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DepED
DEPARTMENT OF
EDUCATION

MUSIC Quarter 3 - Module 2 Discovering New

Music

April T. Garcia
EU

KDM
GOVERNMENT PROPEP NOT FOR S

What Is It

What is experimental new music in the

Philippiness
New music uses new styles and techniques that
incorporate different music such as ethnic, electronic
music, and others.

Characteristics of New Music

1. Incorporation of traditional music forms as well as

indigenous my
Improvisational
instruments in the compositions 2.
works (the art of making up music on the spot)
3. The use of ethnic, electronic, and other forms of music
in a composition

New music composers have different approaches in

music, but they do not im these to the usual methods.
Their compositions are improvisational. The following are
the composers of the new music in the Philippines. These
composers retain the Filipino spirit by incorporating
traditional music in their compositions.

Jose M. Maceda (1917-2004) National Artist for

Music (1997)
RUAN

2
TAIL

He was born on January 31, 1917 in Manila. He

was an ethnomusicologist. Before he was sent to
Paris, France where he studied piano, he first
graduated with a music diploma at the Academy of
 Music of Manila in 1935. He studied ethnomusicology
at the University of California, anthropology at
Northwestern University, and musicology at
Columbia University. He showed his dedication
to Philippine music through his research and
fieldwork promoting the nature of Philippine
traditional and ethnic music.
:

His musical approach might be in Western stylo but he combined

sounds of environment with ethnic Instruments. His works
"Ugma-ugma" (1963), "Pagsar (1968), and "Udlot-udlot" (1975) are
usually porformed as a communal ritual other works include
"Kubing," "Agungan," "Ugnayan," "Ading," "Aroding," "Siasi and
"Suling-suling." He passed away on May 5, 2004 at the age of
87.

Lucrecia R. Kasllag
(1918-2000) National Artist
for Muslc (1989)

She was born on August 31, 1918 in San Fernando La

Union. She
completed her Bachelor of Arts degree in English at
the PWU as cum laude. Even if she was academically
excelling, she still managed to pursue music as a diploma
course in music teaching at St. Scholastica's College.
She completed her bachelor's degree in music at
 PWU and her master's degree at the Eastman
School of Music, the University of Rochester in New
York.

During the Marcos years, she was President of the Cultural

Center of the Philippines while a special consultant during the Aquino
administration. She also obtained international recognition as musical
director of the Bayanihan Dance Company
She wrote more than 200 compositions including folk songs,
opera, and orchestral works. Among her various compositions are "Love
Songs," "Legend of the Sarimanok," "Ang Pamana," "Philippine Scenes,"
"Her Son," "Jose," "Sisa," "Awit ng mga Awit Psalms," and "East Meets
Jazz Ethnika." She was also known for incorporating Western
influences with indigenous Filipino music. Kasilag passed away on August
16, 2008 in Manila.

Jerry A. Dadap (born

1935)
He was born November 5, 1935 in Hinunangan, Southern Leyte.
He was at first assigned to play percussion and later played trombone back
in Manila when he became a member of the UP ROTC Band. He taught
Rondalla at the Ramon Magsaysay High School in Cubao. He completed
his bachelor's degree in music at the UP Conservatory of Music in
1964. He took his post-graduate Diploma in Composition at the Mannes
College of Music, New York in 1971.
He is the first Filipino composer who conducted his
 rks at the Carnegie Recital Hall in New
York City. Toon returning to the Philippines,
he taught composition,
ir training, and orchestration at the Sta. Isabel College
ear

of Music in
Manila.
among his numerous compositions are "The
passionate and the Wild" (1960),
Mangamuyo / (1976) and Mangamuyo ll (1977).
The Redemption (1974), Five Little Fingers (1975),
"Tubig ng Buhay" (1986), "Dakilang
Pagpapatawad" (1986), Andres Bonifacio,
Ang Dakilang Anak Pawis, and "Ang Pag-ibig
ng Diyos."
***

Fr. Manuel P. Maramba, OSB

(born 1936)
He was born on July 4, 1936 in Pangasinan. He was only 11
when he gave his first recital of the famed
bamboo organ at the St. Joseph Parish
Church in Las Piñas. At age 14, he became
the official accompanist of the Las Piñas Boys'
Choir. He earned his music degree in piano at
the UST Conservatory of Music in the 1950s then
his master's in musical performance from Yale
University's School of Music. Though he
served as a parish priest in Mexico for a
 time, he still devoted himself to music returning
to the Philippines in 1977. He is a monk
at Our Lady of Montserrat Abbey in Manila.
Among his operas are Aba! Sto. Nino, La Naval, and Lord Ukon
Takayama, Ang Sarswela sa San Salvador, and the symphonies
"Pugad Lawin" and "The Virgin of La Naval."

Rarnon P. Santos (born

1941) National Artist for
Music (2014)
He was born on February 25, 1941 in Pasig. He completed his Bachelor
of Music in Composition and Conducting from the UP Conservatory of
Music in 1965. He obtained his master's degree with distinction from Indiana
University in 1969 while his doctor's degree from the State University
of New York in 1972.
His compositional style features
chromaticism, music seria, and electronic
components combined with music elements of
indigenous Philippine music. Among his works
are "Ding Ding Nga Diyawa," "Klintang,"
"Nabasag na Banga at Iba't Iba Pang
Pinag-ugpong-ugpong na Pananalita sa Wikang
Pilipino para sa Labing Anim na Tinig." and
"L'BAD." From 1978 to 1988, he became the
Dean of the UP College of Music,
 and

Francisco F. Feliciano
(1941-2014) National Artist for
Music (2014)
He was born in Morong, Rizal, on February 19 10. He acquired his
Teacher's Diploma in composition a conducting
at the UP
Conservatory of Music in 1964 and Bachelor of
Music Degree major in Composition in 1063 He
obtained his degree in music composition from
Hochschule der Kunst in Berlin, Germany.
He has more than 30 major musical dramas and operatic works.
His prize-winning works include "Pokpok
Alimpako." "Yerma," "Sikhay sa kabila ng Paalam
(Beyond
the Farewell)," and "Ashen Wings." At 73, he passed
away on September 19, 2014 after a long battle with cancer. Even after
his death, he is still considered as a great contributor when it comes to
liturgical music.

Josefino J. Toledo (born

1959)

He studied music at the University of

 the Philippines and took further studies at
the Conservatoire National Supérieur de
Musique in Paris. In 1985-1986, he
finished his graduate studies in composition at
the Clevoland Institule of Music in Ohio, USA
under a grant from the Asian Cultural Council

Toledo served as resident conductor and music director of the

Manila Symphony Orchestra in 1985-1987. For a time, he was the
chairperson of the Composition and Theory Department of the UP College of
Music. He is currently a full professor of music composition and theory at the
UP College of Music, while serving as the
vecutive director of Miriam College Center for Applied Music, music
director of Metro Manila Community Orchestra (MMCO), and GRUPO 20/21,
a modular music
ensemble.
Being a leading modernist composer himself, Toledo has a new
11-minute work ddingly titled "Hoy! Bata... (Hey Kid)," a derivative work for
soprano and orchestra
ing material from children's songs from different parts of the
country. This composition tries to evoke the feelings, emotions, and
needs of these children. His inspirations are “Bagbagto" of Cordilleras,
"lli-ili Tulog Anay" from Visayas, "Sa Duyan" from Mindanao, and
"Tong Tong Tong Pakitong Kitong" from the Tagalog regions. The spirit of
all these songs is captured by the dialogue between the soloist and
orchestra.
 Jonas Baes (born
1961)
He was born in Los Banos, Laguna in 1961. He enrolled at UP
College of Music, major in composition, in 1977, and
finished a bachelor's degree in 1982. He later
enrolled in the PhD Philippine Studies program of UP
Diliman and finished the degree in 2004 with a
dissertation on the politics of appropriating
indigenous Philippine music. He is a composer,
ethnomusicologist, and a cultural activist and is
also a faculty of the composition and
theory department at the UP College of Music.
Among his major musical compositions are “Patangis Buwaya" (2003),
“Banwa" (1996–1997), "Wala" (1997), "Aguyoy" (2005), "Daluy"
(1994), and “Basbasan" (1983)

What's More

Activity A
 Match the composers in column A with their musical composition
in column Write your answer in your notebook or on a separate piece of
paper. Do not write anything on this module.

1. Jose Maceda 2.
Ramon Santos 3. Jerry
Dadap 4. Lucrecia
Kasilag 5. Fr. Manuel
Maramba, OSB 6.
Josefino Toledo 7. Jonas
Baes 8. Francisco
Feliciano
a. “Ang Dakilang Anak Pawis" b. “Pagsamba” C.
"Daluy" d. "Philippine Scenes"
e. “Ang Sarswela sa San
Salvador f. "Klintang" g. “Pokpok
Alimpako" h. "Hoy! Bata..."
☺ Assessment

Write True if the statement is correct. If not, change the underlined work it
correct.

1. When Jose Maceda encountered the music of the

indigenous tribes or
Mindoro in 1953, his musical style
changed.
2. Jerry Dadap is a monk at Our Lady of Montserrat Abbey in
Manila.

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3. One of Francisco Feliciano's prize-winning works is

"Pokpok Alimpako." 4 Jonas Baes conducted his own work at
Carnegie Recital Hall. 5. Lucresia Kasilag's compositional style
features chromaticism, music seria,
 and electronic components combined with music elements of
Indigenous
Philippine music, 6. Among Josefino Toledo's various
compositions are "Love Songs," "Legend of
the Sarimanok," and "Ang Pamana." 7. Manila Symphony
Orchestra's principal percussionist was Josefino Toledo 8.
Jonas Baes is a composition and theory faculty of UP College
of Music and
also a cultural activist. 9. "Ding Ding Nga Diyawa" is NOT
Francisco Feliciano's composition. 10. Chromaticism and music
seria are some features of Ramon P. Santos'
composition
style.
B. Fill in the blanks with the correct answers, Write your answers on a
separate
sheet of paper. Do not write anything on
this module.

is the use of new styles and techniques in

music incorporating various music such as
__ _ _ music, and other
forms of music,
New music composers retained the Filipino
spirit by incorporating forms as well as
indigenous rhythms and intruments in their
compositions.