Music10 Q4 Mod1

10
Music
Quarter 4 – Module 1:
20th and 21st Century
Multimedia Forms
CO_Q4_Music 10_ Module 1

Music – Grade 10
Alternative Delivery Mode
Quarter 4-Module 1: 20th and 21st Multimedia Forms
First Edition, 2020
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wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from their
respective copyright owners. The publisher and authors do not represent nor claim ownership
over them.
Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio
Development Team of the Module
Writer: Marlon C. Daquioag

Editors: Sherberk F. Cabrales Luzviminda T. Sagario,
Regina Genelin C. Nagtalon
Reviewers: Arsendio A. Cabacungan Adelyn C. Domingo
Francis A. Domingo Gina A. Amoyen
Illustrator: Abraham S. Salvador
Layout Artist: Roger C. Vea Teodorico A. Cabildo Jr.
Management Team:
Tolentino G. Aquino Vilma D. Eda
Arlene A. Niro Juanito Labao
Editha T. Giron Arsendio A. Cabacungan
Gina A. Amoyen Marlyn S. Ventura
Francis A. Domingo
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Office Address: Flores St., Catbangen, City of San Fernando, La Union

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10
Music
Quarter 4 – Module 1:
20th and 21st Century
Multimedia Forms
I
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our dear learners,
can continue your studies and learn while at home. Activities, questions, directions,
exercises, and discussions are carefully stated for you to understand each lesson.
Each SLM is composed of different parts. Each part shall guide you step-by-
step as you discover and understand the lesson prepared for you.
Pre-tests are provided to measure your prior knowledge on lessons in each

SLM. This will tell you if you need to proceed on completing this module or if you
need to ask your facilitator or your teacher’s assistance for better understanding of
the lesson. At the end of each module, you need to answer the post-test to self-check
your learning. Answer keys are provided for each activity and test. We trust that you
will be honest in using these.
In addition to the material in the main text, Notes to the Teacher are also
provided to our facilitators and parents for strategies and reminders on how they can
best help you on your home-based learning.
Please use this module with care. Do not put unnecessary marks on any part
of this SLM. Use a separate sheet of paper in answering the exercises and tests. And
read the instructions carefully before performing each task.
If you have any questions in using this SLM or any difficulty in answering the
tasks in this module, do not hesitate to consult your teacher or facilitator.
Thank you.
ii
What I Need to Know
This module provides you the features of 20th and 21st century opera,
musical play, ballet, and other multimedia forms. In your journey through the
discussions and different tasks, you are expected to:
1. describe how an idea or story in a musical play is presented in a live

performance or video (MU10MM-IIIa-h-1);
2. explain how theatrical elements in a selected part of a musical play are
combined with music and media to achieve certain effects (MU10MM-IIIa-
h-2);
3. create/improvise appropriate sounds, music, gestures, movements, and
costumes using media and technology for a selected part of a musical play
(MU10MM-IIIc-h-4); and
4. perform an excerpt from a 20th or 21st century Philippine musical and
highlights its similarities and differences to other Western musical plays
(MU10MM-IIIg-h-5).
1
What I Know
Directions. Read the following statements and identify what is being asked.
Choose your answer from the given choices below. Each correct answer will be
given one (1) point.
Lola Basyang Lakangbini Sandugong Panaguinip

Showboat Anting – Anting Ladislao Bonus
Jose Rizal Ang Kapatid ng Tatlong Marya La Loba Negra
Les Miserables Ramayana Felipe Padilla de Leon
Rama Hari Dr. Ramon Javier Ryan Cayabyab
1. It is the first Filipino Opera.

2. He is the composer of Sandugong Panaguinip.
3. He wrote the novels Noli Me Tangere and El Filibusterismo.
4. He composed the opera Noli Me Tangere and El Filibusterismo.
5. It is the Philippine adaptation of the Indian epic Ramayana set to music, dance,
and drama.
6. It is a ballet adaptation of Severino Reyes folktales that was meant to instill
and rekindle the interest of the Filipino youth in the beauty, richness, and
heritage of Philippine literature.
7. It is a tragic Opera in three acts written by Patricio Mariano that literally
translates to “Muse” and which narrative was based on the Spanish invasion
of Manila.
8. This is the last movement of Ballet Manila’s Tatlo Pang Kwento ni Lola Basyang,
a horror - fantasy - comedy featuring Huan.
9. This is a fantasy story set to neo-ethnic music in a contemporary style mounted
by Ballet Manila, choreography by Lisa Macuja-Elizalde, and music by Joey
Ayala.
10. He is the first Filipino opera impresario who promoted local talents to
participate in foreign productions.
2
Lesson
1 PHILIPPINE OPERA
In this lesson, you will learn about the historical background of Philippine Opera.
Opera is part of Western classical music form and tradition. It started in Italy at the
end of the 16th century and soon spread throughout the rest of Europe. Eventually,
English, French, and Italian operas also flourished.
The opera is both a musical and art form wherein singers and musicians perform
a dramatic work combining the text (called a libretto) and the music, usually in an
elaborate theatrical setting. It incorporates many of the elements of theater, such as
acting, scenery, costumes, and sometimes, even dance. The performance is typically
presented in an opera house, cultural center, theater, or auditorium. It is
accompanied by an orchestra or a chamber ensemble. The dialogues were sung and
not spoken – they are called recitatives.
3
What’s In
When you were in Grade 9, you learned about the Western Classical
Plays/Opera and the history of theatrical forms and their evolution. Among the most
prominent forms were Romantic Operas. Let’s take a look back to your Vocal Music
of the Romantic Period. Can you recall the names of opera composers and their
compositions? Let us see by choosing the composer of the given musical composition
from column B.
A B
1. Rigoletto a. Gioachino Rossini

2. La Boheme b. Giuseppe Verdi
3. Tristan and Isolde c. Giacomo Puccinni
4. The Barber of Seville d. Richard Wagner
5. Carmen e. Georges Bizet
Note to the Teacher

Please check the answers of the learner. If all answers are
correct, the learner will proceed to the next part of this module.
Otherwise, assist the learner to recall facts about the
abovementioned periods for better understanding of the next
lessons.
4
What’s New
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 virtuoso, as
well as opera singers and Spanish zarzuela which is also known as the drama
simbolico dominated the Philippine theater scene. Performers came to the country to
perform for enthusiastic audiences.
As the locals were being exposed to Western art and music, they were also
realizing their inner talents and passion for opera. The themes were ripe for voicing
out sentiments about their love for the 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 narrative of the Filipino opera. Some works were based on previous literary
creations, such as Rizal’s Noli Me Tangere and El Filibusterismo. Tragic endings and
unresolved conflicts made for excellent choices of opera productions.
Local Theaters and Early Philippine Operas
Zorilla Theater Metropolitan Theater (MET)
Image source: HORIZONS Music and Arts Appreciation for

Young Filipinos
5
Cultural Center of the Philippines (CCP)
Image source: HORIZONS Music and Arts Appreciation for
Young Filipinos
Local theaters, including the Teatro Zorilla, Vista del Teatro Principe Alfonso
XII (located nearby the modern day Metropolitan Theater), Variedades, Teatro de
Tondo, Circo Teatro de Bilibid, Teatro Filipino, and Teatro Popular were the choice
venues for the mainly Italian operas that came into the country, such as Il Barbiere
di Siviglia, Ernani, and La Sonnambula. Later on, other opera venues were
established, led by the Manila Grand Opera House and the Metropolitan Theater
(Met).
The first Filipino opera is the Sandugong Panaguinip with libretto in Spanish
by Pedro Paterno, a poet, novelist, musician, and government official, and was
translated into Tagalog by Roman Reyes, and music by Ladislao Bonus. This was
first staged at the Zorilla Theater on August 2, 1902. Sandugong Panaguinip was
produced by Molina-Benito Theater Company which was owned by Juan Molina
(father of soprano and actress Titay Molina and National Artist Antonio Molina). It
was later translated by the Englishman M.W. Loving with the title, The Dreamed
Alliance.
Following this historic development, other prominent figures and ensembles
contributed significantly to the promotion of opera. The Orquesta Molina (Molina
Orchestra) was known for their interpretation of operas as well as other classical
compositions.
Subsequent Filipino operas followed sporadically, such as Lakangbini by
Patricio Mariano that was staged at the Metropolitan Theater on December 19, 1933.
Operatic divas included Nelia Manalo, Mercedes Matias-Santiago, National Artist
Jovita Fuentes, Isang Tapales, the bass-baritone Jose Mossesgeld Santiago, and later
on some of their students including Elmo Makil, Gamaliel Viray, Emmanuel Gregorio,
Irma Potenciano, and Fides Cuyugan. The establishment of the Cultural Center of
the Philippines (CCP) by virtue of Executive Order No. 30 in 1966 paved the way for
other Filipino operas to be staged at a legitimate venue of international standard.
6
Leandro Locsin designed its architectural structures, Carlos “Botong” Francisco
designed the logo, and Lucrecia Kasilag became the first Theater Director – all three
eventually became National Artists. Jaime Zobel de Ayala and former First Lady
Imelda Romualdez-Marcos served as Executive Director and Chairman respectively
alongside its Board of Trustees that include Juan Ponce Enrile, Antonio Quintos, Fr.
Horacio Dela Costa, Ernesto Rufino, and Antonio Madrigal.
What is It
ORIGINAL PHILIPPINE OPERAS
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, 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 libretto by soprano Fides Cuyugan-Asensio. The premiere
was held in 1984 with National Artist for Theater and Film Lamberto Avellana as
director.
SYNOPSIS:
The opera begins with a Prologue depicting the scene of a woman dancing
around a priest tied to a log. She scolds him in a haunting atmosphere of pitch
darkness and a howling wolf from the distance. The scene shifts to the Governor’s
Palace Ballroom where a welcome party in honor of the new Governor-General
Bustamante is in progress. Upon the arrival of the Governor, lavish gifts are offered
to him by the various guests. To their surprise and dismay, the Governor downplays
their ostentatious revelry and gift giving as a sign of potential corruption in his song
Makinig Kayo. The entry of Fray (friar/priest) Totanes and his regal posturing further
elicits sarcastic remarks from the Governor. As he and his wife Doña Luisa exit the
scene, an indio (Spanish term used for a Filipino native) servant named Macatangay
enters with a message to the Governor from his employer, Auditor General Torralba.
7
Fray Totanes takes advantage of the Governor’s exit by asserting the power of
the church over the state in his song “Siya Ba ang Magsasabi Sa Akin?” prompting
the Governor’s daughter Dolores to chide him for his unbecoming remarks in her
father’s house. Fray Totanes apologizes without a trace of sincerity as Dolores exits
followed by an “interested” young friar. Meanwhile, Fray Totanes intercepts the gifts
meant for the Governor. He got the gifts to add to the Church’s treasury. He blesses
the guests as he reassures them of a place in heaven.
In the Palace’s family room, Doña Luisa is singing an aria Huizilipochtli about
an Aztec god which her daughter Dolores was curiously questioning about its
meaning. Their conversation is interrupted by the Governor who was on his way out
to investigate the Auditor General’s office on the state of the Treasury. Dolores,
suspecting the impending result of the investigation amid the pocketing by the friars,
weeps bitterly as her mother tries to comfort her. At the Auditor General’s office, Fray
Totanes witnesses Torralba collecting taxes from the various merchants to get their
trade permits. He then shares the “loot” with Fray Totanes who in turn gives part of
his share to his mistress Conchita. The Governor enters shortly, and after a brief
confrontation with Torralba, discovers that the Treasury coffers are empty.
He orders the latter’s immediate imprisonment in Fort Santiago, a most

dreaded place for criminals and political prisoners at that time. The scene ends with
a duet Anong Saklap Nitong Pangyayari by the two, with Torralba in remorse and
shame and Bustamante in pity and disgust over the situation. The chorus sings Sa
Haring Pari, O Sa Paring Hari in the distance. The continuing crackdown of Governor
Bustamante on the religious officials did not spare even the Archbishop of Manila as
they were all detained in Fort Santiago. A religiously led demonstration ensues in the
Town Plaza but is quickly dispelled by the Governor’s soldiers. The priests are
exhorted by Fray (friar/priest) Totanes to come out in full force to plot the
assassination of their most hated enemy. A mass is held without the usual service
as the altar is covered black to symbolize a coffin, topped by the Spanish flag and a
crucifix.
As they march toward the Governor’s palace, singing Muerte, Muerte Para El
Traidor Bustamante, a messenger forewarns the Governor of the plot. But to no avail,
the assassins can reach the palace and kill the Governor along with his son Jose.
Doña Luisa, witnessing this brutal killing, asks the Lord and the Virgin Mary to
8
forgive the perpetrators. However, her mind snaps at the shock of the moment,
wherein she instead invokes the Aztec god to assist her in avenging the murders of
her loved ones. With a loud scream filled with pain and anguish, she has renounced
her Christian faith.
Doña Luisa, now disguised as La Loba Negra (The Black She-Wolf),

commences her revenge during the elaborate ceremonies of Palm Sunday. And
together with her sexually abused daughter, methodically slays the friars she
encounters. She killed over 200 priests in a span of two years. Her infamous
reputation has spread as the religious clergy cower in fear. Macatangay, who has
also become a rebel leader for a different cause of achieving independence, joins
forces with La Loba Negra. They continued in their ritual religious murders, singing
the songs O Poong Maykapal, Kayong Mga Namumuno, and Hindi Na Malayo Ang
Araw.
The scene is transported back to the Prologue with Doña Luisa castigating the
friar responsible for the seduction and rape of her daughter. Added to her earlier
murders of the friars for the deaths of her husband and son, Doña Luisa’s vengeful
emotions have now been purged out. When her daughter is wed to Sandugo, she has
become one with the indios of her adopted country. Before she dies, Doña Luisa was
heard singing Napakahaba ng Gabi. She speaks of a bright tomorrow after the long
night as the chorus sings Sulong, Mahal Kong Kababayan.
The music and libretto have closely collaborated to portray the dramatic
moods in the opera. The dramatic moods are particularly depicted in the murder
scenes that are effectively contrasted with the solemn sounds and religious fervor of
the liturgical rites. The somewhat debatable moral issue of vengeance may perhaps
be explained by the temporary insanity of Doña Luisa. It was caused by the brutal
killings of her husband and son, wherein the Aztec god is portrayed as a scapegoat
for the Christian purge. As librettist Asensio concluded: “The night is long, but the
sun will rise… and rise again in the East.”
9
NOLI ME TANGERE, THE OPERA
The three-act opera Noli Me
Tangere was composed by National
Artist Felipe Padilla de Leon, with
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
Image source: HORIZONS Music and Arts Appreciation for Young Filipinos
as Sisa, Milo Cristobal as Padre
Damaso, and Morli Daram as the director. There were several other productions that
followed the premiere staging.
SYNOPSIS:
Act I
The spacious sala of Santiago de los Santos, otherwise known as Kapitan
Tiago, in San Diego, is the setting for the welcome reception. It was a gathering
honoring the 22-year-old student Crisostomo Ibarra after a seven-year stay in
Europe. The Gobernadorcillo and his wife Doña Victorina lead the guest list that
includes Padre Damaso, vocal in his criticism of the Filipino whom he referred to as
“indio” while also blaming the Gobernadorcillo for interfering in their local affairs. He
continues this harsh attitude upon the arrival of Ibarra when he ignores the latter
as he tries to greet the friar.
Ibarra is also shaken and shocked by the news of the death of his father,
where he confides to Don Filipo his puzzlement surrounding his father’s death.
Before Ibarra left for San Diego, Lt. Guevara, a civil guard, revealed to him the
circumstances that led to his father’s death. Don Rafael Ibarra, a rich hacendero of
the town, was unjustly accused by Padre Damaso of being a heretic and a subversive
and subsequently jailed. As the case was almost being resolved, Don Rafael fell sick
and died in his cell. His remains, initially interred at the Catholic cemetery, were
ordered transferred by Padre Damaso to another location.
10
Ibarra, although lamenting
the fateful circumstances, does
not hold revenge on his mind.
Instead, he starts to reveal plans
to build a schoolhouse in memory
of his father. He is only partly
comforted by the announcement
of the immenent arrival of his
beloved Maria Clara, the adopted
daughter of Kapitan Tiago. She

was accompanied by her aunt, Tia Isabel. Ibarra rushes to greet them on their arrival.
As the guests move into the dining room, the two lovers are huddled together
reminiscing their past moments spent together. Ibarra, still thinking his father’s
death, begs to be excused to pay respects at his father’s grave while Maria Clara fears
disaster.
Act II
Scene I
All roads lead to the cemetery as the people of San Diego observe All Saints’
Day. Pilosopo Tasio meets Crispin and Basilio going to the church to ring the bells.
The ringing of the bells will warn the people of a coming storm. He cautions the two
brothers to stay away from the bells to avoid being struck by lightning.
Ibarra arrives at the cemetery to look for his father’s grave. He is angered when
one of the gravediggers informs him that he was ordered to transfer his father’s body
to another site. When he inquiries about the location of the new site, the man
confides that he disobeyed the orders. And instead, he threw the body into the lake.
This causes Ibarra to jump at him in a fury and leave the cemetery in a rage.
As evening approaches amidst flashes of lightning and sounds of thunder, the

Gobernadorcillo and Pilosopo Tasio are engaged in sarcastic conversation. The scene
shifts to Crispin who is suddenly accused of theft and is detained at the convent. His
brother Basilio runs to their mother Sisa but is shot in the leg. Sisa, confronted by
11
the guardia civil, arrives, and protests her son’s innocence as she breaks down in
shock.
Meanwhile, the bereaved Ibarra seeks counseling from Pilosopo Tasio who
advises the youth to “bend your head with the storm” like a bamboo. Heeding the
advice of the wise man, Ibarra realizes though that the authorities he intends to yield
to be the same people that imprisoned and caused his father’s death.
Scene II
The young people of San Diego hold a picnic by the lake to celebrate Ibarra’s
return from Europe. Maria Clara is prevailed upon to sing, wherein she renders the
famous number Kay Tamis ng Buhay recalling the happy life in her native land.
Meanwhile, a group of fishermen arrive to lament the presence of a crocodile that
prevented them from catching any fish. Elias, a woodsman, volunteered to drive the
crocodile away but is greatly endangered. Ibarra rushes to his rescue and saves Elias.
In his gratitude, Elias warns Ibarra of the approaching dangers from the latter’s
enemies. As Sisa passes by, she is still lonely over her lost children. Elias assists the
insane woman to find the two children. While Ibarra continues to tell of his dream to
build a school in his father’s memory, Padre Damaso joins in the conversation and
ridicules the plan as a “scheme of the viper.” To which, an enraged Ibarra grabs a
knife and attempts to stab him. Only the timely intercession of Maria Clara pacifies
the young man. However, this gives Padre Damaso an excellent opportunity to have
him excommunicated.
Act III
Scene I
As Ibarra has been exiled from San Diego, Maria Clara is left depressed while
her Tia Isabel and friends try to comfort her. Kapitan Tiago enters the bedroom to
tell the sad news that inspite of his appeal Padre Damaso has told him to cancel the
wedding arrangements between Maria Clara and Ibarra. Kapitan Tiago had in mind
his relative Alfonso Linares to marry Maria Clara instead of Ibarra. Doña Victorina
then enters the room and together with Padre Damaso starts planning for the
meeting between Maria Clara and Linares.
Meanwhile, Ibarra has sought the help of the Gobernadorcillo who manages
to cancel his excommunication from the church. He can return and visit Maria Clara
12
to propose marriage. The couple’s rejoicing at the house of Kapitan Tiago is
interrupted by the arrival of the Alferez who arrests Ibarra for being involved in an
uprising. Again, driven to depression, Maria Clara seeks the help of the Heavenly
Mother. A fire is seen from the closed window.
Scene II
Worried over the fate of Ibarra,
Maria Clara ignores Padre Damaso’s
advice discouraging her from entering the
convent. As she prays to the Heavenly
Mother to restore her lost love, Elias
appears at the window, taking along
Ibarra who has just escaped from prison.
Ibarra is desperate at the rumor of Maria Clara’s impending marriage to

Linares. She explains that she was forced to accept the marriage agreement to save
her mother’s honor after finding out that her real father was in fact Padre Damaso!
Nevertheless, she assures Ibarra that her heart will always belong to him. Meanwhile,
as Ibarra and Elias sneak
out of the window, two
gunshots are heard from
the guardia civil (civil
guard). Maria Clara
witnessed the tragic scene.
She thinks that Ibarra had
been shot and killed. But it
was Elias who was shot
while Ibarra had managed Image source: HORIZONS Music and Arts Appreciation for Young Filipinos
to escape.
Scene III
Sisa is seen wailing her haunting refrain as she rests on a tombstone. Basilio,
still nursing the wounds on his leg, arrives and greets his mother. Unable to
recognize him at first, Sisa eventually recovers her fragile memory and embraces her
son. However, the shock of the moment is too much for her heart and she expires.
Meanwhile, a seriously wounded Elias appears and instructs Basilio to build a pyre
13
(funeral fire) for his mother and him as he gives him a stash of hidden gold to fund
his education. As the boy started to gather materials for the funeral pyre and the
early light of dawn appears, Elias gasps out his last breath of life.
EL FILIBUSTERISMO, THE OPERA

The opera El Filibusterismo was composed by National Artist Felipe Padilla de
Leon in 1970, with libretto by Anthony Morli. It is in three Acts and written in
Tagalog. It was first staged at the Cultural center of the Philippines.
The Novel Behind the Opera

El Filibusterismo (The Filibuster) was a novel by Dr. Jose Rizal and a sequel to
the earlier Noli Me Tangere. It tells of the continuous struggle of the Filipino people
to achieve freedom and emancipation from colonial rule. Through the major
characters involved, it reflects the prevailing state of Philippine government and
society that has become corrupt and immoral. For which, a revolution was being
seen as the only solution for change. It was also perceived as a warning from Rizal –
an intellectual from the highest order. Although he favored a peaceful way of
instituting reforms, the seemingly hopeless situation points to armed rebellion in aim
of independence.
SYNOPSIS:
The major character is Crisostomo Ibarra. He had escaped from prison for
subversion charges some 13 years before. He was thought to have drowned in the
river. He arrives aboard a steamship along with passengers from different walks of
life. He disguised himself as Simoun in search of his beloved Maria Clara.
Maria Clara had become a nun after learning of Ibarra’s supposed drowning
and because of her refusal to marry another man as arranged by her evil father. In
an earlier letter to Maria Clara, Simoun tells her of his plan to lead a revolution. He
had been sentenced for execution before he had managed to escape. Now, upon his
return, he is bent on fulfilling this plan by asking the support of key people.
Simoun also comes across a medical student named Basilio while the latter
was visiting the grave of his mother Sisa. Basilio recognized the disguised Simoun as
Ibarra. Basilio however refuses to join his revolutionary cause. He preferred instead
to marry his love Huli and lead a peaceful life devoted to healing the sick.
14
On the eve of the supposed revolt organized by Simoun, when a French
vaudeville Les Cloches de Comeville was being attended by Manila’s high society, he
hears the news that Maria Clara has just died in the convent. He contemplated to
commit suicide. However, Maria Clara’s ghost appears and asks him to stay alive to
atone for his destructive spirit. His first revolutionary attempt has failed. In the
meantime, his bitterness has jeopardized the love relationship between Juanito
Pelaez and Paulita Gomez.
Paulita was an orphaned heiress

cared for by her aunt Doña Victorina, and
Isagani. She was raised by the secular
priest Padre Florentino. It also influences
Basilio to join Simoun’s cause after his
engagement. Huli has died in despair over
Basilio’s imprisonment. This was a
Image source: HORIZONS Music and Arts Appreciation for Young
betrayal by Simoun by pointing to him Filipinos
and other students for allegedly masterminding a revolution that he himself planned.
Still ignoring the warning voice of Maria Clara, Simoun hatches a second plan
to be carried out during the wedding of Paulita Gomez to Juanito Pelaez. His plan is
to bring a crystal lamp as a wedding gift, but which contains deadly explosives that
would go off once the lamp’s oil runs out and is relit. This plan Simoun tells Basilio
as they are dining in his mansion.
However, Basilio has a sudden change of heart and quickly warns Isagani,
who is just arriving at the scene to watch the wedding festivities. The shocked Isagani
runs away with the lamp and throws it into the river. As Manila is scandalized by the
discovery of his plan, Simoun escapes the arrest of the authorities and takes refuge
in the house of Padre Florentino near the sea. He again tries to commit suicide by
taking poison.
As Simoun lay dying, Padre Florentino scolds him for his plot while assuring
him of God’s mercy. He also divests Simoun of his precious stones and hurls them
into the waters. He called these evil stones which should remain forever under the
sea. From a distance, Isagani contemplates his desolation at a lost love amidst the
vastness of the sea while witnessing a passing procession for the Feast of San Diego.
15
What’s More
Directions. Complete the table below by indicating the contributions/works of the

following prominent figures in Philippine Opera.
Prominent Figure Contribution/Works
Ladislao Bonus
Leandro Locsin
Orchestra Molina
First Lady Imelda Romualdez

Marcos
Nelia Manalo
Mercedes Matias-Santiago
Jovita Fuentes
Carlos “Botong” Francisco
Patricio Mariano
Lucrecia Kasilag
16
Lesson
2 PHILIPPINE BALLET
In Lesson 1, you have learned that Opera is part of Western classical music
form and tradition. Philippine Opera started during the middle part of the 19 th
century. You have encountered three original Philippine operas namely, La Loba
Negra, Noli Me Tangere, and El Filibusterismo. Following the development of
Philippine Opera was the birth of Philippine Ballet.
What’s In
The dance form known as ballet has been used to interpret stories of all kinds.
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 movements and gestures of the dancers. The performance is
further enhanced by colorful costumes, elaborate sets, visually suggestive music,
and sophisticated choreography. Original Filipino ballets vividly present folktales and
local fables.
TATLONG KUWENTO NI LOLA BASYANG

Tatlong Kuwento ni Lola Basyang featured the following stories:
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 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.
17
Two of those collections were presented by Ballet Manila, with prima ballerina
Lisa Macuja-Elizalde as the company’s Artistic Director. Entitled Tatlong Kuwento ni
Lola Basyang (2009) and Tatlo Pang Kuwento ni Lola Basyang (2013), the stories
were taken from dozens of stories in the collection of Severino Reyes.
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. The music
is written by Joey Ayala, with choreography by
Lisa Macuja-Elizalde.
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.” The music is by National Artist
Ryan Cayabyab, arranged by Arnold Buena, and
choreography is by Tony Fabella.
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.
The second production, Tatlo Pang Kuwento ni Lola Basyang, included

the following stories:
1. Ang Palasyo ng Mga Dwende
This is a romantic adventure wherein the

heroine Yani is being maltreated 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. Diwa de Leon with his hegalong
18
The music and musical arrangements were done by Diwa de Leon using a hegalong,
a native boat shaped lute of the T’boli. Illustration was done by Albert Gamos. The
choreographer was Gerardo Francisco in collaboration with Kris-belle Mamangun,
Naomi Jaena, and Romeo Peralta.
2. Labindalawang Masasayang Prinsesa
This is a romantic fantasy of the twelve

daughters of the king. Macuja-Elizalde herself
danced in the ballet portraying the role of the eldest
among the king’s twelve daughters. Her real life
daughter Missy Elizalde played the role of Ate Missy
Luz Fernandez as Lola Basyang
who sat and listened to Lola Basyang’s stories and
served as the link from the storyteller to the fantasy world. Lola Basyang was played
by veteran character actress Luz Fernandez – a role that she has reprised countless
times. The twelve daughters secretly leave their bedroom at night to travel to an
enchanted land and dance with the princes.
Choreography was done by Lisa Macuja-Elizalde, in collaboration with Francis

Jaena, Sofia Peralta, Rudy de Dios and the Ballet Manila dancers. It featured fairly
simple classical ballet movements with the traditional adagios or slow movements
for the prince and princess. It also featured the comic variations for the scenes with
the king. The colors of the costumes depicted Filipino elements in fiesta
combinations. The music used OPM hits such as Kailangan Kita and Ikaw ang Lahat
Sa Akin arranged by Arnold Buena.
3. Anting-Anting
This is a horror-comedy play wherein the cowardly hero Huan tries to

overcome his fears in order 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.
Musical arrangements were done by Juan Carlo Magsalin, with choreography
by Osias Barroso in collaboration with Michael Divinagracia. Illustration was done
by Hubert Fucio. Costumes featured farmers’ clothing for men and kimona/saya for
women.
19
What is It
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 on
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). Their counterpart
dancers were composed of Alice Reyes as Robert Medina’s Sita, Nonoy Froilan and
Robert Medina as Rama,
Effie Nanas as Nonoy
Froilan’s Sita, Ester Rimpos,
and Butch Esperanza as
Ravana. The production had
the dancers moving
alongside the characters to
provide the choreographic
interpretation of their
20
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.
The 2012 re-staging had Christian Bautista/OJ Mariano as Rama, Karylle

Tatlonghari/Kalila Aguilos as Sita, and Robert Seña as Ravana. The counterpart
dancers were Jean Marc Cordero/Richardson Yadao for Rama, and Carissa
Adea/Katherine Trofeo for Sita.
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.
What’s More
Activity 1: Watch and Listen!

1. Watch and carefully observe the music and movements of following Philippine
Opera and Ballet productions on the internet using the links below and
answer the reflection questions.
A. Philippine Opera:
Noli Me Tangere, The Opera
https://www.youtube.com/watch?v=VBFEKptGkZg
B. Philippine Ballet:
Rama Hari - Iisang Tibok ( Awit ng Pagsinta)
https://www.youtube.com/watch?v=JYbyyjnHtoU
21
Reflection Questions:
A. What are your observations while listening to and viewing the two
productions/staged performances?
A.1. Noli Me Tangere _____________________________________________
A.2. Rama Hari __________________________________________________
Among the two productions, which one appealed more to you personally? Provide
objective and concrete examples.
B. Describe and differentiate the story of the two musical plays.

C. REFLECTION PAPER RUBRIC:
Needs
Excellent Good Satisfactory
Criteria Improvement
4 3 2
1
Depth of Response Response Response Response
Reflection demonstrates demonstrates demonstrates demonstrates
an in-depth a general a minimal a lack of
reflection on reflection on, reflection on reflection on
and and and or
personalization personalizatio personalizati personalizatio
of the theories, n of the on of the n of the
concepts, theories, theories, theories,
and/or concepts, concepts, concepts,
strategies and/or and/or and/or
presented in strategies strategies strategies
the course presented in presented in presented in
materials to the course the course the course
date. materials to materials to materials to
date. date. date.
Required Response Response Response is Response
Components includes all includes all missing some excludes
components components components essential
and exceeds all and meets all and does not components
requirements requirements fully meet and does not
indicated in indicated in the address the
the the requirements requirements
instructions. instructions. indicated in indicated in
the the
instructions. instructions.
Structure Writing is Writing is Writing is Writing is
clear, concise, mostly clear, unclear unclear and
and well concise, and and/or disorganized.
organized with well organized disorganized. Thoughts
excellent with good Thoughts are ramble and
sentence/para sentence/par not make little
graph agraph expressed in sense.
construction. construction. a logical
manner.
22
Evidence Response Response Response Response
and Practice shows strong shows shows little shows no
evidence of evidence of evidence of evidence of
synthesis of synthesis of synthesis of synthesis of
ideas ideas ideas ideas
presented and presented presented presented and
insights gained and insights and insights insights
throughout the gained gained gained
entire course. throughout throughout throughout
the entire the entire the entire
course. course. course.
What I Have Learned
Complete Me (Knowledge Assessment). Fill in each blank with the missing word to
complete the statement. Write your answers on your paper.
The dance form known as (1) __________________ has been used to interpret
stories of all kinds. It is a performance in which a story is told without words by
using (2) _________________________ and (3) ___________________________. The lack of
(4) _______________ or sung lyrics is more than made up for by the creative movements
and (5) _______________ of the dancers. The performance is further enhanced by
colorful (6) ________________, elaborate sets, visually (7) ____________________ music,
and sophisticated (8) _____________________. Original Filipino ballets vividly present
(9) _______________ and (10) ________________.
23
What I Can Do
PERFORMANCE STANDARD: Performs selections from musical plays, ballet,

opera in a satisfactory level of performance.
SITUATION: Philippine Opera and Ballet Musical Interpretation. Create a

visual interpretation of any Philippine Opera or Ballet from the lesson using any
medium (pencil, crayons, pastel, charcoal, mixed-media, watercolor). Create
your artwork on a medium-sized Bond Paper; OR by re-creating a
scene/imagery through a photo/tableau. Write an essay explaining your
artwork/image.
GOAL: Should be able to create an artwork from their own interpretation to
appreciate the importance of Philippine Opera and Ballet and explain their
output through an essay.
ROLE: Visual Artist/Writer; Performer/Demonstrator
PRODUCT CHOICES: Artwork and essay
AUDIENCE:
Family members/Relatives
STANDARDS:
Your work will be rated according to the following criteria:
1 Artwork-Neatness, Craftsmanship, Presentation and Understanding of

content.
2. Essay- Content, Word choice and main idea; spelling.
24
GUIDED RUBRICS FOR PERFORMANCES
Rubrics for Music Interpretation (Visual Arts)
CRITERIA Very Good Good Fair Needs

(4) (3) (2) Improvement
(1)
Neatness Completed Completed Completed Artwork is
artwork is artwork is artwork is not neat.
exceptionally very neat. neat.
neat.
Craftsmanship Student spent Student spent Student spent Student did
a lot of time an adequate a bit of time not finish on
and effort on time and effort and effort on time and did
artwork. It is on artwork. It artwork. It is not exert
excellently is satisfactory. fairly made. effort on
made. artwork. It is
poorly made.
Presentation Student used Student used Student used a Student did
a wide variety simple variety limited style not use any
of style and of style and and technique. variety of
technique. technique. style and
technique.
Understanding Insight and Depths of Depths of Depths of
of Content depth of content content content
content understanding understanding understandin
understanding are evident. are not too g are not
are evident. evident. evident at all.
Performance Rubrics for Essay Writing
4 3 2 1
CRITERIA RATING
EXEMPLARY ACCOMPLISHED DEVELOPING BEGINNING
The The The The
sequencing of sequencing of sequencing sequencing
words and words and of words and of words
phrases is phrases is phrases is and
exemplary logical, and the confusing, phrases is
logical, and reader can and the random.
the reader can follow the reader may The reader
Content
follow the ordering of need to use can find no
ordering of ideas. his or her evidence of
ideas easily. own thoughtful
knowledge to ordering of
determine ideas.
the ordering
of ideas.
The essay The essay uses The essay The essay
Word uses many several uses general uses
choice precise, vivid, descriptive or ordinary general or
and main and words to terms to ordinary
idea descriptive develop a main develop a terms to
words to describe the
25
develop a idea or main idea or object; the
main idea or message message words do
message not develop
a main idea
or message.
There are no There are no or Numerous Numerous
spelling few spelling spelling spelling
errors. They errors. They errors errors
are are impede the impede the
developmental developmentall reader from reader from
ly appropriate y appropriate understandi understand
and do not for the reader’s ng the ing the
impede the understanding essay’s essay’s
reader’s of the essay. message. message.
Spelling understanding Some of the Errors are
of the essay. errors are not
development developmen
ally tally
appropriate, appropriate
but others and should
should have have been
been noticed noticed and
and corrected
corrected.
Total:
Assessment
I. MULTIPLE CHOICE
Directions. Read the statements carefully. Choose the letter that represents your
best answer. Write your answer on a separate sheet of paper.
1. When did Opera began to be a part of the Filipino consciousness?

A. 17th century C. 19th century
B. 18th century D. 20th century
2. It is an art and music form in which singers and musicians perform a dramatic
work combining text (called a libretto) and music.
A. Novie play C. Poetry
B. Opera D. Spoken words
26
3. This was premiered at the Zorilla Theater on August 2, 1902. It was later
translated by the Englishman M. W. Loving with the title “The Dreamed
Alliance”.
A. Isang Dugo, Isang Lahi, Isang Musika
B. Panaginip Lang Pala
C. Saan Ka Tutungo?
D. Sandugong Panaginip
4. What Executive Order in 1966 contains the establishment of Cultural Center

of the Philippines (CCP)?
A. Executive Order No. 25
B. Executive Order No. 28
C. Executive Order No. 29
D. Executive Order No. 30
5. Who designed the architectural structures of the CCP?

A. Leandro Locsin C. Lucrecia Kasilag
B. Carlos Francisco D. Antonio Madrigal
6. Which of the following is NOT a characteristic of an opera?

A. The dialogue is entirely sung and not spoken.
B. The performance entirely uses body movements or pantomime.
C. It is accompanied by an orchestra or smaller musical ensemble.
D. The performance is typically given in an opera house, cultural center,
theater or auditorium.
7. Which of the following stories featured in Tatlong Kuwento ni Lola Basyang is

considered as a local version of the famous Pied Piper tale?
A. Ang Kapatid ng Tatlong Marya
B. Ang Mahiwagang Biyulin
C. Ang Prinsipe ng Mga Ibon
D. Ang Palasyo ng Mga Dwende
8. This tells of the continuing struggle of the Filipinos to achieve freedom and
emancipation from Spanish colonial rule and was written four years after Noli
Me Tangere.
A. Spoliarium C. Lakangbini
B. El Filibusterismo D. Makamisa
27
9. This is a ballet adaptation with typical storytelling scenes showing the
grandmother on a rocking chair with her grandchildren listening to her
fascinating tales.
A. Lola Basyang C. Lola Nena
B. Lola Magda D. Lola Ora
10. This is a three-act Filipino opera based on a legend attributed to Fr. Jose
Burgos.
A. La Loba Negra C. Noli Me Tangere
B. El Filibusterismo D. Sandugong Panaguinip
II. Directions. Classify the following as Opera or Ballet. Write the answer
in the column where it belongs.
LA LOBA NEGRA NOLI ME TANGERE

RAMA HARI LOLA BASYANG
EL FILIBUSTERISMO LAKANGBINI
SANDUGONG PANAGINIP ANG PALASYO NG MGA DWENDE
ANTING-ANTING ANG PRINSIPE NG MGA IBON
OPERA BALLET
28
29
WHAT I KNOW LESSON 1 WHAT’S IN
1. Sandugong Panaguinip 1. b
2. Ladislao Bonus 2. c
3. Jose Rizal 3. d
4. Felipe Padilla de Leon 4. a
5. Rama Hari 5. e
6. Lola Basyang
7. Lakangbini
8. Anting-Anting
9. Ang Kapatid ng Tatlong Marya
10. Dr. Ramon Javier
LESSON 1 WHAT’S MORE
Prominent Figure Contribution/Works
Ladislao Bonus Composer and first Filipino conductor
Leandro Locsin Designed the architectural structure of the
CCP
Known for their interpretation of operatic
Orchestra Molina works as well as other classical
compositions
First Lady Imelda Romualdez Established the Cultural Center of the
Marcos Philippines in 1969
Nelia Manalo Portrayed the leading role of Violetta in
Giuseppe Verdi’s La Traviata
Mercedes Matias-Santiago Portrayed the role as Lucia in Gaetano
Donizetti’s Lucia di Lamermoor
Portryaed the role as Mimi in Giacomo
Jovita Fuentes Puccini’s La Boheme and eventually
became one of our national Artist
Carlos “Botong” Francisco Designed the logo of the CCP
Patricio Mariano Compose the Lakangbini which was staged
at the Metropolitan Theater on December
19, 1933
Lucrecia Kasilag First theater director
WHAT I HAVE LEARNED
1. ballet 6. costumes
2. body movements 7. suggestive
3. facial expressions 8. choreography
4. spoken words 9. folktales
5. gestures 10. local fables
Answer Key
30
ASSESSMENT
I.
1. C 6. B
2. B 7. B
3. D 8. B
4. D 9. A
5. A 10. A
II.
OPERA BALLET
SANDUGUNG PANAGINIP LOLA BASYANG
LAKANGBINI RAMA HARI
LA LOBA NEGRA ANG PALASYO NG MGA DWENDE
NOLI ME TANGERE ANG PRINSEPE NG MGA IBON
EL FILIBUSTERISMO ANTING-ANTING
References
Karylle and Christian Bautista – Iisang Tibok (Awit ng Pagsinta Mula sa Rama Hari),
Youtube, May 17, 2013. Date accessed June 11, 2020.
https://www.youtube.com/watch?v=JYbyyjnHtoU
Sunico, Raul M., Evelyn F. Cabanban, & Melissa Y. Moran. Grade 10 Learner’s
Material. HORIZONS Music and Arts Appreciation for Young Filipinos. Philippines:
Tawid Publications, 2015.
WATCH: Noli Me Tangere the Opera performs pieces from the production, Youtube,
February 7, 2019. Date accessed June 11, 2020.
https://www.youtube.com/watch?v=VBFEKptGkZg
31
For inquiries or feedback, please write or call:
Department of Education - Bureau of Learning Resources (DepEd-BLR)
Ground Floor, Bonifacio Bldg., DepEd Complex

Meralco Avenue, Pasig City, Philippines 1600
Telefax: (632) 8634-1072; 8634-1054; 8631-4985
Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph

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10

CO_Q4_Music 10_ Module 1

Published by the Department of Education

Development Team of the Module

Writer: Marlon C. Daquioag

Printed in the Philippines by

Department of Education – Region 1

Office Address: Flores St., Catbangen, City of San Fernando, La Union

Pre-tests are provided to measure your prior knowledge on lessons in each

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

Lola Basyang Lakangbini Sandugong Panaguinip

1. It is the first Filipino Opera.

1. Rigoletto a. Gioachino Rossini

Note to the Teacher

OPERA IN THE PHILIPPINES

Local Theaters and Early Philippine Operas

Zorilla Theater Metropolitan Theater (MET)

Image source: HORIZONS Music and Arts Appreciation for

ORIGINAL PHILIPPINE OPERAS

He orders the latter’s immediate imprisonment in Fort Santiago, a most

Doña Luisa, now disguised as La Loba Negra (The Black She-Wolf),

daughter of Kapitan Tiago. She

As evening approaches amidst flashes of lightning and sounds of thunder, the

Ibarra is desperate at the rumor of Maria Clara’s impending marriage to

EL FILIBUSTERISMO, THE OPERA

The Novel Behind the Opera

Paulita was an orphaned heiress

betrayal by Simoun by pointing to him Filipinos

Directions. Complete the table below by indicating the contributions/works of the

Prominent Figure Contribution/Works

First Lady Imelda Romualdez

Carlos “Botong” Francisco

TATLONG KUWENTO NI LOLA BASYANG

Lola Basyang is a ballet adaptation of Severino

1. Ang Kapatid ng Tatlong Marya

This is a fantasy story set to neo-ethnic

2. Ang Mahiwagang Biyulin

This is a local version of the Pied Piper tale where the

3. Ang Prinsipe ng Mga Ibon

The second production, Tatlo Pang Kuwento ni Lola Basyang, included

1. Ang Palasyo ng Mga Dwende

This is a romantic adventure wherein the

2. Labindalawang Masasayang Prinsesa

This is a romantic fantasy of the twelve

Choreography was done by Lisa Macuja-Elizalde, in collaboration with Francis

This is a horror-comedy play wherein the cowardly hero Huan tries to

The 2012 re-staging had Christian Bautista/OJ Mariano as Rama, Karylle

Indian Epic Behind the Musical Production

Activity 1: Watch and Listen!

B. Describe and differentiate the story of the two musical plays.

What I Have Learned

PERFORMANCE STANDARD: Performs selections from musical plays, ballet,

SITUATION: Philippine Opera and Ballet Musical Interpretation. Create a

ROLE: Visual Artist/Writer; Performer/Demonstrator

PRODUCT CHOICES: Artwork and essay

1 Artwork-Neatness, Craftsmanship, Presentation and Understanding of

Rubrics for Music Interpretation (Visual Arts)

CRITERIA Very Good Good Fair Needs

Performance Rubrics for Essay Writing