MUSIC REVIEW

I. AESTHETIC PERCEPTION

A. The educational goals of aesthetic perception are:

1. To develop sensitivity to music’s expressive qualities.
2. To increase aural awareness.
3. To encourage musical responsiveness.
4. To encourage musical responsiveness, involvement, and discrimination.

B. Elements of Music
1. Pitch
a. May be high or low and may repeat.
b. Creates melody.
c. Progression of pitches creates melodic contour.
d. Progressive pitches create scales.
e. Melodic meaning is affected by range, register, length of groupings, and size of intervals.

2. Rhythm
a. Measured by units of time.
b. These pulses, or “beats,” can be organized in sets (meters).
c. Patterns can be repeated.

3. Harmony
a. Consists of two or more simultaneous tones.
b. Three or more simultaneous tones make a chord.
c. Chords can be modified.

4. Form
a. The “design” of music is created b the interaction of its elements.
b. Sections of music (“phrase”) can be similar or different depending upon amount of repetition of
elements.
c. Repetition of elements creates unity.
d. Contrasting elements create variety.

5. Texture
a. Total sound may have differing “textures,” such as thick, thin, opaque, and transparent.
b. Motifs may have textures, such as legato (smooth sounding) and staccato (clipped sounding).

6. Tempo
a. The speed of a section or composition.
b. Affects the music’s character.
c. Provides contrast when tempos differ.
d. Adds to expressiveness.
e. Is referred to by specific terms, for example lento (slow) and presto (quick).

7. Dynamics
a. The comparative loudness and softness of music.
b. Changes the expressive effect.
c. Is referred to by specific terms, for example piano (soft), pianissimo (very soft), forte (loud), and
fortissimo (very loud).

8. Timbre
a. The unique tonal quality produced by an instrument or voice.
b. Each instrument family (such as woodwinds, percussion, strings, and brass) has its
characteristics sound (timbre).

c. Instruments of different cultures produce different timbres.

9. Notation
a. The written form of music.
b. Composed of a variety of symbols for notes, rests, pitch, etc.
II. CREATIVE EXPRESSION

A. Development of musical skills

1. A basis for complete musical understanding.
2. Skill development leads to:
a. Sensitivity to music’s expressive qualities.
b. Development of musical responsiveness, involvement, and discrimination.

B. Types of musical skills

1. Auditory skills – hearing music.
a. Attentive listening is the basic activity of music education.
b. Aural acuity is a requirement of musical growth.
c. Students must be able to hear tones in the mind when no sound is actually being produced.
2. Translative skills – reading and writing.
a. For notation to have meaning, experience with sounds must precede contact with visual
symbols.
b. Drill on key signatures, meter signatures, names of isolated notes, and intervals is unlikely to
promote growth unless taught in conjunction with singing and playing.

3. Creative skills – creating music.

a. Creating music should parallel other musical activities.
b. Performing both improvised and written music should be encouraged.

4. Performance skills.
a. Singing.
(1) Musical selections should be chosen based on the physical development of student’s voices.
(2) Listening while singing should be encouraged to develop interpretive skills and
understanding of the structure and elements of music.
b. Playing Instruments.
(1) Instrument playing aids in understanding the concepts of sound, pitch, rhythm, etc.
(2) Can be used to accompany singing to produce harmony.
(3) Students should have access to class instruction and, at a certain level, to playing in
orchestras and band ensembles.
c. Body movement.
(1) Moving to music is a learned skill which promotes acuity of perception.
(2) A wide range of music and modes should be used.
d. Conducting.
(1) Even young children can experience elements of music through conducting speech chants,
involving changes in tempo, dynamics, pitch, and so forth.
(2) Conducting fosters sensitivity to musical expression.
e. Musical analysis.
(1) Students should compare their listening and playing experiences.
(2) Students should be encouraged to verbalize their musical analysis.

III. MUSICAL HERITAGE

A. Fosters understanding and skills within historical/cultural context.

B. Develops understanding of the styles, idioms, performance media, and purposes of types of music which
are part of our multicultural heritage.
C. Reveals the relationships between people and their music.
D. Communicates to students that:
1. Music is a part of living and can communicate feelings, lighten labors, and satisfy emotional needs.
2. Music as therapy has power to satisfy emotional needs.
3. Social influences affect choices in music.
4. Present-day musical instruments have evolved from simple beginnings.
5. Musical instruments were created from material from people’s environments.
6. Music has its own forms, periods, and cultural characteristics.

IV. AESTHETIC VALUING

A. Extends beyond knowledge and skills

B. Is the comprehension of beauty and the expression of feeling in music.
C. Has as its goal to provide a basis on which students can make intelligent judgments of musical value.
1. Music is a unique medium for human expression
2. Knowledge about music can increase one’s ability to choose music that is meaningful to the
individual.
3. The ability to make aesthetic judgments can heighten personal pleasure derived from music.
Glossary of Musical Terms:

Allegro – Fast tempo.

Bar lines – The vertical lines on the staff used to mark off the grouping of beats.
Beat – The underlying pulse present in most music.
Brasses – Wind instruments made of metal, including the trumpet, French horn, trombone, and tuba.
Chamber music – One to twenty performers.
Chord – Several notes sounded together.
Clavichord – A small predecessor of the piano.
Clef – The symbol indicating the pitch of the notes.
Consonance – The combination of tones that produces a quality of relaxation.
Dissonance – The combination of tones that produces a quality of tension.
Dynamics – The loudness of music.
Fugue- A fugue is based upon a short theme called a subject. The fugue subject contains both rhythmic and
melodic motifs. The opening of the fugue is announced by one voice alone. A second voice then restates
the subject, usually on a different scale. A third and then a fourth voice enter, each carrying the subject.
Harmony – Refers to the chordal aspect of music.
Harpsichord – Another predecessor of the piano, sounded by plucking the strings.
Interval – The distance between notes.
Largo – Very slow tempo.
Lento – Slow tempo.
Lyre – An ancient harp.
Mass – Music for a Catholic service.
Measure – The space on a staff between two bar lines.
Melody – Concerns the sequence of notes.
Meter – The organization of beats into groups.
Meter signature – The numerical symbol at the beginning of a composition to indicate the meter – for example,
2/4, ¾, 6/8, 4/4.
Moderato – Intermediate tempo.
Motif – A recurring group of notes, as the four in Beethoven’s Fifth Symphony.
Movement – A large section of a lengthy composition.
Note – A musical sound of specific pitch, as middle C.
Whole
Half
Quarter
Eighth
Sixteen
Opus – Work, usually identified by a number.
Oratorio – A major orchestral piece with solo voices and chorus.
Orchestra – A large group of instrument players, usually seventy-five to ninety.
Percussion – Instruments sounded by striking, as drums, cymbals, and chimes.
Pitch – The frequency of a sound wave.
Polyphony – Choral music with several simultaneous voice-lines.
Presto – Very fast tempo.
Rhythm – Concerns the relative duration of the notes.
Rondo – The main feature of a rondo is the return of the main theme, which alternates with secondary themes.
For example,
Simple rondo: ABABA
Second rondo: ABACA
Third rondo: ABACABA
Scale – The succession of notes arranged in an ascending order.
Sonata – A work for one or two instruments.
Song Form – When the first section of a simple ternary form is repeated – for example, AABA. (A simple ternary
form is music in three sections, with the third generally an exact repetition of the first, ABA)
Staff – The five lines on which notes are written.
Strings – Violin, viola, cello, and double bass (bass viol).
Subject – The principal melodic motif or phrase, especially in a fugue.
Symphony – A major orchestral composition.
Syncopation- A rhythmic effect produced when the expected rhythm.
Tempo – The pace of the music.
Timbre – The characteristic sound of a voice
Tone – A musical sound of a specific pitch.
Woodwinds – Instruments originally made of wood, including the piccolo, flute, clarinet, oboe, English horn,
bassoon, and saxophone.
 ASIAN MUSIC AND PHILIPPINE MUSIC

A. JAPAN

Traditional Music

Shomyo – is called Buddhist chanting. This history of Buddhist chanting in Japan began with the introduction of
Buddhism from China around 552. The chants are based on sacred texts and hymns. They are sung acapella and are
monophonic in texture.

Gagaku – means “elegant and refined music”. It is the oldest surviving music in Japan. It is also considered to be the
rarest and oldest orchestral music in the world. Consists of an instrumental ensemble with a dance. It is called
Kangen if it is an instrumental performance and Bugaku if it accompanies a dance.

Three Musical Styles of Gagaku

1. Togaku or court music – the highest musical style.

2. Komagaku – a musical style of Korean origin and of native composition associated with rituals of the Shinto
religion.
3. Saibara – small number of regional Japanese folksongs.

Theater and Dance

Noh – first Japan’s theater form and its music became one of the most important genres of Japanese traditional
music. It is make use of theatrical arts such as music, dance, poetry, design and costumes. The drama consists of
singing known generally as yokyoku or utai.

Kabuki – traditionally an all-male theater with a combination of melodrama and colorful dancing. It means “to act in
an unusual manner wearing unusual costumes”. It was first written with three Chinese characters which meant
“song-dance theater”.

Bunraku – is a puppet theater. Its performance is sustained by three main elements: the art of the puppeteer
himself, the own words of the narrator or the singer, and the music of the shamisen player. The puppet is
manipulated by three puppeteers.

Basic scales of Japanese music.

1. Male scale called Yo-sen

2. Female scale called In-sen

Japanese traditional music is based on the five tone scale or the pentatonic scale.

Instruments

Aerophone or Wind Instruments

SHO – a mouth organ that is made from bamboo or wood.

SHAKUHACHI – a bamboo flute with four holes.
FU’YE – a sophisticated side-blown flute with seven finger holes.
HICHIRIKI – an instrument similar to an oboe.

Chordophones or String Instruments

KOTO – a famous Japanese zither, with 13 silk strings, that is laid horizontally on the floor.
SHAMISEN – a flat-backed lute that has skin covered bellies and three strings.
BIWA – a Japanese version of the pi’pa that has four strings with frets on the belly and slim lateral tuning pegs.

Membranophone or Percussion Instruments(with membrane)

KAKKO – a gagaku instrument that is made up of deer skin.

DA-DAIKO – a huge gagaku drum suspended on an artistic frame and its struck with heavy lacquered beaters.

Idiophone or Percussion Instrument

SHOKO – hanging gong.

B. CHINA

Four Stages or Period

Formative Period – music was used in folk festivals that are meant to give honor to the ancestors. Clay ocarinas and
stone chimes were some of the instruments used to accompany these celebrations.

International Period – there was an overflow of musical ideas brought about by Western contacts and Asian trade.

National Period – showed signs of stability and affluence to China.

World Music Period – a new kind of music was born from the tradition of Western instruments and forms.

Chinese traditional music is based on the five tone scale or the pentatonic scale. It is written in duple meter in a
single melodic line or in strophic form. In the northern Chinese folk music, the seven tone scale or the heptatonic scale is
often used as a basis for compositions. Some Chinese compositions are written on the twelve tone (12) pitch scale called
LU and the 60 pentatonic and eighty-four (84) heptatonic modes are called TIAO. Ideograms or symbols were used to
notate Chinese Music.

Instruments

Aerophone – Wind Instruments

HSIAO – an end blown flute made from a smooth bamboo.

TI – a transverse bamboo flute tipped with ivory or bone at the end.
SHENG – a mouth organ with 17 pipes.

Chordophone – String Instruments

CH’IN – a seven stringed zither.

P’IPA – a four stringed loquat-shaped lute.
YUEH-CH’IN – a four stringed moon shaped lute used to accompany songs used in Peking Opera.
CHENG – a long zither with 13-23 strings.
ERH-HU – a two stringed fiddle played with a bowstring.
SAN-HSIEN – a three stringed banjo.

Idiophone – Percussion Instruments

YUN-LO – Hanging flat gongs.

PA – cymbals

Pipa Ch’in Sheng Er-hu

Peking Opera

Peking Opera – is a musical art form, combines singing, heightened speech, mime, dancing, literature, theater and
acrobatics. This opera traces its roots from the ancient ritual dance, the Yuan and the Ming Romance. It is recognize and
considered as a national art form. The basic characteristics of the Peking Opera is its simplicity, symbolism and
synchronization. Most operas derive their plots from folklore, popular novel and historical events. This kind of opera
upholds the Chinese traditional values which help educate the youth. The four dramatic elements are: recitation
dialogue, song, theatrical adaptation of traditional Chinese martial arts combined with acrobatics and Pantomime.
C. INDIA

India, one the countries in South Asia, was colonized by the British but were able to retain their culture. For
them, music is a sacred form of art. The study of Indian music begins with the religious chants called the Veda,
composed by a tribe of nomadic shepherds. These hymns are sung without accompaniment. The art of Indian music has
been called guided improvisation, which means that at all times, the musician must be guided simultaneously by the
raga and the tala. There are two kinds of Indian music: Hindustani which belongs to the north and has a Moslem
influence, and Karnatak which belongs to the south and is basically Hindu.

1. Tala – is the rhythmic cycle of India. The tempo is called laya. The laya may vary from fast (druta) to medium
(maghya) or slow (vilmabita). In Hindustani music, the unit of time is called matra and in Karnatak music, it is
called akshara. The tala is divided into rhythmic groups called angas. Drone is an important element in their
music.

X – represents the accented beat O – represents an open or empty beat

2. Raga – is a combination of a scale and a melody. Each raga has its own mood such as happiness, sorrow, or
peace. There are two principal tones of the raga: vadi and samvadi.
3. Shruti – is the smallest interval tone in Indian music. In Western music, it is called microtones.
4. Gamaka – ornamentation in Indian music.

Tonal System of India

SA RI GA MA PA DHA NI SA
D E F G A+ B C D

Instruments

Membranophone – Percussion Instruments (with membrane)

TABLA – (Hindustani) is the name for a pair of drums. The larger drum called the bhaya, has a metal body while the
smaller one, the tabla has a wooden body.
MRIDANGAM – (Karnatak) a two headed drum. It is laid across the lap of the performer.

Aerophone – Woodwind Instruments

BANSURI – a side blown cane flute is a melodic instrument of the North.

SHAHNAI – an oboe type instrument.
NAGASVARAM or NAGASVARA – a large double reed oboe type instrument of the South.

Chordophone – String Instruments

India has a variety of chordophones. In these instruments, three kinds of strings may be found: melodic strings,
drone strings and symphatetic vibrators.

TAMBURA – unfretted lute, used as a drone; used by both South and North.
SITAR – the most popular instrument in Northern India; in addition to four strings and three drones, the sitar may have
as many as 13 strings.
VINA – instrument of the South; with four melody strings and three drone strings.
SARANGI – bowed fiddle melodic instrument; a Hindustani instrument.

Hindustani Instruments Karnatak Instrumental Ensemble

1. Bansuri – melody 1. Vina - melody
2. Tabla – tala 2. Violin - melody
3. Tambura – drone 3. Mridangam – tala/rhythm
4. Tambura - drone

Mridangam Sarangi Shahnai Sitar Mridangam Vina Tambura

D. INDONESIA

Indonesia shows varied cultural influences. Foremost of the influences still existing today are those of India and
China which reached Indonesia in 300 B.C. Hinduism and Buddhism have greatly influenced Indonesian culture. Music,
dance and drama are very important to the Indonesians.

Wayang Kulit – (shadow puppetry) music and dance using puppets made of animal skin and painted with colorful
designs.

Gamelan – is the one of the most important musical ensembles in Indonesia. A Gamelan consists of 40 instruments. The
arrangement of the instruments is important. The Gamelan is played in the courts. It plays an important part in spiritual
life. It is used for religious ceremonies and important events. It is also a part of entertainment like the puppet show.

Slendro - is known as the “male” tonal system. It consists of five tones without half steps. It is also known as the
pentatonic scale.

Pathets – is the modes in music used to determine the highness and lowness of pitch. These are the slendro pathet nem
- lowest pitch, slendro pathet sanga – medium high and slendro pathet manyura – highest pitch.

Pelog – is considered the “female” tonal system. Consists of seven tone scale, involving half steps. The three modes are
the pelog pathet lima – lowest, pelog pathet nem – medium high and pelog pathet barang – highest pitch.

The Gamelan Instruments

SARON – plays the skeletal part of the gamelan composition, which consists of metal bars placed on top of box
resonator. A wooden mallet is used to strike the bars.
REBAB – is similar to the mandolin. It has two strings played with an arc.
CHELEMPUNG – has twenty-six strings, one pair of which is set to one tone. This way, only tones are heard.
SULING – is bamboo flute.
PEKING – is a small xylophone with thick metal bars.
GENDER – is made up of thin bronze plates suspended over resonating tubes. It has loud and brilliant tones.
BONANG – is a set of bronze metal kettles which plays the melodic and rhythmic variations of a composition. Two long
sticks are used to strike the gongs.
GONG AGENG – is the most sacred and the most honored instrument of the gamelan. It is played with a soft, padded
wooden stick to mark large musical phrases.
GAMBANG – is wooden xylophone. It doubles or anticipates the principal melody.
KEMPUL – is a small gong that plays in syncopation with the kenong. It punctuates short musical phrases.

Saron Rebab Suling Gender Bonang

Gong Ageng Kempul Gambang Chelempung

E. KOREA

Korean music may be described as elegant and very ritual like the Chinese music. There is music for both the
nobility and common people. Korean music is built on the pentatonic scale and on the heptatonic scale. Both scales are
used in the Aak court music and during informal celebrations.

Traditional Music

1. Sog –ak – is the music of the common people that is usually live. It portrays the life of ordinary people. It is folk
music of Korea.
2. Chong – ak – is the Korean Court music. The court music of the nobility is elegant, refined, delicate and formal. It
is extremely slow and solemn, has subtle dynamics and possesses a sense of majesty.

Three kinds of Korean Court Music

a. Aak – an imported form of Chinese ritual music.

b. Hyangak – a pure Korean music.
c. Tangak – a combination of Chinese and Korean influences.

Vocal Music

1. Kasa – a long narrative song.

2. Kagok – a lyrical song.
3. Sijo – a short lyrical song.
4. Nong-ak – song of the farmers.
5. P’ansori – song for the stage and drama.
6. San-jo – song for solo instrument.
7. Minjo – a folk song sung in triple meter with one basic rhythmic pattern.

Instruments

Aerophones
1. P’IRI – is cylindrical bamboo similar to an oboe blown through a double reed mouthpiece.
2. TANSO – is a small notched vertical bamboo flute with five fingerholes.
3. CHOTTDAE – is a long flute made of bamboo with six holes.

Chordophones
1. KAYAGUM – is a twelve-stringed zither similar to the Koto of Japan and Ch’in of China. It is supported by twelve
movable bridges.
2. KOMUNGO – is a six-stringed zither that plays as the principal instrument for a small group of players. It is
regarded for expressing the noble spirit of a learned man.
3. HAEGUM – is a two-stringed fiddle made of bamboo that is plucked. It is used for dance performances.

Idiophones
1. KWAENGGWARI– is the smallest gong struck with a wooden mallet.
2. PAK – is a clapper shaped like a folded fan. It consists of six pieces of wood loosely held together at the upper
end by chord made from deer skin.
3. CHING – is a huge gong played with a padded mallet. This is used in military and Shaman music.

Membranophone
1. CHANGGO – is an hour glass shaped drum played by striking either of both ends. The thick leather head
produces a low sound while the thin leather gives a brighter tone sound.

Kayagum Komungo Changgo Haegum

F. THAILAND
The music of Thailand has been part of an oral culture and developed no traditional system of notation.
Traditional Thai music is classified into: folk music, which is extensively used by people in the villages, and classical
music, which evolved in many royal households and was used both for ceremonies and the entertainment of the ruling
class.

Periods
Sukothai Period (1257-1378) - introduced instruments such as drums, trumpets, bells and other string and percussion
instruments for entertainment.
Ayuthaya Period (1350-1767) – Thais enjoyed creating and performing music. It was during this time that the
instrumental group first emerged. (pi phat, khruang saay, mahori)
Krungthep Period (1782-1900) – proved that the art was accorded high status with the patronage of the king. King Rama
I invented new instruments which gave rise to the development of music and dance.

Three Types of Orchestra and Instruments

1. Pi Phat – this plays for court ceremonies and theatrical presentations. Composed of woodwind and percussion
instruments.
a. PINAI – woodwind instrument and it plays the melody.
b. RANAT-EK – xylophone
c. KHONG-WONG – gong instrument and the reference of tuning of all instruments
d. CHING – cymbal instrument and the time keeper

2. Khruang Saay – performing in popular village affairs, combine strings and wind instruments.
a. RANAT – xylophone
b. KHONG-WONG – gong
c. CHAKEE – zither
d. SAO-SAAM-SAAY – fiddle
e. SAO DUANG – fiddle
f. THON – drum

3. Mahori – accompanying solo and choral singing, mixes strings, percussions and wind instruments.
a. CHAKEE – zither
b. SAO-SAAM-SAAY – fiddle
c. SAO-DUANG – fiddle
d. KLU-PIANG – flute

Taphon Ranat ek Khong- wong Pinai

G. LATIN AMERICA

Latin America covers the whole Central and South America. It is called Latin because much of it was conquered
and colonized by Spain and Portugal, whose languages are based on Latin and are still spoken everywhere. The music of
Latin America is a fascinating mix of the influences of the Spanish, Portuguese, British and French music, and by an influx
of black African slave music.

The Latin Beat

1. Tonadas (tunes or airs) are South American love songs in Spanish.

2. Habanera – is perhaps the most stately and aristocratic Latin American rhythm which comes from Cuba, being
named after its capital city of Havana.
3. Rumba and Mambo – are much faster and clearly indicated by the spirit of African dance.
4. Tango – probably originating in Argentina has a similar skipped beat.
5. Zamba and bossa nova – of Brazil are more relaxed, evoking images of white sand, blue sea, and gently waving
palms.

Latin American music joined hands with jazz to revolutionize the world of popular songs and dances.
Instruments

MARACAS – were created and first used by the native Indians of Puerto Rico. A pair of these is used to create the unique
sound so common in Latin American and Puerto Rican music.
GUIRO – a notched hollowed out gourd, which was adapted from a pre-Columbian instrument.
PALITOS – a pair of sticks that are banged together to provide percussion rhythm.
CONGA – this drum was adapted from Africa where it began as a solid, hollowed out log with a nailed-on skin. It took
various shapes and sizes to vary its sound.
BONGOS – are integral part of Latin percussion, particularly as a solo instrument.

Maracas Guiro Palitos Conga Bongos

H. AFRICAN MUSIC

In African traditions, music has been and still is an integral part of daily life, and is closely interlinked with the
society in which and for which it is produced. It has social, ritual, ceremonial and at times recreational functions. Dancing
is often an important part of the rituals and spiritual aspirations of music.
Traditional art forms, including music, are rooted in mythology and folklores, usually associated with gods,
ancestors and legendary heroes. Musical activities are ritualized and intended to link the visible world with the invisible.
Music is highly functional in ethnic life, accompanying birth, marriage, hunting and even political activities.
The Western scale patterns that relate most closely to African music are tetratonic, pentatonic, hexatonic or
heptatonic arrangements.

Instruments

Drums are among the more popular instruments and are made in a variety of shapes and sizes. Materials such as
wood, gourds and clay are used to construct drum bodies. Drum membranes are made from the skins of reptiles, cows,
goats and other animals.

Rattle Mbira Talking drum Yoruba gong

I. PHILIPPINES

Geographically, the Philippines belongs to the East, it has absorbed considerable cultural influences from West
due primarily to 333 years of Spanish rule and 45 years of American domination. Its oriental background still remains in
highland and lowland barrios were indigenous cultures thrive with little Western influence. In the urban areas, Spanish
and American influences are highly evident in the social, economic and political aspects of life. Shaped by cross-cultural
contacts with Western and Non-Western traditions, Philippine music of today consists of several streams: Indigenous,
Spanish influenced and American influenced.

Ethnic Traditions

The indigenous and Islamic influenced traditions are practiced by about 10% of the entire population. Eight
percent of this minority is represented by more than 100 language groups living in the mountains of Northern Luzon and
in the island of Mindanao, Palawan and Mindoro in Southern and Western Philippines.
Indigenous music may be instrumental or vocal. Among the indigenous common musical instruments are the
following:
a) Saggeypo – small pipes of different pitches (kalinga)
b) Kollitong – poly chordal zither (kalinga)
c) Patatag – xylophone blades (isneg)
d) Tongatong – stamping tube (kalinga)
e) Bangibang – yoke beam (ifugao)
 f) Bungkaka – bamboo buzzers (isneg)
g) Lantoy – bamboo flute (manobo)
h) Gangsa Pattung – with stick (kalinga)
i) Gangsa Toppaya – bare palms (kalinga)
j) Kubing – jaws harp (tiruray)
k) Palendag – long flute (tiruray)
l) Suling – short ring flute (tiruray)
m) Gandingan – set of four narrow rimmed gongs (maguindanao)
n) Dabakan – drum (maguindanao)
o) Babandil – narrow rimmed gong with shallow boss (maguindanao)
p) Kutyapi – stringed lute (maguindanao)
q) Kulintang – a set of graduated gongs (mindanao)

Agong Gangsa Diwdiwas Dabakan Gandingan Kulintang

Spanish Tradition

In 1521, the accidental discovery of the Philippines by Ferdinand Magellan brought about Spanish colonization
and Christianization that also planted seeds of European harmonic music, totally unknown to Asia at that time. In 300
years, these seeds took shape and produced religious music both connected to and outside the liturgy of the Catholic
Church, secular music from Europe and European type of music adapted by Filipinos, folksongs and music of string and
brass ensemble. Among the common music and practices are:
a) Pabasa – lenten season
b) Pasyon – chanting
c) Flores de mayo – procession in honor of the Blessed Virgin
d) Panunuluyan – sung dialogue on the streets
e) Sinulog – dance ritual

Numerous instrumental groups performed actively, particularly in the second half of the 19th century. These
included orchestras, bands and rondalla.

American and Contemporary Traditions

The three centuries of Spanish musical influence gave way to changing more introduced by the American regime
from 1901 to 1946. Through the new system of public education, American teachers introduced the singing of Philippine
songs in Western style as other hymns and simple tunes from Europe and America.
The three types of music: 1. the classical music – which includes both Western classical music and the art music
composed by Filipinos in the Western classical or modern idiom. 2. the semiclassical music – which encompasses stylized
folk songs, sarswela music, hymns and marches, band and rondalla music. 3. the popular music – which includes music
created by Filipinos using Western pop forms and/or local music traditions.

Classification of Songs
1. Art Song – is one that meets the requirements of the musical and poetic arts.
2. Folk Song – is a song of the people and consists of simple melodic, harmonic, and metric fundamentals.
3. National Song – is one that belongs to the nation. The national anthem or hymn, with a martial theme, is a
national song.
4. Popular Song – is a song of trivial musical and poetic value, usually written by laymen for popular mass appeal. It
is a song of the people.
5. Strophic Song – is a folk or art song consisting of two or more stanzas, each of them set to an identical tune. A
strophic song falls under the mood song category.
6. Non-strophic Song – a non-strophic song is one in which the melody changes according to the thought of each
verse.
7. Ballad – is a class of song particularly common in England and is derived from ballata, a song with dance.
8. Plain Song – is a piece of unisonous vocal music popularly used in Christian church rituals.
Traditional Melodies of the Filipinos
1. Hila-hila – a dramatic song, sung when paddling a banca.
2. Oyayi – a kind of cradle song, sung to make babies go to sleep.
3. Tagumpay – a victory song to commemorate a battle won or to honor the victors.
4. Tagulaylay – a monotonous melody portraying grief over someone’s death.
5. Kumintang – an ancient native dance and melody of the Christian Filipinos is an authentic example of pre-
Spanish music in the Tagalog areas. Originally a war song, it was later adapted into a love song and still later into
a song of repose.
6. Kundiman – a passionate lyrical song with a theme professing true love.
7. Balitaw – is song and dance common among Tagalogs and Visayans.

Composers
1. Nicanor Abelardo – Father of Kundiman (Nasaan Ka Irog, Mutya ng Pasig, Bituing Marikit, Himutok, Kung Hindi
Man)
2. Julian Felipe – Composer of National Anthem (Jose Palma – lyricist)
3. Antonio Molina – Hatinggabi – violin solo – impressionistic style
4. Dolores Paterno – Composer of La Flor De Manila 1897 (Sampaguita)
5. Lucio San Pedro – 1991 National Artist (Sa Ugoy ng Duyan, Sa Mahal Kong Bayan, Sa Lupang Sarili)
6. Francisco Santiago – Composer of Pilipinas Kong Mahal, Kundiman (Ako’y Anak ng Dalita), Madaling Araw,
Pakiusap, Ano Kaya ang Kapalaran, The Dignity of Labor

THE PHILIPPINE NATIONAL ANTHEM

On June 5, 1898, Aguinaldo issued a decree setting aside June 12 as the day for the proclamation of Philippine
independence. At the same time, he commissioned Julian Felipe, a composer from Cavite, to prepare a composition
which would be played during the independence ceremonies. On June 11, Felipe showed Aguinaldo the draft of his
musical composition, which was entitled Marcha Filipina Magdalo. Aguinaldo and the other revolutionary leaders, upon
hearing the composition played on the piano, adopted it as the official march of the Philippines. Aguinaldo then
requested Felipe to teach the music to the members of the band of San Francisco de Malabon so it could be played the
next day. Felipe changed the title of the march to Marcha Nacional Filipina(Philippine National March).

The following day(June 12, 1898), the music band of San Francisco de Malabon played it for the first time during the
unfurling of the Filipino flag at Kawit. The beautiful melody of the anthem stirred the people's patriotic fervor.

For more than a year, the anthem remained without words. Towards the end of August 1899, a young poet-soldier
named Jose Palma(younger brother of Dr. Rafael Palma) wrote the poem entitled Filipinas. This poem expressed in
elegant Spanish verses the ardent patriotism and fighting spirit of the Filipino people. It became the words of the
anthem. At last the national anthem was complete -- with music and words.

1898 : National Anthem Melody : Marcha Nacional Filipina

1899 : National Anthem in Spanish : Filipinas
1934 : National Anthem in English : The Philippine Hymn
1956 : National Anthem in Filipino: Lupang Hinirang