Music

Quarter 4 – 20th and 21st Century

Multimedia Forms

CO_Q4_Music10_Module1

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MAPEH MUSIC – GRADE 10
Quarter 4 – SleM1: 2oth and 21st Century Multimedia Forms

HOW TO USE THIS SLeM

Before starting the SLEM, I want you to set aside other tasks that will disturb you while enjoying
the lessons. Read the simple instructions below to successfully enjoy the objectives of this kit.
Have fun!
1. Follow carefully all the contents and instructions indicated on every page of this module.
2. Write in your notebook the concepts that you learned. Writing enhances learning and helps
you keep in mind what is important
3. Perform all the provided activities in the module.
4. Let your facilitator/ guardian assess your answers using the answer key.
5. Enjoy studying.

Development Team of the SLeM

Writers: Niña Jenesis Esaga, Diosry R. Martinez, Jeff Foreene M. Santos

Language Evaluator: Shirley Lasala
Content Evaluator: Jeff Foreene M. Santos
Illustrator: Diosry Martinez, Veronica Lyn Jalandoni, Sean Michael Borja
Format Evaluator: Honey Faye P. Hermita
Management Team: Dr. Eladio H. Escolano, Principal IV
Bonifacio M. Pedrera, Head Teacher VI

PARTS OF THIS SLeM

● Expectations. These are what you will learn after completing the lessons in the module.
● Pre-test. This will measure what you already know about the concepts to be mastered
throughout the lesson.
● Looking Back to your Lesson. This section will measure what learning and skills you
gained from the previous lesson.
● Brief Introduction. This section will give you an overview of the lesson.
● Activities. This is a set of activities you will perform.
● Remember. This section summarizes the concepts and applications of the lessons.
● Check Your Understanding. It will check what you have learned from the lessons.
● Post-test. This will measure how much you have learned from the entire module.

Content Standards:

The learner demonstrates an understanding of characteristic features of 20th and 21st-century

opera musical play, ballet and other multimedia forms, and the relationship between music,
technology, and media.

Performance Standards:

Perform selections from musical plays, ballet, and opera at a Satisfactory level of performance,
and create a musical work using media & technology.

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 Expectations

In this module, you are expected to:

1. describe how an idea or story in a musical play is presented by watching a live

performance or video excerpt;
2. explain how theatrical elements in a selected part of a musical play are combined with
music and media to achieve certain effects;
3. create appropriate sounds, music, gestures, movements, and costume using media and
technology for a selected part of a musical play: and
4. perform an excerpt from a 20th or 21st century Philippine musical and highlight its
similarities and differences to other western musical plays.

Pre-Test

Directions: Read the questions carefully. Choose the letter of the correct answer.

1. It is an art and music form in which singers and musicians perform a dramatic work
combining text (called a libretto) and a musical score, usually in an elaborate theatrical setting.

A. concerto B. drama C. musical play D. opera

2. The music and musical arrangements in “Ang Palasyo ng Mga Dwende” were done by
Diwa de Leon using what kind of native boat-like string musical instrument from Mindanao?

A. kulintang B. hegalong C. palendag D. suling.

3. It is a romantic fantasy play that used the OPM hits “Kailangan Kita” and “Ikaw ang
Lahat Sa Akin” arranged by Arnold Buena.

A. Anting-Anting C. Labindalawang Masasayang Prinsesa

B. Ang Palasyo ng Mga Dwende D. Rama Hari.

4. It was translated as King Rama, the Philippine adaptation of the Indian epic Ramayana
set to music, dance, and drama.

A. Drama Rama B. Haring Drama C. Rama Drama D. Rama Hari.

5. Which of the following does NOT belong in the description of musical play?

A. It is a lighter form of musical drama than opera.

B. The themes are always traditional
C. The musical melodies are more manageable by the average singer.
D. The acting is less intense and dramatic.

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6. It is the first major Broadway musical that featured the popular mode of transport in the
American frontier.

A. Cart B. Showboat C. Ship D. Traveler

7. Which of the following is NOT a characteristic of Broadway musicals?

A. It includes the problems of everyday life, such as love and romance.

B. Singers are well trained in singing classically trained voices.
C. The singing is usually amplified.
D. Themes and texts are generally light and easy to understand.

8. She is the first Asian to play the role of Eponine in the musical Les Misérables, based on
the novel of the same title written in 1862 by the French Author Victor Hugo.

A. Lani Misalucha B. Lea Salonga C. Pilita Corrales D. Sylvia dela Torre

9. The musical was presented by Tanghalang Pilipino at the CCP Little Theater and was
selected as the official Philippine entry to the first ASEAN Theater Festival in August 1988.

A. El Filibusterismo B. Florante at Laura C. Ibong Adarna D. Noli Me Tangere

10. The musical play assumes a more contemporary approach in the musical compositions
owing to Cayabyab’s chromatic and rhythmically innovative style.

A. El Filibusterismo B. Florante at Laura C. Ibong Adarna D. Noli Me Tangere

Looking Back

Contemporary music is about the cultural and historical background of the composers and their
musical compositions, the distinctive musical elements and forms, characteristic style and
movements, performance practices, and other art forms, media during the same period.

Brief Introduction

OPERA IN THE PHILIPPINES

The emergence of the Filipino opera started to take shape during the middle part of the
19th century. Foreign performers, including instrumental virtuosi, as well as opera singers and
Spanish zarzuela performances came to the country to perform for enthusiastic audiences.

The opera is an art and music form in which singers and musicians perform a dramatic
work combining text (called a libretto) and a musical score, usually in an elaborate theatrical
setting. It incorporates many of the elements of spoken theater, such as acting, scenery, and
costumes, and sometimes includes dance. The performance is typically given in an opera house,
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cultural center, theater, or auditorium. It is accompanied by an orchestra or a smaller musical
ensemble. The dialogue is entirely sung and not spoken.

Opera is part of the Western classical music form and tradition. It started in Italy at the end
of the 16th century and soon spread through the rest of Europe. While English, French, and Italian
operas were being presented, it was the Italian opera that captured the creative imagination of
composers, librettists, and singers alike.

Manila Grand Opera House

As the locals were being exposed to Western art and music, they were also realizing their
inner talents and passion for the opera. The themes were ripe for voicing their own sentiments
about the love of country and longing for independence from colonial rule.

The element of tragedy, emanating from the popular themes of romance, deceit, murder,
vendetta, and other elements of human frailty, became a favorite story pattern of the Filipino
opera. Some operatic works were based on previous literary creations, such as Rizal’s Noli Me
Tangere and El Filibusterismo. The tragic endings and unresolved conflicts made them excellent
choices for an operatic production.

Local Theaters and Early Philippine Operas

Local theaters, including the Zorilla, Principe Alfonso, Variedades, Quiapo and Tondo
Theaters, were the chosen venues for the Italian operas that came to the country, such as Lucia
di Lammermoor, La Boheme, La Traviata, and Aida. Later, other opera venues were established,
led by the Manila Grand Opera House and the Metropolitan Theater (Met).

The first Filipino opera is said to be Sandugong Panaginip by Pedro Paterno, a poet,
novelist, musician, and government official. This was first presented at the Zorilla Theater on
August 2, 1902. It was later translated by the Englishman M.W. Loving with the title The Dreamed
Alliance.

Metropolitan Theater (Met)

Subsequent Filipino operas followed sporadically, such as Lakangbini by Patricio Mariano

which was staged at the Metropolitan Theater on December 19, 1933. Operatic divas included
Nelia Manalo, who portrayed the leading role of Violetta in Giuseppe Verdi’s La Traviata.
Mercedes Matias-Santiago portrayed the role of Lucia in Gaetano Donizetti’s Lucia di Lamermoor.
National Artist Jovita Fuentes portrayed the role of Mimi in Giacomo Puccini’s La Boheme. The
establishment of the Cultural Center of the Philippines (CCP) by then First Lady Imelda
Romualdez-Marcos in 1969 paved the way for other Filipino operas to be staged at a legitimate
venue of international standard.

NOLI ME TANGERE and EL FILIBUSTERISMO

Operas based on Rizal’s two novels Noli Me Tangere and El Filibusterismo were
composed by National Artist Felipe Padilla de Leon. These were presented at the CCP Main
Theater in 1970 and 1975, respectively. Noli Me Tangere and El Filibusterismo were later
restaged also at CCP as musical plays with new music composed by Ryan Cayabyab and a new
creative team.

LA LOBA NEGRA

La Loba Negra (The Black She-Wolf) is a three-act Filipino opera. Acts I and II are based
on history. Act III is based on a legend attributed to Fr. Jose Burgos. He was one of the three
martyred priests, Gomez, Burgos, and Zamora who were executed in Bagumbayan (now Luneta)
in 1872. The music was composed by National Artist Francisco Feliciano, with a libretto by
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soprano Fides Cuyugan Asensio. The premiere was held in 1984 with Lamberto Avellana as
director. In 1985 direction was by Peque Gallaga and Jorge V. Ledesma, production design by
Don Escudero, costume design by National Artist Salvador Bernal, lighting design by Dennis
Marasigan, and choreography by Rene C. Hinojales.

NOLI ME TANGERE, THE OPERA

The three-act opera Noli Me Tangere was composed by National Artist Felipe Padilla de
Leon, with a libretto by National Artist Guillermo Tolentino. It premiered in 1957 at the FEU
Auditorium. The cast included Juanita Javier Torres as Maria Clara, Don David as Ibarra, Fides
Cuyugan Asensio as Sisa, Milo Cristobal as Padre (Father/priest) Damaso, and Morli Dharam as
the director.

EL FILIBUSTERISMO, THE OPERA

The opera El Filibusterismo was composed by National Artist Felipe Padilla De Leon in
1970, with a libretto by Anthony Morli. It was in three acts and written in Tagalog. The cast
included Fides Cuyugan Asensio as Paulita, Constancio Bernardo as Simoun, Irma Potenciano
as Juli. It was staged at the Cultural Center of the Philippines.

BALLET IN THE PHILIPPINES

The medium of dance and ballet to interpret novels, folktales, and stories provides visual
excitement as the characters come alive not in spoken dialogue but in body movements. Much of
the communication is relayed in pantomime. It is a performance in which a story is told without
words by using body movements and facial expressions.

The lack of spoken words or sung lyrics is more than made up for by the creative steps
and arm gestures of the dancers. Their facial expressions and body movements add more
meaning to the story being revealed. The performance is further enhanced by colorful costumes,
elaborate sets, visually suggestive music, and synchronized choreography.

Together, the dance or ballet production makes for a complete drama by itself without a
single word being spoken.

Filipino ballets vividly present folktales based on local fables, for example, Lola Basyang
as well as epics from neighboring regions, such as India’s Ramayana. Highly communicative
movements and steps dramatize the actions in the respective stories.

The colorful sets and costumes add to the glitter and attraction of the productions.
Although not as extensively explored as the other performing genres for local adaptation,

Filipino ballet productions have evoked wide enthusiasm from people of all ages. They
have been added to the repertory of Philippine dance companies to supplement the Western
classical ballets, such as Nutcracker Suite, Swan Lake, Giselle, and Sleeping Beauty.

Lola Basyang is a ballet adaptation of Severino Reyes’ folktales Mga Kuwento ni Lola
Basyang. It was meant to instill and rekindle the interest of the Filipino youth in the beauty,
richness, and heritage of Philippine literature. The typical storytelling scene shows the
grandmother (Lola Basyang, the pen name of the author) on a rocking chair with her grandchildren
listening to her fascinating tales.

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 Two episodes of such stories were presented by Ballet Manila, with Lisa Macuja-Elizalde
as the company’s Executive Director and prima ballerina. Entitled Tatlong Kuwento ni Lola
Basyang (2009) and Tatlo Pang Kuwento ni Lola Basyang (2013), the stories were taken from
the dozens of stories in the collection of Severino Reyes.

Tatlong Kuwento ni Lola Basyang featured the following stories:

1. Ang Kapatid ng Tatlong Marya

This is a fantasy story set to neo-ethnic music in a contemporary style. It is about a hero’s
fantastic journey to different kingdoms in pursuit of his bewitched sisters.

2. Ang Mahiwagang Biyulin

This is a local version of the Pied Piper tale where the main character mesmerizes his
followers through the music of his violin. The story instills in them the moral lesson that “good
triumphs over evil.”

3. Ang Prinsipe ng Mga Ibon

This is a love story where a princess falls in love with a bird. It was choreographed by
Ballet Manila danseur (a male ballet dancer) Osias Barroso. The music is taken from selected
musical works of National Artists arranged by Mon Faustino.

4. Ang Palasyo ng Mga Dwende

This is a romantic adventure wherein the heroine Yani is being mistreated by her envious
stepmother and stepsisters. The cursed bird is changed back into a prince with the help of Yani.
It depicts Mindanao and the ancient Pintados through its neo-ethnic movements.

5. Labindalawang Masasayang Prinsesa

This is a romantic fantasy of the twelve daughters of the king. In the ballet, the eldest
daughter is played by Lisa Macuja Elizalde’s daughter Missy. The twelve daughters secretly leave
their bedroom at night to travel to an enchanted land and dance with the princes.

6. Anting-Anting

This is a horror comedy wherein the cowardly hero Huan tries to overcome his fears to
win his love. The slapstick comedy is enhanced by exaggerated movements as Huan is later
haunted by ghosts that add to his fears for which he looks for an anting-anting (lucky charm) to
ward them off.

RAMA HARI

Rama Hari, translated as King Rama, is the Philippine adaptation of the Indian epic
Ramayana set to music, dance, and drama. Originally presented from February 8 to 17, 1980,
the creative team consisted of Ryan Cayabyab (Music), National Artist Alice Reyes
(Choreography), National Artist Bienvenido Lumbera (Literature), and National Artist Salvador
Bernal (Theater Design), with the CCP Philharmonic Orchestra conducted by Cayabyab. The
major roles were performed by Basil Valdez (Rama), Kuh Ledesma (Sita), and Leo Valdez
(Ravana). The dancers were Nonoy Froilan as the counterpart of Rama, Effie Nanas/Ester
Rimpos as Sita, and Robert Medina as Ravana. The production had the dancers moving
alongside the characters to provide the choreographic interpretation of their singing and acting. It
also featured the song Magbalik Ka Na Mahal sung by Kuh Ledesma, which was said to be
instrumental in launching her music career.

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The Indian Epic Behind the Musical Production

The Ramayana is one of the two great Indian epics that talk about Indian life around 1000
BC and how dharma was practiced. Later, it became a model of behavior for the whole Hindu
population. Dharma is a type of behavior said to be in accordance with the order that makes life
and the universe possible. According to its meaning, it explains the expectations in fulfilling duties,
respecting rights, observing proper conduct, practicing virtues, and maintaining a rightful way of
living. The epic Ramayana consists of 18 books containing approximately 24,000 verses divided
into 500 songs.

MUSICAL PLAYS

The musical play is a popular and lighter form of musical drama than the opera. The
themes are usually more contemporary, and the musical melodies are more manageable to the
average singer. The acting is less intense and dramatic. The choreography and dance sequences
provide visual breaks from the ongoing plots.

Musical plays have been associated with the Broadway plays of New York City and West
End Productions in London, including My Fair Lady, South Pacific, Camelot, West Side Story, Les
Miserables, Phantom of the Opera, Lion King, Beauty and the Beast, Wicked, Mama Mia, Cats,
and Miss Saigon.

Broadway Musicals

The first major Broadway musical was Showboat, which featured the popular mode of
transport in the American frontier. Since then, musicals have presented other themes:

Broadway musicals are family entertainment with themes and texts which are generally
light and easy to understand. These may include the problems of everyday life, such as love and
romance, social acceptance, jealousy and intrigue, and adventure. The singing is usually
amplified, unlike the operatic quality of classically trained voices.

A number of other musicals were adaptations of classical operas. Among these was Miss
Saigon based on Puccini’s Madame Butterfly and Aida from Verdi’s opera with the same title.
While with the advent of technology, modern productions like The Phantom of the Opera, Les
Misérables, Beauty and the Beast, and Lion King have enthralled audiences with amazing set
designs, elaborate costumes, and computer-generated visual and sound effects.

One Filipino artist who attained international status on both London’s West End and
Broadway is Lea Salonga. She is best known for her portrayal of Kim in the musical Miss Saigon,
a role for which she won the prestigious Tony Award for theater in the USA and the Laurence
Olivier Award in London. She also garnered the Drama Desk and Outer Critics Circle Awards for
the same role in the USA. Salonga is the first Filipina to have won various international awards
for a single role.

Miss Saigon is a musical by Claude-Michel Schönberg and Alain Boublil, with lyrics by
Richard Maltby, Jr. It is a modern adaptation of Giacomo Puccini’s opera Madame Butterfly, which
also tells the tragic tale of a doomed romance wherein an Asian woman is abandoned by her
Caucasian lover. The setting of the plot is relocated to 1970s Saigon during the Vietnam War,
with Madame Butterfly’s love story between an American Lieutenant and a Japanese geisha
modified into a romance between an American soldier and a Vietnamese bar girl.

Following Miss Saigon, Salonga was the first Asian to play the role of Eponine in the
musical Les Misérables, based on the novel of the same title written in 1862 by the French author
Victor Hugo. She also played the role of Mei-Li in Flower Drum Song.

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The Phantom of the Opera

The Phantom of the Opera is a Broadway musical by Andrew Lloyd Webber and Richard
Stilgoe, with lyrics by Charles Hart and music by Lloyd Webber. It is based on the novel The
Phantom of the Opera by Gaston Leroux.

The Phantom of the Opera is one of the longest-running Broadway musicals of all time. At
the 1988 Tony Awards, the Broadway production was nominated for 11 awards and won seven,
including the coveted Best Musical award. The musical also won seven awards at the 1988 Drama
Desk Awards.

Les Misérables

Les Misérables, known as “Les Mis,” is a musical composed in 1980 by French composer
Claude-Michel Schönberg with libretto by Alain Boublil. It is based on the novel Les Miserables
by Victor Hugo. It is perhaps the most famous of all French musicals and one of the most famous
musicals performed worldwide.

Les Mis tells the story of paroled convict Jean Valjean who, failing attempts to find work as an
honest man, breaks his chains and conceals his identity in order to live his life again.

On October 8, 2006, the show celebrated its 21st anniversary and became the longest-
running West End musical in history and is still running (though it has changed venues). Tony's
award-winning score includes the songs I Dreamed a Dream, Do You Hear the People Sing? One
Day More, Empty Chairs at Empty Tables, Master of the House, and On My Own.

Activity

A. Directions: Complete the table and group the following example theater as either
opera, ballet, or musical play. Copy the table below in your answer sheet.

Lola Basyang El Filibusterismo Miss Saigon

The Phantom of the Opera Rama Hari La Loba Negra

Noli Me Tangere Les Miserables Lion King

Beauty and the Beast

Opera Ballet Musical Play

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 B. Directions: Theme Song Creation. Choose a theme song that you think is
appropriate to the following theater performances and explain why you choose that
song.

Theater Performances Title of the Song Reason

Noli Me Tangere

Lola Basyang

Lion King

Rama Hari

Les Miserables

Remember

The Filipino ballets vividly present folktales based on local fables (example, Lola Basyang)
and epics from neighboring regions (example, India’s Ramayana). Highly communicative
movements and steps dramatize the actions in the respective stories. The colorful sets and
costumes add to the luster and attraction of the productions. Although not as extensively explored
as the other performing genres for local adaptation, Filipino ballets have evoked wide enthusiasm
from people of all ages.

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 Checking Your Understanding

Based on what you learned about the lesson, explain your answer in the following
questions.

1. Why is theater a collaborative art form?

____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
_________________________________________.

2. What are the similarities and differences of opera, ballet, and musical play?

____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
_________________________________________.

Post-test
Directions: Read the questions carefully. Choose the letter of the correct answer.

1. The music and musical arrangements in “Ang Palasyo ng Mga Dwende” were
done by Diwa de Leon using what kind of native boat-like string musical instrument from
Mindanao?

A. kulintang B. hegalong C. palendag D. suling.

2. It was translated as King Rama, the Philippine adaptation of the Indian epic
Ramayana set to music, dance, and drama.

A. Drama Rama B. Haring Drama C. Rama Drama D. Rama Hari.

3. The musical was presented by Tanghalang Pilipino at the CCP Little Theater and
was selected as the official Philippine entry to the first ASEAN Theater Festival in
August 1988.

A. El Filibusterismo B. Florante at Laura C. Ibong Adarna D. Noli Me Tangere

4. Which of the following does NOT belong in the description of musical play?

A. It is a lighter form of musical drama than opera.

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 B. The themes are always traditional.

C. The musical melodies are more manageable by the average singer.

D. The acting is less intense and dramatic.

5. Which of the following is NOT a characteristic of Broadway musicals?

A. It includes the problems of everyday life, such as love and romance

B. Singers are well trained in singing classically trained voices.

C. The singing is usually amplified.

D. Themes and texts are generally light and easy to understand.

6. It is a romantic fantasy play that used the OPM hits “Kailangan Kita” and “Ikaw
ang Lahat Sa Akin” arranged by Arnold Buena

A. Anting-Anting C. Labindalawang Masasayang Prinsesa

B. Ang Palasyo ng Mga Dwende D. Rama Hari.

7. It is the first major Broadway musical which featured the popular mode of
transport in the American frontier.

A. Cart B. Showboat C. Ship D. Traveler

8. She is the first Asian to play the role of Eponine in the musical Les Misérables,
based on the novel of the same title written in 1862 by the French Author Victor Hugo.

A. lani Misalucha B. Lea Salonga C. Pilita Corrales D. Sylvia dela Torre

9. It is the musical play that assumes a more contemporary approach in the musical
compositions owing to Cayabyab’s chromatic and rhythmically innovative style.

A. El Filibusterismo B. Florante at Laura C. Ibong Adarna D. Noli Me Tanger

10. It is an art and music form in which singers and musicians perform a dramatic
work combining text (called al libretto) and a musical score, usually in an elaborate
theatrical setting.

A. concerto B. drama C. musical play D. opera

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