Republic of the Philippines

Department of Education
Region VIII
Baybay City Division
CARIDAD NATIONAL HIGH SCHOOL
Caridad, Baybay City, Leyte

SEMI-DETAILED LESSON PLAN IN MUSIC 10

Academic Year: 2022-2023

Teacher : Janine Mae H. Oliveros

Date : March 13, 2023
Time : 8:45-9:45 am
Section : 10- Celery

I. OBJECTIVES:
At the end of the lesson, students will be able to:
Improvises simple vocal/instrumental accompaniments to selected contemporary
Philippine music (MU10CM-IIId-e-5)
Specifically,
a. Identify the new composers of contemporary Philippine music and their
compositions.
b. perform selections of contemporary Philippine music, and
c. show appreciation in the contemporary Philippine music.

II. SUBJECT MATTER

A. Topic: Contemporary Music Part 1

B. References: Music 10- Quarter 3, Module 5 page 1-17
C. Materials: PowerPoint Presentation, module, pictures, videos, laptop

Subject Integration:
 Aral Pan– Vocabulary of some words – ex. Contemporary

III. PROCEDURE
A. Routinary Activities
1. Prayer
2. Checking of Attendance
B. Preparatory Activities
1. Review
- What is Traditional Music? Who are the traditional composers?
2. Motivation
- The teacher will group the class into four groups and will be guessing the
songs title by listening to it’s instrumental music. The group who guessed more
songs’ title will receive a prize. Just raise your hand if you know the answer. As
you answer, sing its first stanza.

3. Presentation of the topic

- The teacher will ask the students what will be their topic based on the
activity.

C. Lesson Proper
1. Activity
- The students will be given a set of jumbled letters and they are going to
rearrange it accordingly.
WORDS:
 PPINESLIPHI- PHILIPPINES
 TEMCONPRORARY-CONTEMPORARY
 SICMU- MUSIC
 CPOMOSERS- COMPOSERS

2. Analysis
- Ask the students on how did they find the activity. What is your strategy or
basis in identifying the examples presented?

3. Abstraction
New Music Composers- Composers of experimental New Music in the
Philippines include Jose Maceda, Lucrecia Kasilag, Ramon Santos, Manuel
Maramba, Jerry Dadap, Franciso Feliciano, Josefina “Chino” Toledo, Jonas Baes.
They retained Filipino spirit by incorporating traditional music forms as well as
indigenous rhythms and instruments.

JOSE M. MACEDA
(1917-2004)
National Artist for Music

Jose Maceda was born in Manila on January 17, 1917. His musical style
shifted when he encountered the music of the indigenous tribes of Mindoro in
1953. He then embarked on his life’s work, dedicated to the understanding and
preservation of Filipino traditional music.
His extensive research and fieldwork resulted in an immense collection of
recorded music taken from the remote mountain villages and far-flung inland
communities in the Philippines. Although his compositional approach tended to be
Western in style, Maceda combined sounds of the environment with ethnic
instruments. His compositions were usually for large groups of musicians.

Among his works are:

Ugma-ugma (1963)- a work for voice and ethnic instruments;

Agungan (1975)- a piece for six gong families;
Pagsamba (1968)- a musical ritual for a circular auditorium using several ethnic
percussions instruments;
Cassestes 100 (1971)- a composition for 100 cassete tape recorders; and
Ugnayan (1974)- an ethnic piece played at the same time over several radio
station.

LUCRECIA R. KASILAG
(1918-2008)
National Artist for Music

Lucrecia R. Kasilag was born in San Fernando La Union on August 31,

1918. Her compositional style demonstrated a fusion of Eastern and Western
styles in using instruments, melody, harmony, and rhythm. She is particularly
known for incorporating indigenous Filipino instruments into orchestral productions.
Among Kasilag’s many compositions are Toccata fro Percussion and
Winds (1959), composed for indigenous Muslm instruments and Westrn
instrument; The legend of the Sarimanok (1963), composed for chamber
orchestra and Philippine ethnic instruments; Divertissement and Concertante
(1960), compositions for piano and orchestra combing Western and Eastern forms,
harmonies, and interval; and Dularawan (1969)

JERRY A. DADAP
(born 1935)
 Jerry A. Dadap, the first Filipino composer to conduct his own works at the
Carnegie Recital Hall in New York City was born on November 5, 1935 in
Hinunangan, Southern Leyte. He earned his Bachelor’s Degree in Music, major in
Compostion, at the Conservatory of Music, University of the Philippines in 1964.
In 1968, he went to the USA on a study-observation grant from the Music
Promotion Foundation of the Philippines. While there, he received a full
scholarship grant from the United Presbyteruan Church of USA from 1969 to 1971.
During that time, he obtained his College of Music in New York, USA. Upon his
return to the Philippines in 1971, he taught composition, ear training, and
orchestration at the Sta. Isabel College of Music in Manila.

His numerous compositions are;

The Passionate and the Wild (1960), Mangamuyo I (1976) and Mangamuyo II
(1977) The redemption (1974), Five Little Fingers (1975), Tubig ng Buhay
(1986), Ang Pag-ibig ng Diyos, Balitaw Nos. 1-1, Lamang Epic, Lorenzo Ruiz,
Chorale Symphonic Ode Nos.1 and 2, Aniway at Tomaneg, Song Cycle, Nos
1-4, Chorale Cycle Nos. 1-3, and Diyos Ama ay Purihin.

FR. MANUEL P. MARAMBA, OSB

(born 1936)

Fr. Manuel P. Maramba, OSB is one of the most accomplished musicians

and liturgist in the Philippines emerging during the second half of the 20 th century.
He was born on July 4, 1963 in Pangasinan.

When he was 11 years old he gave his first public performance at the
Bamboo Organ in Las Piñas. He became the official accompanist of the Las Piñas
boys Choir at 14 years old. He was the youngest finalist to participate in the
National Music Competition for Young Artist ( NAMCYA) piano composition in
1978, immediately after highschool, he was sent on full scholarship to the
University for Music and Performing Arts in Graz, Austria.

He has composed operas like Aba! Sto Niño, La Naval, and Lord Takayama
Ukon. His other major composition are the music Awakening which was
commissioned by Ballet Philippines and music for Ballet Theater’s production of
Seven Mansions; three masses – Papal Mass for world Youth Day, (19950 Mass
in Honor of St. Lorenzo Ruiz, and the Mass in Honor of the Sto. Niño.
 4. Application
- The class will be divided into four groups and each group will sing any of
the song composition of Jose M. Maceda, Lucresia R. Kasilag, Jerry A.
Dadap and Fr. Manuel P. Maramba.
- The student may incorporate simple vocal and instrumental
accompaniment

The student will be given score according to this criteria:

Musicianship - 50%
Presentation Impact and showmanship 20%
Ensemble coordination and organization 20%
Overall impact- 20%
100%

D. Generalization
- Review the lesson that we have discussed for today. Give your reflection
towards the topic through finishing the line statement below.
I have learned that _________________
I have realized that _________________
I will apply ________________________

IV. EVALUATION
Directions: Match the composer’s name in Column A to his/her composition B. Choose
the correct and write it on the space provided before each number.
Column A Column B.
_______1. Jose M. Maceda La Naval!
_______2. Lucrecia R. Kasilag Aba!
_______3. Jerry A. Dadap Lam-ang Epic
_______4. Fr. Manuel P. Maramba Dularawan
_______5. Fr. Manuel P. Maramba Cassettes 100

V. ASSIGNMENT
Directions: Create a brief biography of a selected contemporary Philippine
composer. Present it to the class in any forms: (dramatic presentation, storytelling, rap,
etc.) Presentation will be graded according to the following criterion.

1. Knows the story -50%

 2. Audience Contact -20%
3. Over-all Presentation -30%

VI. REMARKS
____________________________________________________________________
____________________________________________________________________
_________________________________________________

Prepared by:
Janine Mae H. Olivers
ST

Observed by:
ADRIANO N. PELICANO
Teacher I