalik Ka Rin, Ang Tangi Kong Pag-ibig, Birheng Walang Dambana, Maalaala Mo Kaya, Sa Piling Mo, Ang Langit Ko’y Ikaw Mike Velarde Jr. - Buhat, Ikaw, Bituing Marikit, Minamahal Kita, Dating Sumpaan, Dalisay, Eternally Yours, Gabi at Araw, Dahil sa Iyo Ernani Cuenco - Nahan; Kahit na Magtiis; Diligin Mo ng Hamog ang Uhaw na Lupa; Pilipinas, Inang Bayan; Isang Dalangin; Kalesa; Gaano Ko Ikaw Kamahal; Bato sa Buhangin Restie Umali - Saan Ka Man Naroroon, Alaala ng Lumipas, Ang Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di Ka Nag-iisa, Paano Kita Lilimutin George Canseco - Ikaw, Kailangan Kita, Dito Ba, Hiram, Langis at Tubig, Hanggang sa Dulo ng Walang Hanggan, Sinasamba Kita, Kastilyong Buhangin, Minsan pa nating hagkan ang Nakaraan, Ngayon at Kailanman, Saan Darating ang Umaga, Sana Bukas Pa ang Kahapon, Dear Heart, Gaano Kadalas ang Minsan Angel Peña - Bagbagtulambing, Igorot Rhapsody, Concerto for Double Bass and Orchestra, Concerto for Jazz Quartet and Orchestra Leopoldo Silos Sr. Dahil sa Isang Bulaklak, Hindi Kita Malimot, Aling Kutsero, Ay Anong Saklap, Basta’t Mahal Kita, Diyos Lamang ang Nakakaalam, Hindi ko Malilimutan, Lagi Kitang Naaalala, Langit at Lupa, Halina Halina, Lihim na Pagibig, Mundo Ma’y Mawala
DEPED COPY d.
e.
f.
g.
h.
56 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.
Quarter III: Contemporary Philippine Music
i. Santiago Suarez
- Ligaya Ko, Pandanggo ni Neneng, Dungawin Mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libis ng Nayon, Harana, Kataka-taka, Labandera Ko, Lakambini, Kamia, Ikaw ang Buhay Ko!, Kay Lungkot Nitong Hating-Gabi, Mutya Niyaring Puso
2. Have the students listen carefully to any musical excerpt and be able to recognize the different musical styles of the composers. 3. Instruct them to analyze the music that they heard by noting the elements of music present: rhythm, melody, tempo and dynamics, texture and harmony, form, and timbre. 4. Let them choose a composition that they like and write a brief reaction paper. 5. Have them answer “Why did you choose that composition?”
DEPED COPY B.
Evaluation of Listening Activity Name the Composer, Title of the Music, Musical Style, and Description 1. After the above Listening Activity, prepare selected excerpts of compositions by the following: Celerio, De Guzman, Velarde, Cuenco, Umali, Canseco, Peña, Silos, and Suarez. 2. Divide the class into four teams, with each team forming a line. 3. As you play a few measures of the first excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. One student will be assigned as the scorer. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then ask them this question: 57
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.
MUSIC Teacher’s Guide
“What was the most significant thing that you have learned from this activity?”
V.
WHAT TO UNDERSTAND Activity for Solo, Duet, Trio, Quartet, Quintet 1.
Let the students compose a simple song, for which they will write the lyrics and the music.
2.
They may also choose to adapt a certain melody from the compositions of the song composers that they like, and write new lyrics to fit the music.
3.
They may include an accompaniment using guitar, flute, recorder, keyboard, drums, tambourine, maracas, or improvised musical instruments from the environment.
4.
Encourage them to add some dance movements or choreography to interpret the music.
DEPED COPY VI.
5.
They will then perform in class their composition or song adaptation, as well as the dance movements, if appropriate.
6.
They may sing their song a capella (without accompaniment) or with accompaniment.
7.
After the class performances, ask the students: “What motivated you to compose an original song or to adapt the music of an existing song?” “How did you feel about this activity?”
WHAT TO PERFORM A.
Singing Activity: Song Medley Individual or in groups: Sing any of the compositions of Celerio, De Guzman, Velarde, Cuenco, Umali, Canseco, Peña, Silos, and Suarez. For group work, have the students do the following: 1. Let the students choose any three songs by the above composers that they like best or that they are familiar with. Or they may opt to learn a new song. Have them research further on the compositions, if needed.
58 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.
Quarter III: Contemporary Philippine Music
2. Each group will choose their musical director and they will create a three- to five-minute medley of their chosen songs. 3. To learn and practice the songs, they may bring “minus one” music on a CD, or from their mobile phones or USB. 4. They may add instrumental accompaniment using a guitar, flute, recorder, maracas, tambourine, or keyboard. Or they may improvise simple vocal accompaniment. 5. Have them explore ways of creating sounds as instrumental accompaniment to the song from varied sources or from the environment. 6. All the groups will then perform their song medleys in class, interpreting the music with appropriate pitch, rhythm, style, timbre, dynamics, melody, texture, harmony, and expression. 7. Choose the “Best Singing Group” based on the following criteria: - musicianship (musical elements) 60% - presentation impact and showmanship 20% - ensemble coordination and organization 20%
DEPED COPY B.
Creating and Performing Activities: Musical
1. Divide the class into four groups. Each group will choose one song composer discussed in class, and research further on his life and works.
2. Each group will then create a contemporary musical on the life of their chosen composer, incorporating some of his compositions (melodic fragments) in the musical’s story. 3. Let them improvise simple vocal or instrumental accompaniments (example: guitar, keyboard, percussion). Have them also explore ways of creating sounds as accompaniment from varied sources or from the environment. 4. All the groups will then perform their musicals in class. 5. Choose the “Best Group Musical Performance” based on: - musicianship (musical elements) 50% - audience impact and showmanship 20% - ensemble coordination and organization 20% - stage discipline or deportment 10% 59 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.
MUSIC Teacher’s Guide
Evaluation of Creating and Performing Activities: Musical Have the students rate the individuals/groups based on performance quality: Rating Scale:
5 - Very Good 4 - Good 3 - Fair
2 - Poor 1 - Needs Follow up
Rating the other performers/groups: 1.
2.
How well did the performers express the message of the musical?
__________
How well did the performers sing and act in the musical based on the following: a. voice quality b. expression c. stage presence d. audience impact e. mastery of the musical g. musical elements (rhythm, melody, dynamics) h. technique i. showmanship j. acting
__________ __________ __________ __________ __________ __________ __________ __________ __________
DEPED COPY Rating your own group members: 1. 2. 3. 4.
How well did your group members express the message of the musical? How well did your group members perform? How well did your group members coordinate with each other during the performance in the ensemble? How well did your group organize yourselves in the ensemble?
__________ __________ __________ __________
Rating myself: 1. 2. 3. 4.
How well did I express the message of the musical? How well did I perform with my group? How well did I coordinate with the other members during the performance in the ensemble? How well did I cooperate in the ensemble?
__________ __________ __________ __________
60 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.
