PHILIPPINE NORMAL UNIVERSITY

The National Center for Teacher Education

College of Graduate Studies and Teacher Education Research
Department of Social Science Teaching/History Teaching
Taft Avenue, Manila

ENHANCING THE TEACHING OF FILIPINO

NATIONALISM THROUGH MUSIC

A Concept Paper
By: Arnold P. Santos
M.A.Ed. – Teaching History

September 10, 2016

Introduction

There is power in music. Many research studies demonstrated that despite its
openness to various interpretations, music wields enormous and enduring power
within human subconscious mind (Brown & Volgsten, 2006). It has tremendous
power to move people in any direction towards peaceful and noble goals and
even violent or destructive ones (Urbain, 2008). A number of artists like renowned
English musical composer, Ralph Vaughan Williams and pragmatist thinker John
Dewey attest to the truth of music above all arts was an expression of the nation’s
soul. Undeniably, music is embedded within the human psyche. It is where the
manifestation of people’s psychology, character and individuality can be
perceived.

Music has significant intervention in the historical events of any country. The
Romantic Movement in the mid-eighteenth century in England and Germany
before spreading its influence across the continental Europe and American
continents had manifested a patronage for folk music which inspired patriotic
sentiments. As Culpepper (2014) postulated, music underscoring nationalistic
discourses instigated phenomenal events in the western world.

Similarly, in Philippine experience, Filipinos are proven musician. Even in the

distant past of their primordial ancestors, they have manifested remarkable
preference for music. It has crafted a passionate expression of emotions in the
celebration of varied meaningful life activities and occasions in their communities
(Agoncillo,1990; Halili, 2010; Rivadelo,1987). Music in Philippines indeed exhibited
varied subliminal consciousness relative to thanksgiving, birth, death, love, war,
labor, religions and victory.

Music has made Filipinos who they are. Being gifted with a strong sense of
musicality, they turn to music to express their innermost emotions. Hence, every
song they sing, every instrument they play, every piece of music they compose is
a direct and almost spontaneous reflection of their hopes and longings, frustrations
and fulfillment, failures and triumphs. Music provides a reflection of their history as
people of distinct flourishing culture prior to the advent of the western infiltrators.

Hila (2004) contended that when the Spaniards came to Philippine shores in
the latter years of 15th century they used music in their task of evangelization. They
taught the native Filipinos that such songs they chanted are sacred liturgy to their
gods hence, from that time onwards, Filipino endemic culture had undergone
sudden transformation in conformity with the western ways.

In Filipinos’ struggle against their lost freedom from Spain, America and Japan,
Dervy (1994), a music-loving historian had keenly observed that the revolutions
fought against these colonizers were not solely done with “bolos and bullets” but
also with disguised love songs popularly known as Kundiman (folk songs) conveying
nationalistic messages which strongly inspired and stimulated the ongoing
revolutions. Conspicuously, music has played a crucial role in every period of
Philippine history and it continues to partake in the dynamic evolution of Philippine
culture proving that music is seated within the Filipino psyche and its expression
brings in significant “change” to Filipino character and cultures. This
transcendence attests that in people’s mind, as Rivadelo (1987) stressed, music is
an important vehicle and extension of man’s expression of their love of country, a
strong medium that can strengthen the value of nationalism, and with such, it
could bridge in the gaps between and among Filipino multicultural groups.

It is a known fact that Philippines today is beset with myriad of political,

economic, socio-cultural issues directly hampering the utmost dream of every
Filipino to have an economically progressive nation. One identified underlying
culprit was the debilitating nationalism of the country (Constantino, 1958; Drona,
2004; Pajaro,1976; Pongcal,1991; Tanada, 2000). These authors have even
pinpointed the propelling cause behind – the strong grip of colonial consciousness
is still intact in Filipino mentality. Filipinos are more engaged in the patronage of
foreign cultures that dress up their lifestyles and music in particular is no exception
to this. Younger generation was so enthralled to foreign sounds. Filipino young
people are amused of attending concerts, watching television entertainment
shows and movies showcasing western performances. This phenomenon is brought
in by globalization – one inevitable covert effect and it is quite alarming in the
stability of the character of Filipino nationalism today. This makes Filipino think and
behave in western ways since the entire society is dressed up with foreign cultural
strains.

Objectives

It is in relation to the foregoing notions that the writer through this concept
paper introduces a concept that music can be a powerful mover of a more
demonstrative nationalism among Filipinos. It can be used as a primary
methodology in teaching Filipino nationalism concepts given our K+12 Social
Studies curriculum. The writer aims to convey the significant effect of music in
enhancing Filipino nationalism. The concepts developed in the paper could offer
an idea for education policymakers, administrators and most especially Social
Studies teachers in the use of music in honing a more expressive and meaningful
nationalistic values among the generation of youth today.

Specifically, this paper is sought to contemplate on teaching avenues of

nationalism as to literature survey on:

a. Music which is reflective of Filipino nationalistic values.

b. Types of music found appealing and meaningful for Filipinos to propagate
nationalism.
c. Musical activities perceived effective in stirring nationalistic consciousness
that Social Studies teachers could employ in teaching.
Conceptual Framework

Education can be carried out in many ways. Creative teaching is vital to

expect for meaningful learning. Affective domain which refers to psycho-social
sphere of Bloom’s learning taxonomy can be developed through the facilitation of
arts in teaching. Rivadelo (1987) asserted that of many forms of arts, music in
particular was the most appealing to human learning. It can be used as a rallying
force in arousing nationalistic sentiments (Brown, 2006).

Honing of nationalism and patriotism among Filipino learners is a primary task

of every teacher as mandated by the Philippine Constitution and envisioned in the
K+12 Curriculum. The task is a tough challenge. Therefore, teachers must be
adequately and constantly equipped with all the most potential creative
instructional methodologies in making their teaching styles appealing and more
effective to their learners especially those who are engaged to Social Studies
teaching. Kertz (2016) contended that it is possible to foster, or perhaps stifle
patriotism or nationalism through the teaching of music. In making people
patriotic, educators must affect their passion and manner of thinking about
themselves, their country and the world.

Obviously, music is one most interesting tool to develop such passion and
mindset to Filipino young people today. Teachers can capitalize on this interest to
create learning activities generated through music. The type of OPM (Original
Pilipino Music) that has nationalistic and patriotic appeal to most Filipinos must be
used in the teaching of nationalism. The music industry, social media,
telecommunications industry should be all mandated and commissioned in the
propagation of Filipino music depicting nationalistic values.

Music has both cognitive and psycho-social power to create change in the
human lives (Plato; Aristotle ; Brown & Volgsten, 2006 ; John Dewey ; Pope Pius XII ;
Urbain, 2008). With persistent use of music in creative way of teaching, strongly
integrating the Filipino nationalistic values on it, reinforced further by the other
influential social agencies in Philippine society (family, church, entertainment
centers, media), then, it is not impossible to conceive that a new generation of
demonstrative nationalistic Filipinos will emerge in Philippine society.

Enhanced nationalism through music is expected to develop a more

performative behavioral and attitudinal manifestation of Filipinos’ patronage and
support to anything which is distinct Filipino in character and substance.

NATIONALISM-INSPIRED MUSIC

Social Agencies : Family, School, Church, Government, Internet

Social Media, Music Industries, Telecommunications TV
Networks, NGOs

Basic Education – Teaching of Nationalism in

Social Studies

Enhanced Nationalism

Presentation and Data Analysis

The writer in his survey of related sources consulted certain works which are
mostly generated from books, e-journals, research journals and song
compositions of renowned local and international musical artists and
personalities.

Music motivates people in many ways to be active participants in the

political and cultural revolutions that transpired both in France and America
and so with the rest of those countries in the West. According to Culpepper
(2014) the folk music moved people in a series of revolutions against their
infiltrators. In United States, Aaron Copland’s “Appalachian Spring” boost the
morale of the Americans by reiterating in his compositions that depict the
beauty of America during the World War I. Charles Ives’s Symphony “New
England’s Holiday” characterizes specific holidays unique to America’s culture.
In England, musical renaissance of English folk songs and hymns were revived by
Ralph Vaughan Williams (1872-1958) with his contemporaries Thomas Thallis and
Henry Purcell. In Mexico, Carlos Chavez and Francisco Madero both composed
music recanting the Aztec music as propaganda against the dictatorial
government of Porfirio Diaz. In Russia, Igor Stravinsky and Sergei Rachmarinoff’s
musical compositions instigated Russian revolution, In Germany, the nationalistic
music was produced by Ludwig Van Beethoven, Anton Bruchner, Richard
Wegener and Richard Strauss. In Hungary, the love of country was contained in
the music of Zoltan Kodaly and Bela Bartok. The data manifested that music in
the western world has dramatically appealed to people’s senses which led
them understand its nationalistic language to resist socio-political injustices both
of abusive monarchs and oligarchs in society.

In the Philippine front, Filipinos’ ingenuity and fascination in creating music

amazed western people. One particular article authored by Romualdez
pointed to Antonio de Pigafetta (Magellan’s chronicler) who introduced to
Occidental world the Filipino music. Through Pigafetta’s account entitled:
“Primo Viaggio Intorno Al Globo Terraqueo.” The Spanish saw in Cebu four girls
who played on instruments called “subig” (xylophone) - a small instrument
made of bamboo and is still of use in some remote regions of the archipelago.
Such instrument is known to the Tagalogs as “barimbaw”. Other musical
instruments like “platillos” (cymbals), “timpanos” (drums) were accounted to
had been used for religious rituals by the early Filipinos.

Pigafetta was impressed of the enchanting voices of these Babaylanes

(priestesses) whom by that time were performing religious rituals to the anitos.
During the Baranganic period, singing at night while neighbors were asleep
constituted a minor offense. Music produced by certain native instruments had
socio-cultural functions to early Filipino communities. Chants and dances
sanctified by music were mostly part of the religious rituals to the early Filipinos’
for the worship of their anitos. With such first encounter, the Spanish were
acquainted with a shrewd plan to capitalize on music in the evangelization of
Catholicism that later culminated to the colonization of the country.

Musical composition takes its form depending on the developing

consciousness on the events of the peoples’ changing society. During the
revolutionary times in the Philippines as Dervy (1994) has written, Filipino
composers produced a march, a danza habalera, kundiman, and paso-doble.
Kundiman in particular, were disguised songs of the verses of the ideals of
revolution.

Maestro Felipe P. de Leon inspired composers to create songs with explicit

patriotic content. Julian Felipe’s Himno Nacional (National Anthem) is one
notable Kundiman composition; its lyrics was conceived by a young soldier –
Jose Palma. The song Bayan Ko, is another Tagalog Kundiman - a poem of Jose
Corazon de Jesus in 1929 which is set to music by Constancio de Guzman and
became popular during the Filipino struggle against the Marcos dictatorship in
1980s. Jocelynang Baliwag was the most famous Kundiman in the 1800s among
the Tagalog revolutionaries who were fighting against the colonial rule. It
became the “Kundiman of the Revolution”.

Remembering the glorious days of Ferdinand and Imelda Marcos, they

allured the people with such songs as “Dahil Sa Iyo” and “Gaano Kita Kamahal”
(Kundiman Songs) as a furtive campaign propaganda in the 1970s. Politically,
songs were utilized in the propagation of the New Society’s vision of new
government (Navarro, 2014). Songs such as: “Bagong Lipunan”, “Bagong
Pagsilang”, Green Revolution “Tayo’y Magtanim”, Land Reform “Awit ng
Magsasaka” Hail to Filipino Movement, “Mabuhay Ang Pilipinas”,
“Masagana‘99”, Health, “Wastong Pagkain Ang Kailangan”, Youth Civic
Development “Kabataang Barangay”. Great Filipino artists in all facets of arts
especially in music were commissioned by Imelda Marcos in her fervent belief
and vision that arts could elevate the country’s progress through nationalism.
Music was used also as a powerful tool to counterattack the spread of
Communist ideology in the country. Ironically, such Kundiman folk song “Bayan
Ko” became unanimously a Comintang theme song of Filipinos in 1986 EDSA
Revolution that concluded the fourteen years of Marcos dictatorship.

Certain songs written by George Canseco, Levi Celerio, Nicanor Abelardo

and Julian Felipe, Gary Granada, Julio Nakpil, Francisco Feliciano, Antonio
Molina, Freddie Aguilar, Ryan Cayabyab, Joey Ayala, Rey Valera left a lasting
influence on the minds of the Filipinos both young and old.

It is culture that determines what is accepted as music to its people. Music

can be referred to as an expression or art that is most accessible to human
psyche in any situation of their lives - crisis or calm, work and worship, play or
work, recreation or reflection (Okafor, 2005). It is used as a medium of
communication to express ideas, emotions and melancholies, also to move, to
mobilize people and rally them to solidarity. Music is indeed a cultural
expression, a phenomenon that is part of communal or cultural activities.

There were occasions even until today that Filipinos, when rallying for a
certain cause in the city streets, sung their advocacy. The music expressed the
principles and ideologies they fought in order for the government to listen to.
Undeniably, music has been an instrument in awakening people’s mind and
emotions towards certain causes to accomplish.

It is noteworthy that in Philippines, Filipinos are tremendously music-lovers.

Their fascination in singing and music bespeak of their own history at different
periods of time. Filipinos patronize most TV stations featuring song compositions
and singing contests. Radio AM and FM stations are attuned to music and are
on-air playing music of various genre. In the commemoration of occasions of
national and historical significance, music of the older generation like the folk
songs were commemorated and staged in the culminating programs trying to
bridge in the sentiments of the people that this music convey to the present
generation of Filipinos.

Studies until the present generation are held as an attempt to obtain

“clues” to determine music as a catalyst to the development of our national
culture. It can even provide explicit explanation to certain issues that arise so as
to fill in gaps in the full comprehension of Filipino psychology. It is indeed evident
that this Filipino enthrallment to music can be a significant variable to enhance
the sentimentality and sanity of Filipino nationalism in the 21st century.

A survey of the Filipino music as of its impact in the enhancement of

nationalism has been proven effective. Accounts from various sources
examined by the writer are a clear portrayal of how music could bring change
in Filipinos’ behavior and attitude that directed to the definition of the common
sentiments which led them to be assertive of their freedom and resistant of any
forms of imperialism during the colonial era. The folk songs composed out of
poetic verses depicted common sentiments and longings that propagated
change in Filipinos’ character thus revolutions against the common enemies
who suppress people’s freedom arose and became intense. Hila (2004) related
that an experience of 1986 EDSA revolution was intensified by the song “Bayan
Ko”, a 1929 Kundiman has become its theme song.

Convinced that music indeed has vital effect to human psychology, the
writer is confident in his notion that the basic learning institutions in the country
must utilize music in teaching of nationalism. In Hungary, Kodaly having been
convinced that music works positively in human character propagated music to
become a part of the Hungarian curriculum content and pedagogy. Kodaly’s
musical philosophy implies the use of its principle as a primary instructional
method in teaching.
 Researches conducted revealed music could bring out significant change
for the holistic development of learners (Abrenica, 1998 ; Ogunrinade, 2015 ;
Tejero, 2009 ; Tomlinson, 2012). Many countries in the west now are adopting this
Kodaly’s theory. Although music is a core subject in basic education unit of
Philippine schools, it is not constantly used in the teaching of Social Studies
courses. Looking back to the essence of the previous researches as to its
positive effects to child development, it is conceived by the writer that a
pompous use of music be pursued in the teaching routines of the Social Studies
curriculum of the basic education unit of Philippine schools.

Conclusion

Having been enlightened on the nature, influence and history of Philippine

music, the writer realized that Filipinos are indeed people gifted with a strong
sense of musicality. They easily learn tunes by their ears. They had dances and
songs for all occasions and because of their frequent assimilation, their social
organization was more well-knit.

There is history in music. Filipino local history has a proof to the power of
music to incite events which brought significant changes to their country. Music
has power to move their emotion and inspire them to accomplish certain goals.
The successful revolutions against the western colonizers and suppressors of
peoples’ freedom which transpired in their land were somehow stirred by music.
Until the present generation, they show their fascination and patronage to
music and continue to affect their lives.

This interest of Filipinos to music can be a potential way to enhance their

nationalistic values. With the use of music as a method in the teaching of
nationalism in Social Studies curriculum, the possibility for the enhancement of a
more demonstrative enhanced nationalism can be developed among the
students.
 Therefore, in the light of this concept paper, the writer has a strong notion
that music has a power to change people’s character that in turn, change the
destiny of the nation.

References

BOOKS

Agoncillo, T. A. (1990). History of the Filipino People. Commonwealth, Quezon

City, Metro Manila: Gorotech Publishing 11, Commonwealth, Q.C.,Metro,
Manila.

Brown, Steven & Volgsten, Ulrik . (2006). Music and Manipulation:On the Social
Uses and the Social Control of Music. New York: Berghahn Books .

Constantino, R. (1989). The Political, Economic and Cultural Goals of

Nationalism.Quezon City: University of the Philippines Press.

Culpepper-Baldwin, Z. (2014). Nationalism in the 20th Century

Music.(Ogunrinade, 2015) New York.

Halili, M. C. (2010). Philippine History. Sta. Mesa Heights, Quezon City, Metro
Manila: Rex Bookstore, Inc.

Hila, A. C. (2004). Music in History, History in Music. Espana, Manila: UST

Publishing House.

Jackson, R.J. & Jackson, D. (2000). A Comparative Introduction to Political

Science. Singapore: Pearson Education Asia Pte. Ltd.

Kertz-Wetzel, A. (2016). Patriotism and Nationalism in Music. London & New

York: Routledge Taylor & Francis Group.

Navarro, R. C. (2014). Musika at Bagong Lipunan : Pagbuo ng Lipunang Filipino

(1972-1986). Loyola Heights, Quezon City: Ateneo de Municipal University
Press.

Pongcal, R. S., (1991). Level of Nationalism Among Teachers and Grade VI

Pupils in the Selected Schools.

Rivadelo, R. F. (1987). Music Education Materials & Methods. Valenzuela City,

Metro Manila: National Book Store, Inc.
Tanada, L. (2000). Towards a Nationalist Education in the Era of Globalization.
Manila: Manila: U.P. Press.

JOURNALS & PERIODICALS

Dervy, L. (1994). The Kundiman and Verses of Revolutions of 1896. Journal of

Revolutionary Folk Songs.

Drona, B. M. (2004). Impediments to Filipino Nationalism.

Hawn, H. L. (December 2013). Utilizing Popular Music to Teach Introductory

and General Education Political Science.European Political
Science,Vol.12, Issue 4, pp. 522-534.

Osit, J. B. (1984). A Filipino Nationalist and His Music, Manila.

Romualdez, N. (n.d.). The Music of the Filipinos.

Urbain, O. (2008). Music and Conflict Transformation:Harmonies and

Dissonances in Geopolitics. London: L.B. Tairis for Toda Institute for Global
Peace & Policy Research.

RESEARCH JOURNALS

Abrenica, V. E. (1998). Music As a Tool for Values Education. Layag, Vol. 3 No.1.

Hila, A. C. (1997). The Music of Philippine Revolution. Anuaryo:Journal of History,

Vol.16 No.1.

Ogunrinade, D. E. (2015). Music Education as a Panacea for National

Development. Journal of Education and Practice .

Tejero, H. C. (2009). Music Translation: Going Back to the People their Rich Social
Heritage. JPAIR Multidisciplinary Journal, Vol.2 No.1.

Tomlinson, M. (2012). Tranformative Music Invention: Interpretive Redesign

Through Music Dialogue in Classroom Practices. Australian Journal of Music
Education, Vol.1, p. 42-56.