Q3-PPT_MA-7_LESSONS PDF

In particular, the students should be able to: A. Discuss post-war nationalism in the Philippines and Indonesia in relation to the figuration of each country’s respective performing arts. B. Explain the similarities and differences in nationalistic Music and Visual Arts common to the Philippines an...

In particular, the students should be able to: A. Discuss post-war nationalism in the Philippines and Indonesia in relation to the figuration of each country’s respective performing arts. B. Explain the similarities and differences in nationalistic Music and Visual Arts common to the Philippines and Indonesia. A classic form of Filipino love song or so it seemed to colonialist forces in the Philippines. In Kundiman, the singer who expresses undying love for his beloved is actually singing for love of country (Kundiman, 2023). Ideology based on the premise that the individual’s loyalty and devotion to the nation- state surpass other individual or group interests (Britannica, 2023). Many scholars consider the beginning of post-war Philippines as the period when the country gained full independence from its American colonizers in 1946 until the 1970s (Jose, 2021). The Philippine National Anthem of our country, also known as Lupang Hinirang, was also known as Marcha National Filipina. Lupang Hinirang was composed by Julián Felipe in 1898. The lyrics were adopted from the Spanish poem "Filipinas", written by José Palma in 1899. The national anthem’s last revision was made in 1962. Lupang Hinirang is sung with pride, dignity, utmost respect, and allegiance to the country. The singing and playing of the Philippine national anthem is governed by the law, specifically R.A. 8491 or the “Flag and Heraldic Code of the Philippines.” As stipulated in Section 37, “The rendition of the National Anthem, whether played or sung, shall be in accordance with the musical arrangement and composition of Julian Felipe” (Filipinas Heritage Library, 2018). Moreover, according to Section 38, the attending public shall sing the anthem whenever it is played at a public gathering. While doing so, the public shall stand at attention facing the Philippine flag as a sign of respect. The other provisions on the national anthem are detailed in Chapter II, Sections 35 to 39 of R.A. 8491 (Filipinas Heritage Library, 2018). The development of the Philippine national anthem into what it is today took several years. It began in 1898 with Julian Felipe’s composition titled Marcha Nacional Filipina (also known as Himno Nacional Filipino). In 1899, Jose Palma’s poem Filipinas was used as lyrics which were later translated into English in the 1920s. It was translated into Filipino in 1956 and the version which is now sung publicly is a product of revisions made in 1962 (Filipinas Heritage Library, 2018). B1 Activity 3: Sing It Level 1: The teacher will lead the class in singing Lupang Hinirang in acapella, with an upright (standing) position, and with the right palm placed near the heart. Level 2: Using the teacher’s desk (tap for downbeat) and clapping their hands (upbeat) to introduce the 2 / 4 time signature, the teacher will sing with the students using movement to establish rhythmic pattern. The teacher will then ask the students to follow through (with a tap & clap rhythmic pattern) while they sing the Philippine national anthem. Another variation may include tapping their hands on their legs followed by a clapping motion (establishing the downbeat and upbeat part of the rhythmic pattern). B2. The teacher will also emphasize that after the American regime and Japanese occupation of the country, the heightened experimentation of Filipino composers with European styles during the American period continued. From the American period onwards, there was a production of nationalistic Filipino composers who used their formal training and expertise in music by incorporating ethnic elements in their works. One of these composers is Francisco Santiago, regarded as the “father of nationalism in music,” who transformed the kundiman from folk song to art song, a song that “requires advanced vocal technique and musical maturity for its performance, usually on the concert stage”. In the 1930s to 1940s, Antonino Buenaventura also used nationalist themes in his compositions like Pandanggo sa Ilaw and Mindanao Sketches which was based on Manobo themes. Other composers who made use of indigenous themes were Juan Hernandez in Mga Katutubong Tanawin and Lucio San Pedro in the Malakas at Maganda Overture. The teacher will play Antonino R. Buenaventura’s Mindanao Sketches that he composed in 1947 as performed by the Royal Philharmonic Orchestra, a British symphony orchestra based in London, conducted by Redentor Romero: It was first performed by the Municipal Symphony Orchestra of Manila on May 15, 1948 at the UST Gymnasium. The world premiere performance of Mindanao Sketches was on Aug. 19, 1948 in Honolulu, Hawaii. It was also performed in USA, Europe and Soviet Russia. A recording was cut by London Symphony Orchestra under conductor Redentor Romero. The Mindanao Sketches is based on rhythm of the dances and songs of the Manobo tribe who duel in the hinterland of Bukidnon.  Source: Conducting Patterns, https://brainly.ph/question/525910 1 Written by Wage Rudolf Supratman in 1928, “Indonesia Raya” was first recorded in 1950, in a performance by Dutch composer Jos Cleber and the resident symphony orchestra of Republic of Indonesia Radio (RRI). It became the official recording, used by RRI and the government for almost 50 years (Agato, 2021). It was adopted by Indonesia since the Proclamation of Indonesian Independence on August 17, 1945. Indonesia Raya, as a national anthem is full of optimism. Indonesia’s founding president, Soekarno, was involved in the musical arrangement of “Indonesia Raya”. “During the pre-chorus or bridge, it turns soft. While the previous part is tutti [all instruments playing], Soekarno wanted the bridge to be calmer and more textured, less monotonous so that when it hits the chorus, it soars (Agato, 2021). For legendary composer and conductor Addie Muljadi Sumaatmadja, better known as Addie M.S., the Indonesian national anthem is uniquely memorable for its directness. To contextualize how Indonesia Raya came to be, a look at Indonesia’s history is vital The Philippines is one country whose history is paved with the challenges of transition and transformation. A colony of Spain for 400 years, its music is in tune with its historical landmarks of colonization, oppression and liberation. The music of its culture is very much influenced by its traditions and nationalistic overtones. The indigenous music in the country is very popular among masses. Influenced primarily by Spanish and American colonizers, Filipino music has been a fusion of its rich culture, heritage and foreign influence. Nevertheless, there are no more beautiful words in a song than those written by Filipinos whose passions rise amidst the ebb and flow of interests that drive the national consciousness of a people in a country seeking transformation from the bonds of political and social oppression. Innate among Filipinos is their love of country and identity. In the subconscious mind of every Filipino, there lies a dormant desire for independence and freedom from all forms of oppression and this subconscious domain is easily reached by messages imbedded in lyrics and musical form that ignites the emotions within the heart of each Filipino. To this end, musical composers of the past and the present write songs and music that evoke and convey nationalistic sentiments which have enabled music to play a large role in reawakening national identity among Filipinos. Constancio de Guzmán (music) and José Corazón de Jesús [Huseng Batute] (lyrics) were the men responsible behind this kundiman. This version was performed by Arturo Navera (Baritone) and Julie Mendoza (Piano). Prior to providing more information, the teacher will ask the students to characterize the song Bayan Ko. The students will write their responses using their worksheet. The Spanish lyrics of Bayan Ko were originally written for the Severino Reyes’ zarzuela, Walang Sugat ("no wound"). Attributed to the propagandista, General José Alejandrino, the song expressed opposition to the ongoing American Occupation (Araneta, 2007). The popular and mainly used 1929 Tagalog version is attributed to José Corazón de Jesús, and the music to Constancio de Guzmán. While the popular Bayan Ko was mainly used during the American colonization, it continued to be sung during the Philippine post-war period. Bayan Ko, as a kundiman, is about the Philippines’ struggle for independence during the American regime. Because of this nationalistic sentiment, the song was also performed to convey the same desire for freedom during the Japanese occupation (and even after the war), including the protest marches against the Marcos government in the early ‘80s (Gil, 2017). The kundiman, known to be songs of admiration and longing for a woman’s love, became translatable to declarations of love to the mother country. It influenced the composers to branching out kundiman out from love songs to nationalistic songs, albeit done incognito. The kundiman served to hide its true nature – a secret battle cry with strong anti- colonialist sentiment. It allowed Spain (and even Americans) to continue thinking that Filipinos were just singing their miserable love songs. Some claim that there were guerilla battle codes and instructions embedded in the lyrics of the kundiman songs (Aguilar, 2023). The teacher will then emphasize that composer Francisco Santiago (1889-1947) is sometimes called the “Father of Kundiman Art Song.” While his masterpiece is considered to be his Concerto in B flat minor for pianoforte and orchestra, one of his most significant pieces is his song “Kundiman, (Anak Dalita)”, the first Kundiman art song. Santiago regarded the Kundiman art song as something “that expresses the lofty sentiment of love, and even heroism in a melancholy mood.” Given the cross- fertilization of Spanish and Filipino cultures in the 19th century, Kundiman art songs were typically a blend of melodic material from native folksong and European music traditions. The result is a song characterized by smooth flowing lines and beautiful melodies. In the 1930s, there was a massive cultural movement of "Filipinism" among several Filipino artists. The movement purported to forward nationalism to Filipinos and as a response to the cultural integration imposed by the United States. Being affected by the said movement, Felipe De Leon, along with his fellow composer Lucio San Pedro, continued the nationalist tradition of Antonio Molina,Francisco Santiago, and Nicanor Abelardo by using the material from Filipino folk songs as the basis of their own created compositions. De Leon also wrote articles and publications highlighting the importance of music as an expression of nationalism. Bayan Ko has renditions of by different composers and singers, notably by\ Lucio D. San Pedro (National Artist for music), Asin, and Freddie Aguilar. Aguilar's cover is one of the most famous renditions of the song; an often-overlooked detail is that the instrumental section of this version is Pilipinas Kong Mahal, another Filipino patriotic song. The Filipino struggle for freedom identity and dignity has a long and continuous history since the 16th century when Spanish colonization began. The Filipinos were the very first Asian peoples to wage and win a war in 1898 against Western colonialism in Asia. We were also the first Constitutional Republic in Asia. A commitment to one’s country and pride in being Filipino, though only discernible among a minority (thus, a subculture), is as alive today as it was in the past, and this devotion has always been well-served by the musical expressions of the nation, particularly the kundiman, a song of devotion to a selfless and noble cause. It is the kundiman that has always embodied the Filipinos’ intense and lofty patriotism, as in the songs Bayan Ko, Jocelynang Baliwag, and Sariling Bayan (De Leon, 2018). The kundiman is a tenderly lyrical song in moderately slow triple meter with melodic phrases often ending in quarter and half note values. It is mainly a song of selfless devotion to a loved one, the motherland, a spiritual figure, an infant, a lofty cause or an object of compassion (De Leon, 2018)