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, apabubayokand 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 Women’s
University, Centro Escolar University, St.
Scholastica’s 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.
HISTORY OF MUSIC EDUCATION IN THE
PHILIPPINES

Music education is the dissemination of music

knowledge, skills and appreciation. The process may
occur in the structured setting of a school or in a
more informal manner.
Music permeates the daily lives of indigenous
culture groups. it is used in connection with life-
cycle events such as birth, courtship, marriage and
death. Occupational activities such as planting,
harvesting, hunting and fishing and functions such
as peace pacts and victory celebrations are
occasions for music making. Lullabies are sung to
put babies to sleep, instruments are played to drive
away evil spirits and songs and chants accompany
the playing of children. In these communities,
singing of songs and playing of instruments are
naturally learned through participation. Formal
ways of learning are however practiced among
many culture groups.
 A Maranao lad who wishes to specialize in
singing certain types of the extensive Maranao
vocal repertoire studies with a professional singer in
a kasombak (apprenticeship) system. He stays with
the goro (teacher) and does daily chores for free
instruction, board and lodging. The training of
the morit (student) begin with the learning of songs
by rote, gradually progressing to creating
improvisations and variations and ends with the
student singing in his own style songs prepared by
the teacher. Training includes learning the
vocabulary and grammar of specific song languages,
and other aspects of performance (Cadar, 1981).
Among the Tausug highly formalized systems of
instruction are practiced in the study of the purely
vocal tradition, mixed vocal-instrumental genres
such as the paggabang, and solo instruments such
as the tata gabbang (solo gabbang) andtata
biyula (solo biyula. Trimillos, 1972).
The Spanish colonizers who arrived in the
1500’s brought with them missionaries who
established churches, convents and schools in
different parts of the islands. Among them were
church musicians and music teachers who
composed and performed liturgical music, wrote
books on music and taught young Filipino boys to
sing the Gregorian chant and play instruments for
church services. Among the schools established was
a Franciscan seminary in Lumban, Laguna in 1606
where 400 boys were trained in singing and playing
of instruments. Many years later, the Colegio de los
Niños Tiples de la Santa Iglesia Cathedral, a school
noted for its excellent training of boy’s, choirs,
offered classes in solfeggio, vocalization,
composition and the playing of organ and other
stringed instruments. Graduates of the school
included musicians such as Salvador Pinon,
Fulgencio Tolentino, Antonio Garcia, and Simplicio
Solis. Founded in 1742, the Colegio existed until the
outbreak of the Second World War (Banas, 1969). In
the 1800’s a rich musical life developed in the urban
areas particularly in Manila and the more affluent
provinces. This was brought about by a large
number of visiting foreign musicians, singers and
opera companies who performed in the theaters
and concert halls of Manila and in some cities in the
South. These musical events contributed greatly to
the music education of the Filipinos along secular
forms of Western music. (Guevara, 1971).
The American colonial government established
public schools all over the islands. The first teachers
were American soldiers who were later replaced by
the Thomasites. Curricula of these schools included
music in the elementary level. Music instruction
concentrated based on the Progressive Music
Series, a graded foreign collection of songs, and a
Philippine edition of the same series by Norberto
Romualdez. Similar materials which were used
much later were the 6 volumes of the Bureau of
Public School Series which consisted of basic songs
(the Philippine National Anthem and other patriotic
songs) folk songs of the Philippines and other
countries, works of Filipino and foreign composers
and suggestions for the teaching of rondalla and
rhythm band. (Yamson, 1972).
 In 1966, the Philippine Congress passed
Republic Act No. 4723 popularly known as the
Music Law which provided for the teaching of music
and art as a separate subject in the elementary level
and the teaching of music once a week for one hour
in the secondary level (Yamzon, 1972). The New
Elementary School Curriculum of 1982 however,
required the teaching of music as a separate subject
only from grades III to VI and its integration with
other subjects in Grades I & II. In the high school,
music was made a part of a subject area, PEHM,
which includes Physical Education and Health.
Content of instruction consists of a study of
Philippine, Asian and Western music. The Philippine
High School for the Arts (PHSA) is a special
secondary school established by the government in
1977 which provides training in music, dance and
the visual arts. Here, music scholars are given
instruction in performance, theory and literature as
well as academic subjects. In the tertiary level,
schools of education offer PEHM specialization and
6 units of music for students studying for a Bachelor
of Science in Elementary Education degree. Colleges
and universities offer undergraduate and graduate
courses in music. Various courses range from a
Diploma in Music, Bachelor of Music and Master of
Music in Performance (major in piano, voice,
strings, winds, or percussion) Composition,
Musicology, Conducting and Music Education, to a
Diploma or Certificate in Performance.
The University of the Philippines (UP) College of
Music is one of the leading schools of music in the
country. Originally a conservatory patterned after
European and American music schools, the College
today has strong multicultural thrust reflected in
the integration of non-western music courses of
studies in the fabric of its over-all curriculum
program. Other schools with strong departments
offering music degrees are: the University of Sto
Tomas (UST), St. Scholastica’s College, Philippine
Women’s University, St. Paul’s College, Sta. Isabel
College, Centro Escolar University, Asian Institute of
Liturgy and Silliman University. Music instruction
are also being provided by tutors, numerous private
studios teaching art and popular music, and music
organizations that hold seminars and workshops to
improve the quality of instruction in their specific
fields of specialization.
The Philippines Society for Music Education
(PSME) founded in 1971 is the main organization in
the country actively engaged in upgrading the
standards of classroom music teaching in the
elementary and secondary schools today. It took
over the work begun by the Philippine National
Society of Music Education (PNSME), which was
founded in the early 1960’s and was active until
1970. Other music organizations are the Piano
Teachers Guild of the Philippines, Kodaly Society of
the Philippines, Aschero Society of the Philippines,
the Philippine Federation of Choral Music, and the
National Music Competitions for Young Artists
(NAMCYA) Foundation.
MUSIC EDUCATION IN THE PHILIPPINES

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 day’s 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 Second
Semester Semester
Scouting 2 days 1 day
Physical
1 day 2 days
Education
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
1 day
Education
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 Second
Semester 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 children’s 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:
V–
I II III IV
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:
I II III IV V 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 V 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-90’s 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, Citizen’s
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,v”Classification 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 – one day a week
Semester – 40 minutes
Second
– two days
Semester
 (Health opposite
Music on a 1-2; 2-
1 arrangement)

Third Year
First
Semester
– 2 days
Health (40
minutes)
– 1 day as
Music and
Music
Arts (40
minutes)
– 2 days
PE (40
minutes)
 Second
Semester
– 1 day (40
Health
minutes)
– 1 day (40
Music
minutes)
Music
– 1 day (40
and
minutes)
Arts
– 2 days
PE (60
minutes)

Fourth Year
40
Health 1 day
minutes
Music 40
1 day
and Arts minutes
Physical 60
2 day
Education minutes
80
CAT 1 day
minutes