MAURICIA D.

BORROMEO

Education in Music, or the acquisition of musical knowledge, skills, and values, is shaped by its purpose and context.
In the Philippines, it may variably mean: a) an avenue for the transmission of a culture or tradition; b) a curricular
component in basic education; and c) a prescribed sequence of study in preparation for professional careers in music.

Oral Transmission

The principal aim in education among ethno-linguistic groups is to continue their tradition. These groups keep alive
Southeast Asian indigenous music, the oldest type of Philippine Music. For example, the palook (use of stick beaters) and
topayya (use of the hands) styles of playing the gangsa (flat gongs) in the Cordillera Highlands of Northern Luzon are
learned by young Kalinga boys through keen observation and imitation of a customary circle of tutors- family, peers, or
town elders. Able to practice only on bamboo instruments, (traditionally, gong playing in the absence of ritual or social
event is frowned upon) actual playing on the gongs takes place at the social gatherings in which music-making is a
participatory and communal experience. As adults, they will form a pool of musicians needed for non-stop strenuous
gangsa playing during celebrations that last for days.

Unlike the gangsa, the kulintang (a row of knobbed gongs of graduated sizes) is taught directly on the instrument
itself, and by a tutor. He/She employs the techniques of rote-learning (imitation and repetition of a pattern
demonstrated by the teacher), the use of the kamblala, a set of patterns to be memorized, then played and sung
simultaneously by the student; and kinesthetic guiding of the hands to teach muscular coordination. (Cadar, 1975). The
Maranaos (and other Muslim communities of Southern Philippines) value the study and performance of kulintang for its
social significance, serving as an occasion for community entertainment, social contacts, competitions, ethical learning
and exercise of self-discipline.

In the context of guru-pupil relationship, the Tausug tata gabbang (a bamboo xylophone played alone) andtata
biyula (a bowed string instrument played alone) are similarly taught. Male students living with a male gururender
household services in return for free room and board while female students come to the house of a male guru for
lessons. (Trimillos, 1972)

The highly specialized and multi-faceted apprenticeship of the Maranao princess, Sindao Banisil, apabubayok and
onor (artist) in the study of Bayok (Maranao vocal genre) was entrusted to a team of five women, all aunts of hers.
Starting at age six, she learned from these tutors various aspects of Bayok artistry: memorization, and extemporizing on
text models, chanting techniques, and proper application of vocal devices, improvisation, and other skills like dancing,
playing on instruments, good manners, personal grooming- all relative to the art. Sindao, a prodigious pupil, reached
professional status at age 15, when she easily won over established pabubayok in several competitions. (Santos, 1989).

Music in Basic Education

The New Elemetary School Curriculum (NESC) and the Secondary Education Development Program (SEDP) which
were prescribed and instituted in 1982, and 1989 respectively by the then Department of Culture (DEC) and Department
of Education, Culture and Sports (DECS) constitute a continuum of academic preparation for college. The inclusion of the
subject of music is premised aesthetic (musical) and utilitarian (extra-musical) contributions to general on its education
and the national culture. Music instruction in both public and private elementary schools are of the general music type
(as distinct from performance classes) commonly used in the United States. The overall aim is to develop basic music
literacy. The graded learning outcomes are based on the elements of music- rhythm, melody, harmony, form timbre,
texture dynamics and using the conceptual and spiral approaches which are hallmarks of western music education. The
repertoire includes Spanish/European/American/ influenced Philippine Music and foreign songs. Accordingly, the skills
of singing, music reading, responding to the elements receive much attention. In some schools, the general music
classes are complemented by voluntary participation in performance groups (Rhythm Band, Child Choir, Ethnic
Ensembles) organized outside of the regular class time.
 In high school, the foundation of singing, music reading, responding and listening to music is further developed and
applied to the study of various genres of Philippine Asian, and Western Music within the framework of the PEHM subject
area (Physical Education, Health, and Music). The skills of improvising and creating are encouraged. Recently, the subject
of art was added to the time allotted to music.

Specialized Training in Higher Education

Various undergraduate music programs are available at the University of the Philippines (UP), University of Sto.
Tomas (UST), Philippine Womens University, Centro Escolar University, St. Scholasticas College, Sta. Isabel College, St.
Paul College, the Asian Institute of Liturgical Music, all in Metro Manila, and Silliman University (Dumaguete City),
University of San Agustin (Iloilo), Univesity of the Immaculate Concepcion (Davao). Depending upon the institution,
certificates, diplomas, or degrees are earned in instrumental and vocal performance, composition, conducting, music
education, musicology, Asian music, dance, music, theater, and church music. The content and methodology of courses
reflect a heavy orientation towards repertoire and standards of Western music. Increased awareness of this imbalance
has led to the gradual inclusion of non-Western, Asian, and Philippine music in the curricula over the past decades by
the University of the Philippines and others. The use of technology in music is a recent trend. Distance education, if used
judiciously, will usher in unexplored alternatives for certain aspects of music training.

The overall picture of Philippine Music Education is not without problems, i.e. full implementation of the Music Law,
R.A. 4723, teacher quality and development, dearth of relevant materials, student assessment, funding, etc.. But with
the continued support of government institutions like the Department of Education, Culture and Sports, Commission on
Higher Education, National Commission for Culture and the Arts, educational institutions, and organizations like the
National Music Competition for Young Artists, and Kodaly Society of the Philippines, Filipinos can look forward to Music
Education in the twenty-first century that is global and truly Philippine in its use of indigenous learning, current
pedagogical trends, non-Western and Western repertoire, and music technology.

PROF. VIOLETA E. HORNILLA

To study music is to study the basics. Music is a comprehensive art within its study students come into contact
with other basic areas of the curriculum: math, science, social studies, languages and physical education. While music is
a subject with its own body of knowledge, and is inherently worth knowing, its comprehensive nature serves as a
foundation for a unified and comprehensive educational setting.

In 1963, DECS Memorandum #11,s.1963 was issued pointing out that Arts and Physical Education in the elementary
grades were often neglected for the sake of instructional and administrative expediency. It called for the proper
implementation of D.O. #1,s. 1957, singling out Arts & Physical Education as the proper vehicle for DECS cultural revival
program.The directive also aimed to make Art Education, Music and Physical Education required subjects in the
elementary grades. Under Arts and Physical Education, all such subjects were to be allotted a 40-minute and 50-minute
instruction time in the primary and intermediate grades respectively. It was further stated that the above mentioned
subjects should not be sacrificed for the sake of any other subjects in the elementary school curriculum. (DO
Memorandum #1,s. 1963 cultural Revival. Through Art Education, Music and Physical Education in the Elementary
Schools).

Bulletin #6,s.1959, titled Improving the Teaching of Music, was a follow up of D.O. #1,s. 1957, observations
being that music has for some years not been seriously taught. Prescribed in this bulletin was for music to be
combined with Art Education and Physical Education , and not as erroneously concluded from the title Art Education
and Physical Education where Music seemed to have been scrapped from the daily schedule of subjects. General
Letter #23, dated July 21, 1956 gave specific instructions that music should have a definite period or time on the days
program in addition to its correlation with appropriate subjects.
 As early as 1950, D.O. Memorandum #72, came out with a prescription of Music courses in the Secondary Schools
General Curriculum. Courses in Second, third and fourth year were likewise suggested:

voice culture for those inclined to singing

courses on orchestral instruments

courses on band instruments for those who wish to learn the trombone, cornet, xylophone, saxophone, etc. The
explanatory work was either vocal or instrumental and should be for 6 weeks, 80 minutes a day.

The setback to the suggested music course offerings were and still is the absence of orchestral and band instruments
which were/are very expensive. Some sectors did come to have band instruments via donations or private sponsorship
as fundings for their procurement was yet to be appropriated.

The memo mentioned further that a school should not offer any music course unless a qualified teacher is
available. It deemed essential that a teacher of music must have a thorough academic and professional training
experience, a pleasant and dignified personality alongside the provision of a well-equipped music room.

A subsequent bulletin #6,s.1959 from the Bureau of Public Schools, titled Improving the Teaching of
Musicunderlined that not any teacher can teach music. It states that a teacher of Music should be one with a special
aptitude, not only because he can sing or play an instrument but also because he possesses a knowledge of Music
reading and notation. If there is only one qualified music teacher in a school, Music instruction may be given once or
twice a week for the total time allotted to the subject during the week.

The Bureau of Public Schools likewise encouraged the training of all music teachers: consultants from the General
Office, Music instructors from the nearest regional normal schools, and lay music leaders of the community.

The increasing importance given to music education was reflected in the passage of R.A. 4723 (Music Law). Enacted
in 1966, the Music Law was the first legislative Act in the history of the country to directly benefit school music
education. The law envisioned the upgrading of Philippine Musical Culture through the improvement of Music
instruction on the elementary and secondary school levels of both public and private schools.

The second Republic Act that has benefited Music education is R.A. 5523. Enacted in 1968, the law has created
various school division positions. It specially provide for 10 music supervisory positions in ten school divisions of the
Bureau of Public Schools.

The initial implementation of the above stated laws has firmly rooted music in the curriculum of both public and
private schools in the country.

Not until recently, the time allotted for each of the three subjects: Arts, Music and Physical Education, were 40
minutes daily for Grades I-IV, and 50 minutes daily for Grade V-VI.

With the implementation of the Music Law, the subjects were subdivided into distinct areas, namely:

Music and Art

Physical Education

Implementing regulations of R.A. 4723 (Music Law) was embodied in the bureau of Public Schools Circular
#24,s.1967 but was rescinded by Department Order #10,s.1970 with the advent of the 1970 Revised Elementary
Education Program. The latter provides that Music and Arts be treated as separate subject areas with Music allotted 3
days a week and Arts 2 days.

The Philippine Society for Music Education (PSME), a non-profit association composed of music educators all over
the country, had its beginnings on November 23, 1971. Its primary intent was to improve music education in all its
areas, to share new knowledge and ideas on music and music education. Symposia, workshops and annual general
assemblies marked the infant years of PSME with Dr. Lucrecia S. Kasilag, now National Artist for music as founding
president. As a direct effect of its historic formation, three music organizations the Philippine Choral conductors
Association, the Philippine Society for Organists, and the Piano Teachers Guild of the Philippines were likewise
founded.

In November 7-9, 1975, the succeeding president Dean Corazon S. Maceda spearheaded a workshop aimed at the
formulation of goals of Music Education in the Philippines. Twenty-nine workshop participants, all distinguished Filipino
educators, came up with well-articulated goals for elementary, secondary and tertiary (music majors and none-music
majors) level of music education.

From 1975 onwards, PSME continued on its mission to improve music education through yearly seminars and
workshops and lecture series, to help produce competent music teachers. One such notable program undertaken under
Dr. Loreto C. Gloria, was a nationwide scholarship program for public and private teachers from elementary and high
school. This program was implemented in cooperation with the National Commission on Culture and the Arts (NCCA)
and the Philippine Normal University (PNU). To date, two groups of Scholars have completed their training while a third
batch is presently being readied for the second summer session by 1999, with completion seen by summer of 2000.

The Department of Education and Culture (DEC) issued an Order #21,s.1973 which was a Clarification on the
Revised Physical Education and Health, Music Pre-Military Training (PMT) and Scouting Program for School Year 1973-
1974. The course name was changed to Youth Development Training (YDT) to replace Physical Education, Health, Music
and PMT in the first to third years of high school. Weekly schedules of 40 minutes per period were as follows:

First Semester

Second Semester

Scouting

2 days

1 day

Physical Education

1 day

2 days

Health

1 day

1 day

Music

1 day

1 day

Citizens Arm Training (CAT), replaced PMT, PE, Health and Music for the fourth year. A 40-minute weekly schedule
per period were to be followed for both semesters.

CAT

2 days
Physical Education

1 day

Health

1 day

Music

1 day

As a YDT component, Music Education was offered in all curriculum years. Approximately 65% of the total number
of music pieces to be learned in each curriculum year should consist of Philippine folk and composed music and the rest,
foreign music, to include internationally known music matters. The creative uni-segmented and integrative conceptual
approaches are suggested for music teaching-learning situations.

Meanwhile, in 1970-71, the Revised Elementary Education curriculum gave Music and Arts, 30 minutes per day, to
schedule as follow:

First Semester

Second Semester

Music

3 days

2 days

Art

2 day

3 days

Department of Education and Culture (DEC) Memorandum #65,s.1974 announced a Third National Seminar
Practicum in School Music Education , sponsored jointly by DECS, the Philippine National Society for Music Education
and the UNESCO National Commission of the Philippines, dated September 7-8, 1974. It was held at Teachers Camp,
Baguio city. The theme was: Innovative Musical Dimensions for the furtherance of the Quality of School Music
Education in the New Society with foreign music experts as resource speakers.

The above national seminar-practicum came after the conclusion of a 5-year UP-BPS (University of the Philippines
and Bureau of Public Schools) Scholarship Program from 1968-1973. Annual scholarship recipients were teachers
teaching music both in the elementary and secondary schools. The period covered 2 semesters and 1 summer with a
stipend for books and a living allowance including regular salaries. An average of 30 to 40 scholars a year attended the
program highly benefitting Music Education in the country.

1971 saw the start of the National Music Competitions as an annual undertaking aimed to discover and nurture
young music talents from among school children. Concerned music educators of varied expertise and persuasions
voluntarily came together to contribute their time and experiences towards the yearly endeavor. Teachers prepared
their choirs and students to compete. The DECS in various regions through regional levels, and the Cultural Center of
the Philippines (CCP) was mainly responsible for the week-long National finals held every last week of November. This
coincides with the National Music Week (Presidential Proclamation #1173 dated August 7, 1973). From then on, the
competition expanded to include not only childrens choirs but also solo instruments, piano solos, youth choirs, college
choirs and eventually, also included the rondalla competition.

In 1982, the Ministry of Education and Culture issued MEC Order #6,s.1982 outlining the New Elementary School
Curriculum (NESC). Beginning school year 1983-84, the new curriculum was introduced by grade levels. The gradual
implementation of NESC in Grades I through Grade VI saw the absence of Music in Grades I and II. In the Revised
Elementary Education Curriculum effective 1970-71, time allotment (minutes daily) for Music and Arts was:

II

III

IV

V VI

30

30

30

30

30

With the advent of the New Elementary School Curriculum effective school year 1983-84, time allotment for Arts
and Physical Education became:

II

III

IV

VI

40

40

40

40

Music lost its identity with its marked absence in Grades I and II. Music for the elementary grades was offered only
from Grades III to VI.

Time allotment Minutes per week for Arts and Physical Education:

I
II

III

IV

VI

200

200

200

200

Equal distribution of time for Music, Arts and PE was on a 2-2-2 plan the whole year round. In the mid-90s Physical
Education regained its foothold in Grades I and II through Gr. VI with 120 minutes per week time allotment. Meanwhile
Music and Arts remained integrated in Civic and Culture in Grades I and II, while in Grade III and VI, they were eased out
of the equal time sharing and given only 80 minutes a week divided by the 2 areas, Music and Art. Music became a 40-
minute, once-a-week-subject per period. The preparation of students for Olympic competitions became the thrust of
DECS up to present.

The New Secondary Education Curriculum (NSEC) became effective by School Year 1989-90. Physical Education,
Health and Music, Citizens Army Training (CAT) remained a component of PEHM in the fourth year. Arts became
integrated with Music in the 3rd and 4th year levels.

Since 1973-74 with D.O. Memorandum #16.s.1973,vClassification on the Revised PE and Health, Music, PMT and
Scouting Program Music was given a 40-minute once-a-week time allotment at all levels. This continued with the 1989
NSEC but by 1997, under the Revised Rating System, time allotment for PEHM/CATwas scheduled as follows:

First and Second Year

First Semester

one day a week 40 minutes

Second Semester

two days

(Health opposite Music on a 1-2; 2-1 arrangement)

Third Year

First Semester
Health

2 days (40 minutes)

Music

1 day as Music and Arts (40 minutes)

PE

2 days (40 minutes)

Second Semester

Health

1 day (40 minutes)

Music

1 day (40 minutes)

Music and Arts

1 day (40 minutes)

PE

2 days (60 minutes)

Fourth Year

Health

1 day

40 minutes

Music and Arts

1 day

40 minutes

Physical Education

2 day

60 minutes

CAT

1 day

80 minutes