Philippine Music Education

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;
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)
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 rotelearning (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 tatagabbang (a bamboo
xylophone played alone) and
tatabiyula (a bowed string instrument
played alone) are similarly taught.

Male students living with a male guru

render 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, a pabubayok and onor
(artist) in the study of Bayok (Maranao vocal
genre) was entrusted to a team of five
women, all aunts of hers.
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.

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.

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).

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 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:
Department of Education,Culture and Sports,
Commission on Higher Education,
National Commission for Culture and the Arts

educational institutions, and organizations

like:
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.

Thank You for Listening!!!