LECTURE NOTES IN TM 1

TEACHING MUSIC IN ELEMENTARY GRADES

CHAPTER 1: FUNDAMENTALS OF MUSIC

Music and its Moral Values

Music comes from the Greek word “mousike”, meaning the art of music. Muse is
one of nine sister goddesses of song and poetry and of the arts and sciences. It's the
spirit that gives the poet or composer his ideas and inspiration.

Music is the finest thing of the arts and sciences. For the scientist, music is a
system of vibrations that must be regular and systematic because, without organization,
music becomes mere noise. Music is the relationship between the ear and the
instrument or the voice of the musician. It is the organization of sound to beauty; it is the
manipulation of three individuals: the composer, the instrument maker, and the
interpretative musician. It is also the ideal means of communication for the artist.

Basically, music is the union of pitch, force, quality and duration, arranged in
accordance with the laws of melody and harmony. It is a combination and succession of
tones in accordance with the recognized laws of musical composition.

At the end of lesson, the learners must be able to:

1. Understood the moral values of music;

2. Discuss the advantages and disadvantages of music to the learner’s
development.
3. Appreciate the values given by music.
Why we need to study music?

There are reasons why we need to study music. These are:

1. Music brings satisfaction and joy to all. Boys and girls learn to develop their
aesthetic and spiritual tastes for a better and noble life. It’s the medium through
which one’s mood is expressed: happiness, sorrow, satisfaction and
discontentment, love and hate, anger and laughter.
2. Music is the vital factor for the other subjects in the school curriculum. It
sharpens the mind to understand and interpret its technical symbols and terms
and to understand its special vocabulary.
3. Music supplies the potential power and energy of man for creative growth.
It's a stimulant to one's imagination and a powerful force to invent.
4. Music enhances and improve human relationships and character building.
It instills a sense of well- being both physically and morally. It is an ideal form of
play where one gets a definite and liberating sense of freedom.
5. Music makes every picture and every sense of life appear significant.
6. Music is the remedy for all the distress.

The Importance of Music Education

Music education is important in our schools. And yet, it seems these days, it is
being offered less and less in many school systems. Unfortunately, many schools have
begun to exclude music from their curriculums to make room for other subjects.
Music is an extremely important subject for all children to learn and can lead to
better brain development, increases in human connection, and even stress relief. As
music is removed from schools, children will no longer receive these benefits unless
they enroll in private lessons, which is much too expensive for some families to afford.

1. Music stimulates brain development in children

Various studies have found that engagement with

music can lead to an improvement in brain development in
children. A study at Northwestern University found better
neural processing in students who played a musical instrument when they were
compared with students who simply listened to music. This study shows the importance
of receiving music education, rather than simply turning on background music when
students are doing work in other subjects. Other studies have also found increases in IQ
points in children who engaged with music. When compared with students who didn’t
take any music lessons, musically-engaged students had more improvements in IQ
subtests, index scores, and a standardized measure of academic achievement.
If you’re interested in enrolling your child in music lessons outside of the school
system for more engagement with music, take a look at this article to learn about the
costs.
Music education is also a great way to enhance reading comprehension abilities in
children. Another study, which was also conducted at Northwestern University, found
that students who actively participated in music classes had better speech processing
abilities along with higher reading scores than children who weren’t involved. Reading is
an important skill for all children to develop because it is needed for all subjects. Even
subjects that are not related to English literature will involve reading. For example, math
word problems require excellent reading comprehension abilities in order to answer
them correctly.

2. Music is a way to connect with other people

Music education is also important because it will give students a way to connect with
other people. Children are naturally very social, and it’s important to encourage them to
build relationships by providing them experiences to share with each other. Creating a
school band or small ensemble, or encouraging participation in a chorus will allow
children to work together towards a final product (such as an end-of-year performance).
This encourages bonding and will provide students with something to reminisce on
together in the future.
It has been proven time and again that having people of all ages play or listen to
music together will help to create bonds. Having an impromptu drumming circle or
listening to and enjoying a piece of recorded music can connect people through sound,
singing and even movement or dance. Musical experiences such as these can bring
back a fond memory or create new ones!

3. Music integrates many different subjects

Another reason music education is so

important is that it integrates so many different
subject areas all at once. Not only will music
education allow children to develop their musical
skills, it will also give them the opportunity to work
on their math skills, reading and writing skills,
science skills, and history knowledge. For
example, time signatures in music are an
excellent way to incorporate fractions, and lyric
analysis and songwriting will allow students to work on their reading abilities.
In addition, having discussions about how instruments work will involve information
on the physics of sound, and learning about music’s place in society will shine a light on
important historical events. If teachers are concerned about their students’ skills in other
areas of learning, they will be able to incorporate them into a music class with ease.
4. Music teaches discipline
Music will also teach children to develop time management skills and discipline. If
students are expected to learn their instruments and practice outside of school, then
they will develop the ability to create a practice schedule. They will be able to balance
every other activity they have going on in their lives. Learning discipline and time
management from a young age will have countless benefits on a child’s future. For
example, if a child develops discipline in elementary school, they will be much more
able to balance the workload they’ll receive in high school and excel in their classes.
Excelling in their high school classes may then allow a student to choose a reputable
post-secondary institution that he or she would like to attend, which will lead to better
job prospects as an adult.

5. Music can relieve stress

Finally, music is an excellent way to

relieve stress. This is significant for students
who may feel overwhelmed by schoolwork
and try to balance extracurricular
activities. Studies have found that music can
reduce burnout and improve mood states. As
students enter into the upper grades of the
school system and begin considering
applying for post-secondary schools, they
might feel overwhelmed with the need to
keep their grades high. Even young students can experience stress with the increasing
amounts of homework school curriculums require. Some students may also have
stressful home lives, and music will offer a way to escape from these situations.
In addition, you may consider Soundtracking your classroom to help relieve stress
and anxiety for your students. Doing so can also help create a focused learning
atmosphere.
Music has many benefits to people of all ages. It’s important to know why so that we
can continue to advocate for keeping music education in our schools!

Objectives of Music Education

1. Enrich life experiences through observation , exploration, discovery, cooperation
and participation.
 2. Discover creative potentialities through singing, listening, playing, moving,
reading and creating.
3. Enhance visual and aural perception for aesthetic and intellectual value
judgement.
4. Utilize music as an outlet for one’s feelings.
5. Gain acquaintance with music of different countries.
6. Develop fellowship for universal communication and social cohesion.
7. Awaken interest in global culture.
8. Develop nationalistic spirit in adapting Philippine music.
9. Gain familiarity with the different styles of Philippine songs, dances, festivals,
musical instruments.
10. Involve community participation for a harmonious school- community
relationship.

Music and Its Moral Values

Music can play a positive role in moral development by creating sensual attractions to
goodness, or it can play a destructive role by setting children on a temperamental path
that leads away from virtue. - WILLIAM KILPATRICK
Music has more positive educational uses. Most of us learned the alphabet this
way and some of our history as well (“Paul Reveres Ride,” “Concord Hymn” ). Recently
some foreign language courses have been developed which employ rhyme and song as
the central teaching method. Similarly, one of the most successful new phonics
programs teaches reading through singing.
This raises an interesting possibility. If Johnny can be taught to read through
rhyme and song, might he also begin to learn right and wrong in the same way? It
seems that something like this did happen in the distant past. As I noted earlier,
the Iliad and the Odyssey played a vital role in the formation of Greek youth. But the
ability of the Homeric bards to memorize these vast epics was due in large part to the
rhythmic meter and repetitive structure of the poems. In turn, these epics were often
sung to the audience to the accompaniment of a stringed instrument. In short, the
foundational cultural messages of the Greeks were conveyed by sung stories.
“Education in such cultures,” writes Kieran Egan of Simon Fraser University, “is largely
a matter of constantly immersing the young into the enchanting patterns of sound until
they resound to the patterns, until they become ‘musically’ in tune with, harmonious
with, the institutions of their culture.”
Allan Bloom, in his controversial discussion of music in The Closing of the
American Mind, says that music should be at the center of education. It does the best
job of giving raw passions their due while forming them for something better. Bloom
feels that music now plays the decisive role in the formation of a young person’s
character. In this respect, nothing has changed since the days of Homer, when, in
Egan’s phrase, the young were immersed “into the enchanting patterns of sound.” Of
course, Bloom is not happy with the results because what today’s youth are “musically
in tune with, harmonious with” are no longer the institutions of their culture or anything
on which a culture could be built. They are vibrating to the beat of a different drum —
usually the one in a rock band.
Plato also addresses himself to stories, poetry, painting, and craft, and has much
the same thing to say about them. Children ought to be brought up in an atmosphere
that provides them examples of nobility and grace.
In our own society, however, we seem to have managed to create an erotic
attachment to all the wrong things. Or more precisely, parents and teachers have, by
default, allowed the entertainment industry (“a common highway passing through all the
houses in America” is Bloom’s description) to create these attachments. Rock music in
particular, says Bloom, inclines children away from self-control and sublimation. It
doesn’t channel emotions, it pumps them up. Instead of a passionate attachment to
what is good, noble, and just, youth develop passionate attachments to their own
needs, wants, and feelings, and to people like Mick Jagger and Michael Jackson.
Pattison is a defender of both rock and Romanticism; however, as Irving Babbitt
points out, the essence of Romanticism is that it is never in love with a particular object
or person but only with the feelings which that person or object evokes. Consequently,
the Romantic spirit is fickle; it is always changing its object of devotion, always in search
of a new high. By necessity its interest is in novelty rather than stability. The sincerity of
feeling in listeners who respond to “We Are the World” (the theme song of the Live Aid
concert), but I question whether those are the sorts of feelings that can translate into
committed and sustained action. The actual behavior of many young people who are
hooked on rock suggests that their real agenda is “I am the world” and “The world owes
me a living.” Rock music allows us to indulge in expressions of strong emotion while
freeing us from the obligation of doing anything.A child’s musical environment is a large
part of his moral environment. Right now, most of that musical environment is supplied
by an industry that, as Allan Bloom says, “has all the moral dignity of drug trafficking.”
The first step in doing something about the situation is to wake up to its bizarre nature.
For parents to give over a large part of their children’s moral formation to people whose
only interest in children is an exploitative one is a form of madness. But, as Bloom
remarks, “It may well be that a society’s greatest madness seems normal to itself.”
Parents need to reclaim some territory for their children. Of course, the odds are
very much against them. But at least one factor is in their favor. When children are
young, they are still open to all kinds of music; they haven’t yet learned they are
supposed to like only one kind. It’s a good time to help them cultivate good taste in
music against the day when the forces of Pop culture will attempt to dictate bad taste to
them.
Kind of musical environment can help to create a good moral environment:
1. Music that can be shared. Rock drives a wedge between generations. Parents
and children can’t share songs like Prince’s “Darling Nikki” (about a girl
masturbating with a magazine) or Van Halen’s “Hot for Teacher.” This divisive
effect was evident right from the time Elvis first appeared on television — a
moment of nationwide embarrassment for families gathered in front of the set.
 Our society needs to return (or “move forward,” if you like Phrases with a
progressive ring) to music that brings families together in song: children’s songs,
folk songs, ballads, show tunes, parlor songs, carols, around-the-piano songs.
Singable songs. Songs that don’t need amplification, or stage sets, or a billion-
dollar industry to keep them alive.

When the piano, not the television set, was the center of home entertainment,
families enjoyed a common musical bond. The music belonged to everyone: not
just to adults, not just to teenagers. But singing together is not merely an old-
fashioned custom, it is a basic expression of family love. It is one of many rituals
of participation that have been lost, and for which we have not found adequate
substitutes.

2. Music that channels emotions. The basic appeal of music is an emotional one.
Education is not a matter of denying emotions but of civilizing them — of
attaching them to fitting objects. This process of sublimation does not weaken
emotions; rather, it gives them more power by giving them focus. And serious
moral endeavors, whether individual or communal, need such channeling. One
such example is the civil rights revolution of the sixties. Churches played the key
role, and the music that accompanied this revolution was, for the most part,
church music: hymns, spirituals, and gospel songs. Folk songs also played a
part. Rock music did not. The civil rights movement was a movement of great
seriousness and dignity. It was propelled by powerful emotions, but it was
essential to the success of the movement that those emotions be controlled and
restrained.

3. Music that shapes the soul. Morality is not simply about learning the rules of
right and wrong, it is about a total alignment of our selves. Because music moves
our whole being, it plays a major role in setting that alignment. Certain types of
music convey a sense of order, proportion, and harmony. There is an ancient
belief that the stars, the moon, the planets, all of creation, move to a heavenly
music. The theme can be found in Plato, Plotinus, Shakespeare, Milton, and
Dryden. According to some legends, God sang creation into existence. And this
harmony extends to human nature. Shakespeare wrote:

Such harmony is in immortal souls;

But whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.
Why not? Because, in Milton’s words,

. . . disproportion’d sin
Jarr’d against nature’s chime, and with harsh din
Broke the fair musick that all creatures made
To their great Lord, whose love their motion swayed.
Milton concludes:

O may we soon again renew that song,

And keep in tune with Heav’n, till God ere long
To his celestial consort us unite,
To live with him, and sing in endless mom of light.

4. Music that has stood the test of time. The music mentioned above possesses
another quality: timelessness. Thomas Day, in his short but instructive book Why
Catholics Can’t Sing, observes of certain chants, choral works, and hymns that
“the melodies sounded important, as if they had existed forever.” Many
Christmas carols have the same quality. It is surprising to discover that some of
them were written only a hundred years ago.

5. Music that tells a story. Music has traditionally been linked to story. The
Homeric poems recount long and detailed stories, the traditional ballad tells brief
and simple stories of love and tragedy, country and western music tells everyday
stories of marriage, betrayal, and hard times. Even orchestral music is often
composed with a story in mind. “The 1812 Overture,” Swan Lake, Scheherazade,
and Peter and the Wolf are examples that come immediately to mind. Opera, of
course, is the supreme blending of song and story. At another level the
Broadway musical offers the same potent combination.

In summary, music has powers that go far beyond entertainment. It can play a positive
role in moral development by creating sensual attractions to goodness, or it can play a
destructive role by setting children on a temperamental path that leads away from
virtue. Other cultures have found ways of helping the temperamental self keep time with
the social self — that is, with the self that must live responsibly with others. That
synchrony no longer exists in our society. Until it is restored, the prospects for a moral
renewal are dim.

Directions: Give what is being asked. Write your answer on the column provided below.
1. Give the advantages and disadvantages of music to learning of the children.

Advantages Disadvantages
Discuss the following.

1. What are the moral values of music?

2. How the music affects to the learning of the students?
3. Explain briefly the relation of music to the student’s learning.

Music and the Child

For years, there have been ongoing debates regarding the importance of music
and fine arts in the curriculum. Consequently, whenever educational budgets need to be
cut, it is generally fine arts, especially music, that is targeted for elimination.

The No Child Left Behind Act provided a breath of encouragement when it

named music as a core subject. At the same time, however, it stated that children must
be grade-level proficient in their math and language skills by the year 2014. Sadly, this
focus on proficiencies in math and language not only caused mass confusion, but also
once again made music an expendable subject area in many school districts
nationwide.

As schools continue in their efforts to realign approaches to learning so that no

child will be left behind, it becomes increasingly evident to many educators and
administrators that arts programs must be included as a visible and viable part of the
curriculum if the teaching-learning process is to be effective.

At the end of this lesson, the students should be able to:

 Understood the importance of music education to the learning and development

of the learners.
 Know the benefits of music in children’s development.
 Discuss the learning theory applied to music education.

More and more researchers point to the important role of the arts in improving
students’ achievement and preparing them for a life that demands creative solutions to

Challenging problems. Several studies confirm the numerous benefits of music in

children’s development.

Music motivates curiosity and creativity in students. It increases students’

engagement in learning as well as their social development. Many of today’s employers
seek individuals who have skills in creative thinking and collaboration. Consider what
students do when challenged to create their own musical composition, dance, or opera.

Music directly enhances learning through increased spatial development.

Both math and reading are improved by learning rhythms and decoding notes and
symbols.

Music improves cognitive skills involved in reading, language

development, and mathematics; it also develops problem-solving and critical and
creative thinking skills. Through movement, young students may recognize shapes of
letters, or add drama to a story or poem to better understand its meaning. Texts of
songs are simply poetry in motion. It must be noted that every song or composition is
tied to a specific person and/or place in time.

Music helps in the development of a student’s self-esteem and self-

confidence. Music provides endless opportunities for both personal and group success.
The process and eventual rewards of learning to play an instrument, dance a country
reel with a group of friends, or learn to sing “Take Me Out to the Ball Game” or the “Star
Spangled Banner” help to build confi dence in any individual.

Music reaches and increases communication and performance of students who

often struggle to succeed in school, including disadvantaged students, English language
learners, and students with disabilities. The ability to develop fluency in a language is greatly
enhanced through singing lyrics. Melody and rhythm together represent a foundation upon
which speech is added to form song.

Music provides new challenges for those students who already excel in their
academic performance. The ability to carefully analyze what is taking place in a song or other
musical composition demands high-level cognitive skills. The ability to read notation, count time,
provide proper fingering on an instrument, add expression, and play in ensemble or as a soloist
significantly challenges the best of students.

Activity in music programs motivates students to increase their attendance in

school. Although this may not be a significant reason to have music programs in schools, it is
important. It is very difficult to not give your best to a group if you have personally committed to
your peers.

LEARNING THEORIES

Learning theory has paved the way for many of the innovative and effective
teaching approaches used in classrooms today. Knowledge of learning theory not only
gives teachers a better understanding of the children they teach, but also provides them
with a framework upon which their curricula and lessons may be developed.

HOWARD GARDNER

In his book Frames of Mind, Howard Gardner formulated the following list of
intelligences that continues to influence educators in their development of multisensory
educational programs.

1. Linguistic intelligence- is sensitivity to spoken and written language. This

intelligence includes the ability to effectively use language to express oneself
rhetorically or poetically and language as a means to remember information. In the
music classroom this intelligence is realized in the performance, analysis, memorization,
and creation of lyrics to songs.

2. Logical-mathematical intelligence- consists of the capacity to analyze problems

logically, carry out mathematical operations, and investigate issues scientifically. A
thorough understanding and analysis of all the basic elements of music—rhythm,
melody, form, harmony, texture, dynamics, tempo, and timbre—are dependent on one’s
ability to use this intelligence.

3. Musical intelligence- involves skill in performance, composition, and appreciation of

musical patterns. It encompasses the capacity to recognize and compose musical
pitches, tones, and rhythms. Music Fundamentals, Methods and Materials is devoted to
the development of this musical intelligence.

4. Bodily-kinesthetic intelligence- entails the potential for using one’s whole body or
parts of the body to solve problems. It is the capacity to use mental abilities to
coordinate bodily movements. Although many activities throughout this book assist in
developing intelligence, Chapter 12 “Movement and Children,” is devoted entirely to the
importance of bodily kinesthetic skills.

5. Spatial intelligence- involves the potential to recognize and use patterns of wide
space and more confined areas. In this book, movement activities have been designed
to reinforce this intelligence in the chapter on “Movement,” as well as in several of the
suggested Cooperative Learning Activities found at the end of each chapter in Section I.

6. Interpersonal intelligence- is concerned with the capacity to understand the

intentions, motivations, and desires of other people. It allows us to work effectively with
others. The Cooperative Learning Activities found at the end of selected chapters will
help students and prospective teachers enhance this intelligence.

7. Intrapersonal intelligence - entails the capacity to understand oneself and to

appreciate one’s feelings, fears, and motivations.

8. Naturalistic intelligence -exemplified by archeologists and botanists, concerns the

ability to distinguish, classify, and use features of the environment. The musical
instruments that we use in the classroom every day are integrally connected to this
intelligence. How the instruments are made, where they originated, how tone is
produced on them, and how they are ultimately categorized according to winds,
percussive, or bowed or plucked is important here.

JEAN PIAGET

Jean Piaget, a Swiss psychologist, described four levels of cognitive growth and
development in children and emphasized that young children learn through imitation
and active participation. As children grow older, they are able to reason and think more
abstractly.

Piaget’s stages of cognitive growth are as follows:

• Sensorimotor stage —from birth to age 2. Children experience the world through
movement and senses.

• Preoperational stage —from 2 to 7 (creative thinking predominates). Children acquire

motor skills; egocentrism begins strongly and then weakens; children cannot use logical
thinking.

• Concrete operational stage —from 7 to 12 (children begin to think logically, but are
very concrete in their thinking). Children can now conserve and think logically, but only
with practical aids. They are no longer egocentric.

• Formal operational stage —from age 12 onwards (development of abstract

reasoning). Children develop abstract thought and can easily conserve and think
logically.

JEROME BRUNER

Educational psychologist Jerome Bruner believed that any subject can be taught
effectively in some intellectually honest form if the material is presented at the child’s
readiness level. This hypothesis served as the philosophical basis upon which the
concept of a “spiral curriculum” would evolve.

Spiral curriculum- represents a step-by-step development of cognitive growth over

time. In a spiral curriculum, material is presented in its simplest form and gradually
moves to more complex levels.

In addition to this most valuable philosophy, Bruner presented three modes of

representation through which learning or the encoding of one’s memory would take
place.

These modes included the following:

• Enactive mode (action-based): The learner manipulates the environment and gains
knowledge of it through sensory contact.

• Iconic mode (image-based): The learner represents this sensory contact in some
form that looks like the experience.

• Symbolic mode (language-based): The learner represents the experience in

universally understood symbols.
LEARNING THEORIES APPLIED TO MUSIC EDUCATION

Children grow in their love for music and become increasingly more secure with musical
concepts and skills when musical activities are well planned for successful completion.

The field of music education contains a number of learning theories that specify
how students learn music based on behavioral and cognitive psychology.

1. Classical Learning Theory- This was proposed by a Russian Physiologist Ivan

Pavlov. According to this theory, behavior is learnt by a repetitive association
between the response and the stimulus.

 In the 17th century, John Amos Comenius recommended music education for
religious purposes and designed a methodology to do so, as Richard
Mulcaster encouraged universal education including singing and playing as
standard curriculum.

 By the 19th century the conservatory model became more common outside of
Italy alongside a number of choir schools which provided education as well as
practical music experience.

2. Behavioral learning theories and music education- is a systematic approach

to understanding the behavior of humans and other animals. It assumes that
behavior is either a reflex evoked by the pairing of certain antecedent stimuli in
the environment, or a consequence of that individual's history, including
especially reinforcement and punishment contingencies, together with the
individual's current motivational state and controlling stimuli.

 Theories by researchers such as Ivan Pavlov (who introduced classical

conditioning), and B.F. Skinner (operant conditioning) looked at how
environmental stimulation could impact learning, theorists building on these
concepts to make applications to music learning.

3. Cognitive learning theories and music education- is a theoretical framework

for understanding the mind that gained credence in the 1950s. The movement
was a response to behaviorism, which cognitivists said neglected to
explain cognition.

 Cognitive psychology- derived its name from the Latin cognoscere, referring
to knowing and information, thus cognitive psychology is an information-
 processing psychology derived in part from earlier traditions of the investigation
of thought and problem solving.
 Gestalt psychology serves as the foundation for many applications to music
learning theory.
 Fred Lerdahl and Ray Jackendoff (1983) theorized on musical grammar based
on Chomsky's linguistic theories, arguing that "acoustic information triggers
mental operations that impose order onto input. If there is sufficient exposure to
music, musical understanding will occur through enculturation rather than formal
training."

4. Constructivist learning theory- largely developed by Jean Piaget, accept the

relation between the individual and the environment as crucial for understanding
the process of learning in a more holistic perspective than cognitive and
behavioral models.
 Kurt Lewin is also considered the 'father' of social psychology, used Gestalt
theory to develop his field theory of learning, a model that emphasizes "context
familiarity as an important descriptor of how individuals learn and process
information.
 Modern constructivist applications to music education include research by Roger
A. Rideout, Stephen P. Paul, Geraint Wiggins and others

To accomplish these objectives, teachers should be not only aware of the eight
intelligences that children possess when they enter into the learning environment, but
also well-schooled in how children learn and what they are capable of doing and
understanding during each of their growth stages.

MUSICAL EXPECTATIONS

Nursery School First and Third and Fifth and Sixth Grade
and Second Grade Fourth Grade
Kindergarten
They can match They have Their harmonic They can sing, . Boys respond
pitch, with more accuracy sense is but they do not best when
practice in singing developing prefer singing singing and
pitches in tune. at this stage. moving
together.
They can They can sing They can sing They can make They can
classify sounds: simple rounds in simple two their own compose their
high, medium, and canons. part harmony. instruments. own rhythms
low. and songs.
They can . They can They can learn They are They can
determine loud identify the Italian sensitive to create musical
and soft dynamic names of dynamic pieces that
symbols in symbols. changes in a incorporate
 music. variety of dynamic
musical styles. changes.
They can They can They can They can use
determine fast identify tempo identify and symbols
and slow. markings in react to the depicting
music. Italian names of tempo in their
tempo own creative
markings pieces.
They can They can They can put
differentiate identify legato into practice
between and staccato knowledge of
smooth and and other symbols related
disconnected. symbols. to style.
They can play They can They can play They love . They can
simple repeated create and play and improvise drumming, create their own
accompaniment simple harmonic playing the accompaniment
s. accompaniment accompaniment piano, guitar,
s on rhythm s to songs recorder, and
and melody Orff
instruments instruments.
They can They can They can They can work . They can
improvise on differentiate classify all with all improvise on
simple between instruments; percussion in barred
classroom various kinds of they can hear an ensemble instruments,
instruments. timbres. differences in drums, etc.
timbres.
They can move They can . They are They are easily . They can
to the basic distinguish capable of able to master create complex
beat. between beat mastering symbolic syncopated
and rhythm symbolic systems rhythms and
systems and movements.
can classify
objects and
ideas
abstractly.
They can They can They can move They can They can
perform simple participate in to more master many perform
dances. partner and folk complex folk styles of complex folk
dances. dances. dances. dances and
engage in other
movement
activities, if they
are interested.
They can begin They can read They can read They readily They are able
to read with the and write and write respond to to participate in
help of icons. musical music, and can reading and band,
 notation. compose writing music. orchestra, or
music. choral activities
They can begin They can They enjoy They will often
soprano progress engaging in begin private
recorder. rapidly on both choral and study of an
soprano instrumental instrument; they
recorder and music. love to play in
piano. an ensemble.
They can work They can form They can enjoy They are not They prefer not
together in a circles, lines, reels and other interested in being touched.
circle. and squares for folk dances partnering with
folk dance same sexes
while dancing.

INCLUSION OF THE MUSIC CLASSROOM

Developing Sensitivity

Music adds an important dimension to the emotional and aesthetic growth of all
children, regardless of physical or mental limitations. However, successful inclusion in
the music classroom depends on a combination of variables that must be addressed
before proper learning can take place. To help develop sensitivity in themselves and in
their students, teachers should:

1. Be open and honest with students from the beginning. Don’t avoid answering
questions. Hold class discussions that will allow students to ask questions and
explore feelings.
2. Discuss with the class the importance of positive attitudes, and instill a sense of
responsibility within all children in the classroom setting.
3. Use different types of media, such as smart boards, DVDs, and projectors with
Internet access to display examples of children learning and playing music in
diverse settings. Discuss the examples with the class.
4. Emphasize similarities rather than differences.
5. Be honest with yourself. Find help if you need assistance or advice.

Direction: Discuss the following.

1. Learning theories applied to music education.

2. How important does music to children’s development?

I. TRUE OR FALSE. Write TRUE if the statement is correct; write FALSE and
give the correct answer if the statement is incorrect.
1. Music classroom should develop developing sensitivity.
2. Ivan Pavlov is a Russian psychologist.
3. Learners in the first grade can compose their own rhythms and songs.
4. Learners in the first and second grade can differentiate between various kinds of
timbres.
5. Constructivist learning theory was developed by Jean Piaget.
6. Fred Lerdahl and Ray Jackendoff theorized on musical grammar based on
Chomsky's linguistic theories, arguing that "acoustic information triggers mental
operations that impose order onto input.
7. Spiral curriculum represents a step-by-step development of cognitive growth over
time.
8. Music motivates curiosity and creativity in students.
9. Music provides new challenges for those students who already excel in their academic
performance.
10. Learners in the kindergarten can play and improvise harmonic accompaniments
to songs.
11. Learners in the third grade can read and write music, and can compose music.
12. Gestalt psychology serves as the foundation for many applications to music
learning theory.
13. Music helps in the development of a student’s self-esteem and self-confidence.
14. Music improves cognitive skills involved in reading, language development, and
mathematics.
15. Activity in music programs motivates students to increase their attendance in school.

Periods in the History of Philippine

Music
 The written record of the Philippine Islands starts with the coming of the
Spaniards. Not that the country had not a history and a culture and a literature before.
But the Spaniards, in their religious zeal, destroyed the earlier records as completely as
possible. Therefore, much of what is known about pre- Spanish days and there is still
much to be uncovered comes from the records of other countries which were in touch
with islands.

Music of the Philippines include musical performance arts in the Philippines

or by Filipinos composed of various genres and styles. The composition are often a
mixture of different Asian, Spanish, Latin American, American and Indigenous
influences. There are four periods in the history of Philippine music: Pre- Spanish
period, Spanish, American- Japanese and Post- liberation period.

At the end of this lesson, the students should be able to:

1. Know the history of Philippine music;

2. Understand and discuss the changes of the Philippine music evolve in every
period.
3. Differentiate the characteristics of music in every period.
4. Appreciate the music as it evolves in every period.

Pre- Spanish Period

Filipinos are said to be Musical Peoples. In most
cases, singing is accompanied by dancing.

Filipinos are musical people. For every occasion,

they
have a particular brand of music. The whole day long, he sings.

Our forefathers had their own collection of songs,

dances, and instruments which exemplified their
religious and social life.
Songs of our ancestors were more of recitative but
the melody exudes customs, traditions, and
aspirations of the people. Many of these songs
were sung by the non-Christian tribes who have
assimilated the music of the Malays, Indonesians,
and other countries who traded with them.

They used Bamboo canes, Palm leaves and bark of trees to write their songs
and a piece of sharp stick or iron for their pen.
Even their instruments were made of Bamboo and wood which indicated their
primitiveness.
Functions of their music:
 Religious
 Social life
Characteristics of their Music:
 Recitative
 Mostly simple two note music
Example of these are:
1. Dal-lot – a song sung by farmers during wedding, baptismal and others parties
accompanied by Kutibeng (guitar).
2. Pamulinawen – is a love song
3. Dung-aw – is a song requesting a dead person to be good in his next life.

Origins of their music

Early Filipinos music was influenced by trade relations other races like:
 Malays
 Indonesians
 Arabs
 Chinese
 Indo-Chinese
 Japanese and
 Hindus

 Chinese, Japanese and Hindus introduce their five-tone scale called pentatonic.
  The rhythmic effects through the use of gongs, drums and cymbals were brought
by Hindus and Mohammedans.
 Reed type of wind instruments were brought by Japanese and Chinese

MUSIC ACCORDING TO THEIR CATEGORY:

 Ordinary songs (diyuna, talindaw)
 Street songs (indumalin, suliranin)
 Sorrow (dalit, umbay)
 Wedding (ihiman)
 Rowing (tigpasin, kalusan)
 Lullaby (hele- hele, hili, oyayi, iyaya)
 Success (baling- kungkong, dapayanin, hiliran, sambotani, tagumpay)
 House (tingad)
 General merry making ( kalipay)
 Counting (urukay)

MUSICAL AIRS FROM DIFFERENT REGIONS

Bontoc Province:
 Ayegkha
 Pagpag
 Bontoc
 Annaoy

Agusan
 Tub- ob

Zambales
 Whistle

Davao
 Toddonan

Sulu
 Tungungo

Igorot
 Milling Ayoweng

Negros
 Kalooye

Benguet
 Igorot

Nueva Ecija
  Kadumang

Bukidnon
 Dilay- on

Abra
 Diwdiw-as
 Bunkaka

Batanes
 Kalusan
Forms
Their songs were more of recitative but the melody exudes customs, traditions
and aspirations.

Origins
Most of the songs were adapted to other countries who traded like them like:
 Malays
 Indonesians
 Others

SPANISH PERIOD

CHARACTERISTICS OF MUSIC DURING THIS PERIOD

 More conservative style of sacred music.
 Minor key at the beginning shifts to a major key in the 2nd-half Kundiman.
 Canto Ilocano, monophonic unmeasured style notated utilizing note shapes
diferrent from the neumes of Gregorian chant (composition of the Kirial).
 Canto de Oregano, simple polyphonic settings in to two or more vocal
portraying.
 Religiosity and Musicality – salvation of self- expression.

Musical Forms

 Sacred Music
 Figured chant music
 Measured plainsong
 1795 (Golden Age of Sacred Music)
 Passion Song

 Other musical forms

 Songs
 Harana
 Harana
  As fine as art
 As a subject to be taught
Songs during the Spanish Period
1. Tagulaylay - counterpart of “ lamentation”
2. Palimos- song for begging
3. Kumintang- originated in Balyan, Batangas
a. Kumintang of the quest
b. Kumintang of the balayan
c. Kumintang with which the awits are accompanied
Examples:

 “La Tagala”- Jose Estella

 Amihan- Antonio Molina
 Auras de Terruno- Juan S. Hernandez
 Pagdilidli- Lucino Sacramento

4. Awit
Examples:

 Awit- F. Santiago
 Ang ulila- Antonio Molina
 Batingaw na Pilak- Antonio Molina
 Recuerdo de Filipinas y Sus cantares- Diego Perez

5. Balitaw
 Balitaw Mayor
 Visayan balitaw
 Tagalong balitaw
 Dansa menor
Examples :

 Hating- gabi – Antonio Molina

 Sampaguita- Dalores Paterno
 Ay, Ay, Kalisud- Visayan folksong

6. Kunndiman- came from the words “Kung Hindi Man”.

PHILIPPINE FOLK DANCES

There are 175 folk dances in the Philippines in which Jose Rizal was all
praise for these.
Filipinos enjoyed European dances like;
1. La Cucaracha ("The Cockroach") is a traditional Spanish folk song. It is
unknown when the song came about. It is
also very popular in Latin America. In Mexico,
it was performed widely during the Mexican
Revolution. Many alternative stanzas exist.
The basic song describes a cockroach who
cannot walk.

2. Fandango- a lively Spanish or

Spanish-American dance in triple time
that is usually performed by a man and
a woman to the accompaniment of
guitar and castanets.

3. Zapataedo- a Latin American dance

marked by rhythmic stamping or tapping
of the feet.

4. Tango- a ballroom dance of Latin American origin in ²/₄ time with a basic
pattern of step-step-step-step-
close and characterized by long
pauses and stylized body
positions.
 5. Rigadoon-
The rigaudon (also spelled rigadon, rigadoon) is a French baroque
dance with a lively duple metre. The music is similar to that of a bourrée, but
 the rigaudon is rhythmically simpler with regular phrases (eight measure
phrases are most common). It originated as a sprightly 17th-century French
folk dance for couples.

These dances reflect almost all facets of the people’s lives such as:

 Religious
 Occupational
 Entertainment
 Recreational
 Courtship
 Marriage
 Baptism
 War
Best exports of the Philippines and propagandize of the country’s vast reservoir of
inalienable heritage:
 Bayanihan Dance Troupe
 Barangay Dance Troupe

LUCRESIA URTULA- well-known choreographer of the world famous Bayanihan

dance troupe who said that Philippine indigenous music can be divided into 3 distinct
groups.

First group

Rondalla- a string consisting of

plucked instruments as guitar,
banduria, octavina, laud and banjo.

Second group

The Muslim- Filipino Instruments (assortment of brass

instruments)
1. Gangsa- A gangsa is a type of metallophone which is used mainly
in Balinese and Javanese Gamelan music
in Indonesia. In Balinese gong kebyar styles,
there are two types of gangsa typically used:
the smaller, higher pitched kantilan and the
larger pemade.
2. Kulintang - is a modern term for an ancient instrumental form of music
composed on a row of small, horizontally
laid gongs that function melodically,
accompanied by larger, suspended
gongs and drums.

The Mountain Region Instruments

1. Bamboo flute- The flute, especially the

bone flute, is one of the oldest musical
instruments known.[1] Examples
of Paleolithic bone flutes have survived for
more than 40,000 years, to be discovered
by archaeologists.

2. Gong - A gong is
an East and Southeast Asian musical percussion
instrument that takes the form of a flat, circular
metal disc which is hit with a mallet.

PHILIPPINE THEATER
  Tondo Theatre – was erected mainly to stage Tagalog plays in 1841. Spanish
dramas were acted also there.

 Teatro Castellano – better known as Teatro de Binondo was built by Engineer

Jose Bosch for Manuel Ponce de Leon of where a variety of songs and plays are
exhibited.

 Teatro Comico in Manila – Wenceslao Retana y Gamboa mentioned the

existence of these theatre in 1790.

 Arroceros Theatre - near the Mehan garden presented Tagalog plays according
to Juan Atayde.

 Casino in Intramuros – here, evening parits were held by social gatherings

particularly the Recreational Society.

TYPES OF THEATER PLAYS IN THE PHILIPPINES

1. Epic Poetry- is considered the highest point of Filipino folk literature, and dates
back to the pre-colonial period. These epics, usually of romance or adventure,
are commonly presented during festivals and gatherings such as weddings,
baptisms, and wakes. Singers have been known to perform for hours at a time.
One of the most famous epic poems is Biag ni Lam-ang, the national epic of the
Ilocano people, and notable for being the first folk epic to be recorded in written
form after being passed on from generation to generation.

2. Duplo- The duplo is a poetic debate presented through song and dance, which
originated from indigenous courtship customs. Poets used proverbs and riddles
to present their suit to the woman of their choice. This ultimately evolved into a
more formal debate on issues, and started to be called the balagtasan.

3. Moro-moro- one of the most popular types of theater in the Philippines was
the Moros y Cristianos, which is not surprising for a country that was under
Spanish rule for 300 years. Commonly called moro-moro, it is a street drama that
usually lasted for several days, and presented both secular themes like love and
vengeance, and the Spanish-influenced religious theme of the conflict between
Christians and Moors. The moro-moro only survives in isolated towns today, and
though an integral part of Filipino art history, it may not bear too much close
scrutiny these days with its less than admirable depictions of intolerance.

4. Senakulo- Another performing art stemming from religious custom is

the senakulo or Passion Play. This is the dramatization of the life and death of
Jesus Christ and is usually presented as a community activity during the Lenten
 season. This still endures to the present, ranging from simple productions to
more technically sophisticated and modernized versions.

5. Traditional Folk Dance- With its varied cultures and communities throughout its
7000 islands, the Philippines has a diverse collection of folk dances. Some of the
most popular folk dances are the Singkil, a folk dance that originated from the
Maranao people of Lake Lanao in Mindanao, from the epic
legend Darangen; the Itik-Itik, which originated as an improvised dance in
Surigao del Sur and was discovered by National Artist for Dance Francisca
Reyes-Aquino; and the Tinikling, which is similar to Singkil with its use of bamboo
poles that dancers must weave through. It is supposed to mimic the movement of
the local tikling birds.

6. Bodabil- It sounds like “vaudeville”, and it is. This form of theater was an American
import in the pre-war era, but became uniquely Filipino with the indigenization of the
name. Like its American counterpart, bodabil featured a variety of musical numbers,
comedic and dramatic skits, and song and dance numbers. Popular Filipino performers
such as Dolphy, Anita Linda, and sarsuwela legend Atang de la Rama got their start
in bodabil. It has since died out with the rise of cinema, but its influence can still be felt
in television variety shows.

7. Sarsuwela- Is a type of melodrama, usually in three acts, that uses alternately

spoken and sung words. It was the Spanish influence that started the sarsuwela, but it
was also this colonization that led Filipinos to incorporate nationalistic overtones in the
art. This resulted in the arrest of several prominent writers such as Aurelio Tolentino
and Pascual Poblete, and eventually, the shutdown of sarsuwela companies during the
American occupation. As proof of its importance in Philippine culture, in 2011 the
National Commission for Culture and the Arts designated the sarsuwela as a nominee
for the UNESCO Intangible Cultural Heritage lists.

 Performances were held in vacant lots or fields.

 During celebrations such as town fiestas, performers used provisional stage of
nipa and bamboo.
 Later, theatre bodegas, as those seen over cockpits appeared.

AMERICAN PERIOD (1898- 1941)

The American Educational System have greatly influenced the Philippine system
of music education with the treatment of music as a part of broad pattern of liberal
education.

With the establishments of conservatories (schools for special instruction in

music), formal education in music started.
PHILIPPINE OPERA
 Philippine Opera evolved from the Zarzuela.
 Zarzuela was based on the European metrical tales and set to the familiar
Spanish tunes which easily gained approval among the traditionally theater
loving Filipinos.
 All Zarzuelas are nationalistic in nature.

Examples of Zarzuelas:
 Minda Mora (Minda, the Moro Girl) – Juan Hernandez
 Pa-ibig sa Tinubuang Lupa (Love of Country) – Pascual Poblete
 Tanikalang Guinto (Chain of Gold) – Juan Abad
 Walang Sugat (No Wound) – Severino Reyes

Characteristics:
 American singing trough jazz invaded the country
 Most of the songs are nationalistic in nature
 Instrumental music and vocal music are both important in this period
 Non-commercial

Musical Form(s):
 Symphony
 Opera
 Opera Buffa

JAPANESE OCCUPATIONAL PERIOD (1942-1945)

 Their desire to propagate nipongo as the common language was a dismal failure.
 This was the darkest period in the history of the Philippines.

CHARACTERISTICS:
 Pentatonic
 Employs the universal material of sound organized by rhythm, melody and tone
quality
 Monophonic
 Sentimental and religious
 uplifting, driving, and rollicking
 emotional, poetic, or even somber
 emotional, poetic, or even somber
 The rhythms are based on ma; silence is important
 The tempo usually starts out very slow and gets faster, returns to being slow
again, and has a drawn-out ending

FORMS
 Musical march
  Symphony
 Orchestra

POST LIBERATION PERIOD (1945-1946)

The reawakening of interest in diverse forms of culture is manifested in the
proliferation of ensembles, vocal and instrumental not only in schools but also in
churches, government and private offices, communities and within the family.

Need for professional growth is evident in holding of in-service-training programs,

seminars, workshops, and conferences sponsored by schools, government agencies
and musical organizations such as the Philippine Society for Music Education, and the
Philippine National Society for music Education.

CHARACTERISTICS:
 Vocal and instrumental music are both important
 Emotional and creative
 Songs of nobility and nationalism were common in that period
 The use of found sounds, recorded voices, the shift from increasingly chromatic
surfaces to more triadic ones or the reverse, the use of new instrumental
combinations.

FORMS:
 Symphony
 Orchestra
 Sacred/ religious
 Instrumental soloist

ADVANCEMENT IN MUSICAL DEVELOPMENT

A. Nationalism in Music
B. Passage of R.A. 4723
C. Formation of Music Organizations
a. The Music Promotion Foundation was created
b. The Philippine Theater of Performing Arts produces operas and musicals
D. Use of Educational Television

NATIONALISM IN MUSIC

Edvard grieg Peter ilyich Tchaikovsky Many composers from Europe like Edvard Grieg
of Norway, Peter Ilyich Tchaikovsky of Russia, Giuseppe Verdi of Italy and Frederic
Chopin of Poland, fostered their national qualities in there music. They began to
produce works , which drew inspirations from their own folk music and these developed
mainly in Scandinavia, Britain, Eastern Europe and Russia.
Edvard Grieg not only used Norway’s legends but also it’s musical dialect, giving His
music the Norwegian flavor.

Here in the Philippines, Nationalism in music was developed during the romantic period.
Protest Songs Are songs created by artists or by anonymous Members of social
movements to call attention to Issues or sufferings under the Spanish regime. Songs
like patriotic Maria Clara Song, Kay Tamis ng Buhay by Felipe Padilla de Leon, Bayan
Ko by Constancio de Guzman, and Pamitinan(hiding place) by Julio Nakpil are some of
the Protest songs written during that period. Antonio Molina, Constancio de Guzman
and Julio Nakpil were among our nationalistic composers. Felipe Padilla De Leon
Antonio Molina Julio Nakpil Constancio de Guzman.

Constancio de Guzman (1903-1982)The Composer of Bayan Ko, which was played at

the background in the Bloodless EDSA revolution in 1986 (People Power I). It captured
the sentiments of thousands of people during that time. His other famous compositions
are Maalaala Mo kaya, Ang Tangi Kong Pag-ibig and Babalik ka rin, mention a few.

Constancio de Guzman also wrote a danza, which is a popular song in duple time and
later on popularly called harana. His danza work is Irog Ko. Constancio de Guzman set
into music Huseng Batute’s patriotic poem Bayan Ko(My Nation) in 1928. This song is
considered a revolutionary song.

Julio Nakpil(1860-1960) Julio Nakpil was born on May 22,1960. He is known as a

revolutionary musician and composer. He composed a national anthem for the
Katipunan at the request of Andres Bonifacio. The Tagalog title was Marangal na Dalit
ng Katagalugan(Himno Nacional in Spanish). He Married Gregoria de Jesus, Andres
Bonifacio’s Widow. His son Juan Nakpil is a Famous architect.

PASSING OF REPUBLIC ACT NO. 4723

REPUBLIC ACT No. 4723

An Act Giving Importance to the Teaching of Music in the Curricula of Elementary

and Secondary Schools, and Appropriating Funds Therefor

Be it enacted by the Senate and House of Representatives of the Philippine Congress

Assembled:

Section 1. Commencing with the school year nineteen hundred sixty-six—sixty-seven,

music shall be taught together with arts as a separate subject area, with music allotted
three days a week in all the grades in elementary schools, whether public or private;
and shall be taught together with arts, physical education and health as a separate
subject field, with music allotted at least one day a week in all the years in general or
vocational secondary schools, whether public or private.

Section 2. The Secretary of Education shall issue such rules and regulations as may be
necessary to carry out the purpose of this Act.

Section 3. The sum of five hundred thousand pesos is hereby appropriated, out of any
funds in the National Treasury not otherwise appropriated, to carry out the purpose of
this Act during the fiscal year nineteen hundred sixty-six—sixty-seven. Thereafter, such
sums as may be necessary for the same purpose shall be included in the annual
General Appropriations Act.

Section 4. This Act shall take effect upon its approval.

Approved: June 18, 1966.

PHILPPINE MODERN MUSIC (PRESENT)

Original Pilipino Music, now more commonly termed Original Pinoy Music or
Original Philippine Music, (frequently abbreviated to OPM) originally referred only to
Philippine pop songs, especially those in the ballad form.

Having successfully created a subgenre of Philippine Rock they called Bisrock,

the Visayans by far have the biggest collection of modern music in their native
language.

Inspired by what the locals call "Kapampangan cultural renaissance," Angeles

City-born balladeer Ronnie Liang rendered Kapampangan translations of some of his
popular songs such as "Ayli" (Kapampangan version of "Ngiti"), and "Ika"
(Kapampangan version of "Ikaw") for his repackaged album.

BEST- SELLING ALBUMS

1. Christmas in Our Hearts 1990 Jose Mari Chan (20x Platinum)

2. Constant Change 1989 Jose Mari Chan (10x Platinum)
3. Cutterpillow 1995 Eraserheads (10x Platinum)
4. Nina Live! 2005 Nina (8x Platinum)
5. Forevermore EP 1995 Side A (8x Platinum)
6. Paraiso 1991 Smokey Mountain (8x Platinum)
7. Smokey Mountain 1989 Smokey Mountain (8x Platinum)
8. Halik 2000 Aegis (7x Platinum)
9. Ten Years Together 1980 APO Hiking Society (7x Platinum)
10. 10 Habang May Buhay 1995 Donna Cruz (7x Platinum)

PHILIPPINE ROCK MUSIC

 Juan Dela Cruz Band, a Garage Rock- and Blues Rock-influenced group
consisting of guitarist Wally Gonzalez, bassist Mike Hanopol, and drummer Pepe Smith,
are often credited for ushering in the first "rock & roll revolution" in the Philippines that
lasted from the late '60s to the late '70s (also known as the Golden Age of Pinoy Rock).
Considered by many to be the "grandfathers" of Pinoy Rock.

The most notable achievement in Philippine rock of the 1960s was the hit song
"Killer Joe," which propelled the group "Rocky Fellers" which reached number 16 on the
American radio charts.

GRANDFATHERS OF PINOY ROCK

PEPE SMITH MIKE HANOPOL WALLY

GONZALES

Folk-rock became the Philippine protest music of the 1980s, and Aguilar's "Bayan Ko"
(My Country) became popular as an anthem during the 1986 EDSA Revolution. At the
same time, a counterculture rejected the rise of politically focused lyrics.
In 1990s saw the emergence of a superstar pop-rock group, the Eraserheads,
considered by many Philippine nationals as the number one group in the Philippine
recording scene.

CHARACTERISTICS OF MUSIC

Philippine rock musicians added folk music, and other influences

 Pop-rock groups became more popular among teens
 The Neo-Traditional genre in Philippine music is also gaining popularity
 Vocal music is more important than instrumental music
 An aim of appealing to a general audience, rather than to a particular sub-culture
or ideology
 An emphasis on recording, production, and technology, over live performance
 I. Discuss the changes of the Philippine music evolve in every period.

PRE-SPANISH PERIOD

SPANISH PERIOD

AMERICAN PERIOD (1898- 1941)

JAPANESE OCCUPATIONAL
PERIOD (1942-1945)

POST LIBERATION PERIOD

(1945-1946)

PHILPPINE MODERN MUSIC

(PRESENT)

Direction: Identify the period