Malacañang

Manila
By the PrEsident of the Republic of The Philippines
Proclamation NO. 80

Declaring the period from November 26 to December 2, 2001, and every

last week of November of each Year as National Music Week
For Young Artists.

Whereas, Filipino music is the expression of the soul of this nation;

Whereas, in recognition of the Filipino’s innate love for music, a fitting celebration to encourage
young artists to excel in music, composition and performance is most opportune;
Whereas, there is an imperative need to preserve, develop, and promote Philippine Music as an
art as a core component of our cultural development;
Whereas, under Proclamation No. 25 dated September 30, 1998, the National Music Competitions
for Young Artists Foundation, Inc. has effectively undertaken the discovery and development of
young talents in music by holding annual competitions and festivals in celebration of National
Music Week.
Now, Therefore, I, Gloria Macapagal-Arroyo, President of the Republic of the
Philippines, by virtue of the powers vested in me by law, do hereby declare the period from
November 26 to December 2, 2001, and every last week of November of each year as National
Music Week for Young Artists.
I urge all citizens of this country as well as all associations and organizations to declare this week
appropriately to encourage Filipinos to appreciate Filipino music and make it form part of their
cultural life.
In order to insure the successful celebration of this week throughout the Philippines, the National
Commission for Culture and the Arts is hereby directed to take charge of the implementation and
holding of this celebration.
All departments, bureaus and agencies of the Government are hereby instructed to give full
support and financial assistance to the said committee.
In Witness Whereof, I have hereunto set my hand and caused the seal of the Republic of the
Philippines to be affixed.
Done in the City of Manila, this 13th day of August, in the year of our Lord, two thousand and one.

By the President:

Alberto G. Romulo
Executive Secretary
 National Commission for Culture and the Arts

Cultural Center of the Philippines

in cooperation with

Department of Education

Philippine Airlines

present

Musika at Sining:
Diwa ng Sangkatauhan
(Music and the Arts: The Soul of Humanity)

The 2010 National

Music Competitions
for Young Artists
Banduria - Category C
Choir - Category A
Dance - Senior Ballet
Marimba - Category C
Piano - Category C
Traditional Music Ensemble - Category B
Voice - Category C
How the NAMCYA logo came about

The seal was conceptualized during the 10th year of

NAMCYA, playing up the monograms or the first letter
of the words that stand for NAMCYA. As creativity runs
through it, connotations of music symbol, sound waves
and vibration design were elaborated in line order;

The outermost vibrations of sound waves stand for “N”

(National) covering the entire nation/ country

The whole sound waves being fine in its vibration itself

stand for “M” (Music)

The first sound vibration which is the object of

“C” (Competition)

A symbol of growing seed for “Y” (Young)

and a music note

A representation “A” (Artist)

from our very own source
THE 2010 NATIONAL
MUSIC COMPETITIONS
FOR YOUNG ARTISTS

“Musika at Sining: Diwa ng Sangkatauhan”

(“Music and the Arts: The Soul of Humanity”)

General Rules and Regulations

CONTENTS
MESSAGE FROM THE CHAIRMAN ii
MESSAGE FROM THE SECRETARY-GENERAL iii
MESSAGE FROM THE PROGRAM DIRECTOR iv
GENERAL RULES AND REGULATION 1
BANDURIA –Category C 9
CHOIR – Category A 12
DANCE – Senior Ballet 17
MARIMBA – Category C 22
Piano – Category C 26
TRADITIONAL MUSIC ENSEMBLE – Category B 30
VOICE – Category C 37
NAMCYA BOARD OF DIRECTORS, OFFICERS AND STAFF 49
REGIONAL DIRECTORS AND COORDINATORS 50
2010 NAMCYA APPLICATION FORM 51

2010 NAMCYA 
M
I
ESSAGE FROM THE CHAIRMAN

It is my greatest honor and pleasure to again

welcome the best of the best of our young musicians
to this year’s NAMCYA.

This annual event is not so much a competition as

it is a bell weather of the state of Filipino music and
our young musicians. From my vantage point as
chairperson, I can honestly say that classic Filipino
music is not only alive and well, but thriving.

I do not know from what well spring the bountiful harvest of musical talent
comes from. I can only say that it has remained evident for the past many
decades, which tells me that we can expect future generations of yet unborn
Filipino musicians of the highest order to come. We will never be short of
musical talent, to be sure.

NAMCYA’s role is to see to it that our young talents are developed to

their maximum potential. We want to guarantee them lifelong careers as
musicians.

The year 2010 should prove to be another milestone for Philippine music, as we
witness this year’s edition of NAMCYA

Veronica L. Tapia-Merk
Chair, NAMCYA 2010

ii 2010 NAMCYA
M
A
ESSAGE FROM THE SECRETARY-GENERAL

A new competition cycle has begun. Last year

the theme of the spirit in and of music and
the arts being the true spring from which all
beautiful environments spring becomes more
palpable in this year’s theme: that it is this same
spirit that brings to life and invigorates all human
existence.

Despite the attempted incursions and at times, the inroads made by

less-than-ideal artistic products into people’s aesthetic sensibilities the
NAMCYA continues to believe in and to forge opportunities, avenues and
activities (in and by which the young execute, and all ages appreciate)
which hold up excellence as the true standard by which all human
endeavor ought to be judged.

We are grateful for your commitment and support. Continue to believe

with us, for the sake of future generations.

Mabuhay kayong lahat. Mabuhay ang mga alagad ng sining ng

sambayanang Pilipino

Dr. Ramon “Montet” Acoymo

Secretary-General

2010 NAMCYA iii

M ESSAGE FROM THE PROGRAM DIRECTOR

W
Greetings to our young Filipino musicians.

We have a very exciting line-up for 2010. This year

we feature the comeback of two Instruments which
have been around for a long time in the Philippine
music scene but have not been presented for a
while, the Banduria and the Marimba.

Children’s choirs will also compete this year, the

lone Instrument for Category A. The youth of secondary or high school age will
vie for the best performance of Traditional Music Ensembles.

The Senior Ballet competition, one of the most popular in the NAMCYA, is
expected to showcase the upcoming stars of the ballet scene. New variations
in this year’s Piano and Voice competitions will provide extra challenge to our
Category C contestants.

On behalf of the NAMCYA Secretariat and the Chairpersons of the Instrument

competitions, please join us as we commence in our search for the best and
brightest in Ballet, Banduria, Children’s Choir, Marimba, Piano, Traditional
Music Ensembles, and Voice.

Mabuhay ang musikong Pilipino!

Luz Corazon R. Roque

Program Director

iv 2010 NAMCYA
National Music Competitions for Young Artists (NAMCYA) 2010

GENERAL REGULATIONS
1. The Competition is open to all Filipino citizens residing in the Philippines.

2. All officers and personnel of the CCP and the NAMCYA are excluded from
participation in the competitions.

3. Age eligibility shall be as follows:

3.1. Minimum age cut-off date: July 27, 2010;

3.2. Maximum age cut-off date: Date of the National Finals of the specific
Instrument. [Please refer to specific dates for each Instrument in this
Handbook.]

4. Accommodations, meal allowances, and transportation to and from the

competition venue during the National Competitions shall be provided
by/ through the NAMCYA. Transportation and other expenses between
the participant’s place of origin and Metro Manila shall be borne by the
participant/s.

5. THE DECISION OF THE BOARD OF JUDGES IS FINAL.

6. No contestant or contestant’s representative shall contact in any way or

manner any of the judges in connection with critiques or ratings. Judges’
ratings and critiques on individual performances will be made available
by the Regional or National Secretariats only upon the written request of
the contestant(s) concerned at the earliest, one week after the Winners’
Concert Night.

Competition Terms
1. INSTRUMENT
An Instrument is any one of the seven performance disciplines which are
considered in competition. For 2010, the Instruments are: Banduria, Choir,
Dance, Marimba, Piano, Voice, and Traditional Music Ensembles. Although
not competing, the latter Instrument will have to qualify in order to
participate on the National Finals level.

2010 NAMCYA 
2. CATEGORY
A Category is the classification of the Instrument according to age range,
thereby defining the minimum and maximum age requirement of the
contestant(s). Each instrument will have its own Category parameters.

3. REGION
A Region is one of the 17 geographical areas from which competitors enter
into the first level of competition.

4. REGIONAL COMPETITION
A Regional Competition is the first level of competition. This first level is
accomplished by the submission of an acceptable video format (VHS, VCD
or DVD) to the NAMCYA Secretariat.

5. REGIONAL CENTER
A Regional Center is one of four (4) geographical areas to which qualifiers
from the Regional Competition (item 4) proceed to perform in a live
competition.

6. REGIONAL CENTER COMPETITION

A Regional Center Competition is the second level of competition. Qualifiers
from the Regional Competition (called “Regional Winners”) shall proceed
to designated Regional Centers.

6.1. Regional Center IV for Mindanao: Davao City

Cagayan de Oro (Dance only)

6.2. Regional Center III for Visayas: Cebu City

Iloilo City (Dance only)

6.3. Regional Center II for Luzon: Metro Manila

6.3.1 Regional Center II-B, Southern Luzon for Regions IV-A and V.

6.3.2. Regional Center II-A, Central Luzon for NCR, Regions III, and IV-B.

6.4. Regional Center I for Northern Luzon: San Fernando, La Union

 2010 NAMCYA
The Regional Center Competition for each Instrument is adjudicated by a panel
designated by the NAMCYA. The qualifiers from this second round (called
“Regional Center Winners” and “National Finalists”) will proceed to Metro-
Manila for the final round of the Competition.

Regional Center Winners are strongly encouraged to participate in the

Regional Center Workshops to be conducted by members of the Board of
Judges to prepare them for the National Competition. The Workshops shall be
held immediately after the Regional Center Competition. Space and logistics
allowing, the Session may also be a Master Class for Regional Center observers
who do not qualify for the National Competition.

7. NATIONAL COMPETITION
The National Competition is the third and final round of competition. This
round shall be held on specific designated dates at the Cultural Center of the
Philippines. The National Panel of Adjudicators for each Instrument reserves the
right to award any number of winners’ “places” (if any) within the designated
Instrument competition parameters for judging. Competitors who garner
winners’ “places” in this (final) round shall be called “National Winners”.

Parameters, Guidelines, Rules and Regulations Common to All Instruments

1. THE APPLICATION PACKET
1.1 The Application Packet containing all specific required materials must
reach the NAMCYA Secretariat by regular mail (Philippine Postal
Corporation), private delivery/courier service, or hand carried on or
before 5:00 p.m. on Tuesday, July 27, 2010.

1.2 Application Packets sent through the Philippine Postal Corporation

should be postmarked on or before July 1, 2010.

1.3 The NAMCYA will not be responsible for any circumstances which
will prevent the arrival of the Application Packet on the designated
deadline.

2010 NAMCYA 
2. REGISTRATION FEE
A non-refundable Registration Fee of 500.00 Philippines Pesos (PhP500.00)
shall be deposited into the account of the NAMCYA Secretariat:

Bank name : Banco De Oro, Century Park-Adriatico Branch

Account name : MUSIC COMPETITIONS FOR YOUNG ARTISTS FOUNDATION, INC.
Account No. : C/A 4478-00353-6
A photocopy of the Deposit slip with acknowledgement from the bank shall be
included in the Admissions Packet.

3. CONTENTS OF THE APPLICATION PACKET

3.1 Video

3.1.1 The Regional Competition for all Instruments shall be undertaken

through submission of two (2) copies of a VHS, VCD or DVD format
by mail, courier or personal delivery to the NAMCYA Secretariat
containing only the required performance-related contents
specified by the particular Instrument guidelines. This format
submission must be labelled with: 1.) Name of the individual or
group competing; and, 2.) Instrument of the competitor/s.

3.1.2 Mechanics and guidelines for the video presentation are specified
under listings of the different Instruments.

3.2 BDO Deposit slip

One (1) photocopy of the duly acknowledged BDO deposit slip of the
registration fee must accompany the Admissions Packet.

3.3 Photos

[See detailed photo specifications for Dance in this Handbook.]

3.3.1 Solo Instrument (except Dance)

Two (2) identical copies of a colored photo (3” x 5” or 4” x 6”) and eight
(8) photocopied colored or black and white photos (3” x 5” or 4”
x 6”) with the name and Instrument of the contestant written
legibly in ink at the back of the photograph. The photo must
include only the performer.

 2010 NAMCYA
 3.3.2 Group (Choir and Traditional Ensemble)

Two (2) identical copies of a colored photo (3” x 5” or 4” x 6”) and eight
(8) photocopied colored or black & white photos (3” x 5” or 4” x 6”) with
the name of the group and name(s) of the leader, musical director and/
or conductor with his/her/their specific designation/s within the group,
written legibly in ink at the back of the photograph. The photos must
include only the performers, including accompanist and conductor. These
performers should be the same as those in the VHS, VCD or DVD format
submitted in the Admissions Packet.

3.4 Registration Form

Ten (10) identical copies of the duly accomplished official NAMCYA Registration
Form shall be submitted. All copies must be originally signed in ink.

3.4.1 Solo Instrument

The contestant shall sign the Registration Form; for minors, the parent,
guardian and/or Music teacher shall sign the Registration Form.

3.4.2 Group (Choir and Traditional Ensemble)

The official representative designated by the group shall be the signatory.

3.4.3 All Registration Forms for Category C contestants (for Banduria,

Dance, Marimba, Piano, Voice) shall be signed by a designated CHED
representative upon receipt by the NAMCYA Secretariat.

4. SPECIFIC GUIDELINES PER INSTRUMENT

Additional and specific guidelines, rules, and regulations are indicated
under listings of the different Instruments.

5. INCOMPLETE APPLICATION PACKETS WILL NOT BE PROCESSED.

6. COMPETITION VENUE
Contestants who qualify for the Regional Center Competition (2nd round)
may choose the venue which is most convenient for them, not necessarily the
venue designated for their particular region.

2010 NAMCYA 
7. JUDGES’ PREROGATIVE
The NAMCYA Boards of Adjudicators reserve the right, at any time within the
duration of the Competition, to advance directly to the National Finals any
contestant(s) they deem fit to do so.

8. PRIZES AND AWARDS

8.1 No prize, award, distinction and/or recognition is considered granted
unless so stated on an official Certificate document generated by
and from the NAMCYA Secretariat and originally signed in ink by the
Program Director and the Secretary-General.

8.2 The NAMCYA reserves the right to grant only the prizes, awards,
distinctions, and/or recognitions that the Boards of Adjudicators, with
the assent of the Program Director and the approval of the Secretary-
General, deem fit.

8.3 Any prize, award, distinction and/or recognition may be withdrawn if it

is determined that the recipient/s of any such prize, award, distinction
and/or recognition has/have deliberately or otherwise, submitted
erroneous information at any time or level of the competition cycle.

9. INQUIRIES
Inquiries, clarifications, and other communications may be coursed through
the NAMCYA Regional Directors and Coordinators or directly to the NAMCYA
Secretariat at tel. 632 5515091, 632 5515094, and 632 8321120 local 109.

For matters requiring the documented response of the Chairperson, Program

Director, and/or Secretary-General, communications may be transmitted by
fax, 632 832 3701, or e-mail: namcya@gmail.com.

10. Provisions
Provisions in/of the 2010 NAMCYA Handbook may be revised, modified, and/
or otherwise amended as the NAMCYA Secretariat deems necessary. Any such
revision and/or amendment will then be communicated to the concerned
parties.

 2010 NAMCYA
The Competition Timetable
The following timetable for the NAMCYA 2009 Competitions shall be
followed.

July 27, 2010, On or before 5:00 pm

Deadline for Application Packets to reach the NAMCYA Secretariat Office

September 11 – 12, 2010 (All Instruments EXCEPT Dance and Traditional Ensembles)
Regional Center IV Competition for Mindanao: Davao City

September 18 - 19, 2010 (All Instruments EXCEPT Dance and Traditional Ensembles)
Regional Center III Competition for Visayas: Cebu City

September 25 – 26, 2010 (All Instruments EXCEPT Dance and Traditional Ensembles)
Regional Center I Competition for Northern Luzon: San Fernando, La Union

September 25 – 26, 2010 (Dance ONLY)

Regional Center IV Competition for Mindanao: Cagayan de Oro

October 2 – 3, 2010 (All Instruments EXCEPT Dance and Traditional Ensembles)

Regional Center II-B Competition for Southern Luzon: Metro Manila

October 2 – 3, 2010 (Dance ONLY)

Regional Center III Competition for Visayas: Iloilo City

October 9 – 10, 2010 (All Instruments EXCEPT Dance and Traditional Ensembles)
Regional Center II-A Competition for Central Luzon & Metro Manila: Metro Manila

October 9 – 10, 2010 (Dance ONLY)

Regional Center I Competition for Northern Luzon: San Fernando, La Union

October 16 – 17, 2010 (Dance ONLY)

Regional Center II-B Competition for Southern Luzon: Metro Manila

October 23 – 24, 2010 (Dance ONLY)

Regional Center II-A Competition for Central Luzon & Metro Manila: Metro Manila

2010 NAMCYA 
November 23 – 28, 2010

National Competition and Festival, Cultural Center of the Philippines

November 23, 2010
Voice, Category C
OPENING PROGRAM
November 24, 2010
Banduria, Category C
November 25, 2010
Dance (Senior Ballet)
Marimba, Category C
November 26, 2010
Choir, Category A
Piano, Category C
November 27, 2010
Presentation of winners of Traditional Ensemble, Category B
November 28, 2010
AWARDS NIGHT AND CLOSING PROGRAM

NAMCYA 2010 Instruments, Categories and Chairs

Banduria – C Atty. Orlando Ocampo
Choir – A Prof. Maria Lourdes Hermo
Dance (Senior Ballet) - C Prof. Basilio Steve Villaruz
Marimba – C Ms. Magdalena Fernandez
Piano – C Mr. Josue Greg Zuniega
Voice – C Mr. John Glenn Gaerlan
Traditional Ensemble - B Dr. La Verne De La Peña

 2010 NAMCYA
 NAMCYA 2010

BANDURIA – CATEGORY C

ADDITIONAL AND SPECIFIC GUIDELINES, RULES AND REGULATIONS

1. Eligibility

1.1. Participation is open to all Filipino citizens, who must be not less than
sixteen (16) years old on/by July 27, 2010, but not more than twenty-
nine (29) years old on/by November 24, 2010.

1.2. The contestant-soloist may be accompanied by one (1) guitar player only;
no other instrument shall be used as accompaniment except the guitar.

2. Applications and Registration

In addition to the common Application Packet inclusion requirements, the

following must also be submitted:

2.1. One (1) clear photocopy of the contestant’s birth certificate issued by
the National Statistics Office (NSO);

2.2. One (1) complete copy of music piece to be played in the Regional
(video) Competition level;

2.3. One (1) complete set of copies of music pieces (Repertoire A and B) to
be performed in the Regional Center competition;

2.4. One (1) complete set of copies of music pieces (Contestant’s choice piece
and Repertoire of three {3} selections from which the Board of Judges will
chose only one) to be performed in the National Finals competition.

All submitted copies of music pieces at all levels must be accompanied by a

document containing the full name/s of composers/arrangers and playing
time or duration of each piece in minutes and approximate seconds.

Non-submission or falsification of any or all of the above requirements

automatically disqualifies the applicant from any level of competition.

2010 NAMCYA 
Mechanics for Audio-Video Recording

a. Audio-Video recording must be done in any enclosed venue

(such as a classroom or auditorium) which is reasonably sanitized
from any unwanted sound.

b. Contestant and guitar accompanist must be clearly visible in the

Audio-Video recording.

c. Recording done in a studio which has undergone mixing and/or

any similar sound-enhancing procedure/s will not be accepted.

d. In the Audio-Video recording, the contestant must do the

following in exact order:

1. State his/her name and region; then

2. Immediately begin the performance.

There must be NO CUT from the introduction up to the end of the

performance.

3. Repertoire Requirements

3.1. Regional (Video) Competition: One (1) piece of contestant’s

choice (Filipino folk song or light classic by a non-Filipino / foreign
composer)

3.2. Regional Center Competition:

3.2.1. Repertoire A – One (1) piece of contestant’s choice (Filipino folk

song or light classic by a non-Filipino / foreign composer)

3.2.2. Repertoire B – Any work by a Filipino composer

Total playing time is limited to ten (10) minutes, starting from the beginning of
the first piece up to the final cut-off of the last piece. The performance may be
stopped when the time limit is reached.

3.3. National (Finals) Competition

3.3.1. Contestant’s choice piece

10 2010 NAMCYA
 3.3.2.A repertoire of three (3) selections from which the Board of
Judges will choose only one (1) to be played by the contestant.
Judges’ choice piece will be announced and transmitted to
the contestant when the contestant steps onstage for his/her
competition performance.

Total playing time is limited to ten (10) minutes, starting from the beginning of
the first piece up to the final cut-off of the last piece. The performance may be
stopped when the time limit is reached.

4. Performance Parameters

4.1. Pieces must be arranged for at least two (2) parts.

4.2. All pieces must be played from memory.

4.3. The panel of judges will consider the level of difficulty of the pieces in
their deliberations.

4.4. The stage seat plan is fixed as shown below. Only minor adjustments
(such as distance between seats) and only such as will be allowed by
the Board of Judges, shall be permitted.

contestant
guitarist
t

2010 NAMCYA 11
 NAMCYA 2010

CHOIR A
ADDITIONAL AND SPECIFIC GUIDELINES, RULES AND REGULATIONS

1. Eligibility and Membership

1.1. The competition is open to all children’s choirs OF EQUAL VOICES based
in a school, church and/or community, whose members must be:

1.1.1. Filipino citizens (who may or may not be currently enrolled at the
elementary school level), and

1.1.2. Not less than 9 years of age by/on July 27, 2010 and not more than
14 years of age by/on November 26, 2010.

1.2. Membership is limited to a minimum of twenty (20) singers and a

maximum of thirty (30) singers, one (1) accompanist, and one (1)
conductor. Additional accompanists and/or instrumentalists as may
be required by any of the pieces should come from within the choir.

1.3. Conductors and singers can perform with one choir only in all the
competition levels (Regional, Regional Center and National).

1.4. Accompanists may play for more than one choir during the Regional
and Regional Center Competitions. However, they can play for one
choir only in the National Competitions.

1.5. International choral competitions have no bearing on the artistic

standards of the NAMCYA. Therefore, choral groups which have
previously won in international competitions are eligible to compete
in the NAMCYA as long as all the pertinent rules and regulations are
complied with.

2. Additional and Specific Application and Registration Guidelines

Additional requirements to be included in the Application Packet are the
following:

2.1. Ten (10) copies of conductor’s pictures 2”x 2”, colored with name
printed at the back;
12 2010 NAMCYA
 2.2. One (1) clear copy of each choir member’s birth certificate;

2.3. One (1) copy each of the complete scores of all the music:

2.3.1. Performed in the video recording, and

2.3.2. To be performed for subsequent levels of competition (except

for the Obligatory Piece at the National level).

On the piece must be indicated the competition level at which the piece is
to be performed.

2.4. In the appropriate Application Form, the corresponding length of time

of the two (2) audio-video recorded songs in minutes and approximate
seconds must be indicated.

Non-submission or falsification (whether deliberate or accidental) of

any or all of the above requirements will constitute valid reason for
disqualification.

Video (VHS, VCD or DVD) Mechanics:

1) The audio-video (AV) recording shall contain two (2) songs from
the choir’s existing repertoire, preferably contrasting in style and
character.

2) The AV recording shall be done in any enclosed venue, classroom or

auditorium which is reasonably “sanitized”, insulated, and protected
from any unwanted, undesirable or unnecessary sound/s.

3) The video camera and microphone must be set approximately ten (10)
to twelve (12) meters away from the choir.

4) All members of the choir, the accompanist and the conductor must be
clearly visible in the AV recording.

5) Recording done in a studio or any recording which has undergone or

been treated to mixing, and/or sound enhancement procedures will
not be accepted.

6) At the start of the AV recording, the conductor will introduce as follows

(in this sequence):
2010 NAMCYA 13
 a) Name of the Conductor

b) Name of the Choir

c) Name of the School / Church / Community in which the Choir is

based

d) Name of the Region

e) Name of the school Principal, church official or head of the

community

7) After the introduction, the conductor will start the performance

immediately. There must be NO CUT or EDITING from the introduction
up to the end of the performance.

3. Repertoire Requirements
3.1. Regional (Video) Competition Level
Two (2) songs from the choir’s existing repertoire, preferably contrasting
in style and character. At least one (1) of the pieces should be a capella,
originally intended for and written with no instrumental accompaniment.

3.2. Regional Center Competition Level

3.2.1. Obligatory Piece: Laudamus Te from GLORIA by Antonio

Vivaldi. Copy of the score will be made available at the NAMCYA
Secretariat.

3.2.2. One Philippine choral work in at least three parts (SSA), preferably
(but not necessarily) representative of the folk or indigenous
music of the region where the choir comes from, and not included
in the repertoire at the Regional (Video) Competition Level.

3.2.3. One (1) piece of the choir’s own choice, different from the
repertoire performed in the Regional (Video) Level. .

3.3. National Competition Level

3.3.1. Obligatory Piece. The title and composer of the Obligatory

Piece for the National Competition Level will be announced

14 2010 NAMCYA
 approximately one month before the first scheduled Regional
Center Competition Level. Scores (pieces) will be distributed
simultaneously to all Regional Centers.

3.3.2. One (1) original composition or transcription by a Filipino

composer written in the 20th or 21st century with at least three
(3) parts (SSA), different from any of the pieces performed at the
Regional (Video) and Regional Center Competition Levels.

Choirs may choose from the following suggested repertoire list:

• Ang Alibangbang arranged by Augusto Espino

• Bongbongtit by Joy Nilo
• Orde-e by Ma. Theresa V. Roldan
3.3.3. One (1) composition written in the 20th or 21st century by a
foreign (non-Filipino) composer which was not performed at the
Regional (Video) and Regional Center Competition Levels.

Choirs may choose from the following suggested repertoire list:

• Ave Maria by Cecilia McDowall

• Scherzando from MAGOS A RUTAFA by Lajos Bardos
• Salve Regina by Kocsar Miklos
Aside from the Obligatory Piece, at least one of the other pieces (item 3.3.2
or item 3.3.3) must be originally a capella and performed as such.

3.4. Transpositions and/or any other version/s of the competition pieces

are not allowed.

3.5. Choral and instrumental requirements of the score must be strictly

observed.

4. Performance Parameters
4.1. Participating choirs must come to the competitions in simple attire
without any school or any other identifying marks.

2010 NAMCYA 15
 4.2. All songs must be performed from memory and without pieces, in any
order.

4.3. After the Application Packet has been officially submitted to NAMCYA,
repertoire substitutions will not be allowed and may constitute reason
for disqualification.

4.4. The judges will consider the level of difficulty of the performed pieces
in their deliberations.

4.5. Choreography may be allowed as long as the movements form an

integral part of the basic structure of the compositions (e.g. hand
claps, foot stomps, body percussions, etc.) and provided that such
movements are specifically indicated in the score.

4.6. Accompaniment is limited to piano, guitar or other instruments

specified in the score. Use of any electronic instruments and/or recorded
accompaniment (minus-one) is not allowed. Electronic keyboard may
be allowed for Regional and Regional Center Competitions only if a
serviceable piano is not available.

4.7. Time limit for each choir must be eleven (11) to fifteen (15) minutes.
Timing begins at the start of singing of the first piece, and will end
with the last cut-off of the last piece by the conductor. Point penalties
related to singing time limits determined by the Board of Judges shall
be levied upon all choirs at all levels of competition.

16 2010 NAMCYA
 NAMCYA 2010

DANCE - senior BALLET

ADDITIONAL AND SPECIFIC GUIDELINES, RULES AND REGULATIONS

1. ELIGIBILITY

For the 2010 Ballet Competition (Senior Category) the applicant must be 18
years old to 25 years old (inclusive) on/by November 25, 2010.

2. APPLICATION AND REGISTRATION

In addition to the common requirements, the following must be submitted

together with the Application Packet:

2.1. Two (2) reliable copies of the applicant’s birth certificate

2.2. Three (3) full-body shots: standing front, standing sideways, and in 1st
arabesque. Girls should be dressed in leotards, tights, and pointe shoes;
boys should be in white T-shirt and tights.

2.3. Endorsement of a qualified teacher, written with letterhead indicating

full address, telephone, fax, and cell-phone numbers

2.4. Signed statement that the applicant agrees to shoulder accommodation

and travel expenses at the Regional Center Competition; and incoming
and outgoing travel expenses at the National Competition.

NOTE: Letters of admission to the Regional Center and National Competitions

will be sent back to the NAMCYA Secretariat signed as a CONFORME to the
rules and procedures of the Competition.

3. GUIDELINES AND REQUIREMENTS

3.1. Girls must dance on pointes for enchainement and classical variation;
on pointes is optional for the original/contemporary entry.

3.2. Learning of a male or female enchainement. Enchainements shall have

females in tights and leotards, males in white t-shirt and black tights.

2010 NAMCYA 17
 3.3. Performance of a classical (solo) variation from the list enumerated
below. A choice from alternative versions is allowed, to be checked
with the sample music score enclosed.

3.4. Original/contemporary variation, which may be performed on pointes

or off pointes.

3.4.1. Piece must not exceed two (2) minutes;

3.4.2. Hand properties are allowed, provided these are essential to the
choreography. Heavy props and/or sets are not allowed; nor any
use of stage cyclorama, legs, and curtains.

3.4.3. A general lighting set-up will accommodate all dances, the design
followed as reasonably as possible.

3.5. Regional Center and National levels only

3.5.1. The Dance competition shall consist of two (2) days of which the
first day shall be a Workshop conducted by a Ballet Master who
will teach the enchainements. Competition proper shall be held
on the second day.

3.5.1.1. The contestant may submit a blank CD with proper

identification for which the NAMCYA Secretariat will
record the assigned music for the enchainement in the
Regional Center and National levels.

3.5.2. Contestant must submit a final clean copy of his/her recording,

from piano or from available recordings. Each piece (classical
or contemporary) must have a duration not to exceed two (2)
minutes.

3.5.3. The CD recording must have one (1) classical variation, followed
by one (1) contemporary variation. Cassette recording must have
each on Side A and Side B, without any other recording. Discs or
cassettes must be properly identified.

3.5.4. If the competitor-applicant has a different repertoire from the

previous level, he/she is required to submit all music recordings

18 2010 NAMCYA
 of the new entry pieces at least two (2) days before the first
session day of the Dance competition. These may be from a
piano or available recording. (For example, if the first session day
falls on a Friday, the new entry pieces must be submitted, at the
latest, on or before 5:00 pm on the Wednesday immediately prior
to that Friday.)

4. REGIONAL (VIDEO) COMPETITION REQUIREMENTS

The following shall be recorded in Video (VCD or DVD) format and should be
submitted with proper identification:

4.1. Enchainement combination integrating adagio, pirouettes, petit allegro

and grand allegro, with a duration not to exceed two (2) minutes (all set
or edited together); and,

4.2. Classical solo variation in appropriate costume; the variation need not
be the competition piece for the final round.

Video (VHS, VCD or DVD) Mechanics

• The AV recording must be done in an enclosed venue (studio or stage)

which is reasonably “sanitized”, insulated, and protected from any
unwanted, undesirable or unnecessary sound/s.

• Professional recording done in a studio or which has undergone or

been treated to mixing, and/or enhancement procedures will not be
accepted.

• At the start of the AV recording, the performer will introduce as follows

(in this sequence):

1. Name of contestant;

2. Name of the province and region represented by the contestant

• After the introduction, performance must start immediately.

5. REGIONAL CENTER COMPETITION REQUIREMENTS (LIVE PERFORMANCE)

5.1. Performance of a female or male enchainement to be set.

2010 NAMCYA 19
 5.2. Performance of female or male classical variation which need not be
the entry for the National Competition.

5.3. Performance of original/contemporary piece which need not be the

entry for the National Competition.

6. NATIONAL COMPETITION REQUIREMENTS (LIVE PERFORMANCE)

6.1. Performance of female or male enchainement to be set.

6.2. Performance of female or male classical variation.

6.3. Performance of original or contemporary piece.

7. REPERTOIRE CHOICES

Female Variations (choose one):

1. Giselle’s variation from Giselle Act I (overtime of 10 seconds allowed).

2. Variation from Peasant Pas de Deux from Giselle Act I.

3. Variation from Pas de Deux in Le Corsaire Act II (overtime of 10 seconds

allowed; choose variation from versions referred to in music scores).

4. Swanilda’s variation from Coppelia Act III.

5. Aurora’s variation from Sleeping Beauty Act III (overtime of 5 seconds

allowed).

6. Sugarplum Fairy variation from Nutcracker (overtime of 5 seconds

allowed).

7. First variation from Pas de Trois in Swan Lake Act I.

8. Third variation from Pas de Trois in Swan Lake Act I.

9. Odette’s variation from Swan Lake Act II (overtime of 15 seconds

allowed).

10. Odile’s variation from Swan Lake Act III. (choose variation from versions
referred to in music scores).

11. Variation from Blue Bird in Sleeping Beauty Act III.

12. Lise’s variation from La Fille Mal Gardee Act II. (choose variation from
versions referred to in music scores.).
20 2010 NAMCYA
 13. Valse (First) from Les Sylphides.

14. Lilac Fairy variation from Sleeping Beauty (Prologue/Act I in some

classifications).

15. Dance variation from Coppelia Act III.

16. Dawn solo from Coppelia Act III.

17. Female variation, Gsovsy’s Grand Pas Classique.

18. Diana in Diana and Actaeon Pas de Deux in Esmeralda.

Male Variations (choose one):

1. First variation from Peasant Pas de Deux in Giselle Act I.

2. Third variation from Peasant Pas de Deux in Giselle Act I.

3. Albrecht’s variation from Giselle Act I.

4. Variation from Pas de Deux in Le Corsaire Act II.

5. Basil’s variation from Don Quixote Act III.

6. Variation from Pas de Trois in Swan Lake Act I.

7. Siegfried’s variation from Swan Lake Act III.

8. Blue Bird variation from Sleeping Beauty Act III.

9. Desire’s variation (Tarantello) from Sleeping Beauty Act III.

10. Prince’s variation from Nutcracker Act II.

11. Mazurka variation from Les Sylphides (traditional or Soviet version).

12. Franz Variation from Coppelia Act III (Music from Sylvia Ballet).

13. Male Variation, Gsovsky’s Grand Pas Classique.

14. Actaeon in Diana and Actaeon Pas de Deux in Esmeralda.

Note: The Board of Judges reserves the right to directly advance a

competitor from the Regional (Video) level to the National (Final)
Competition level.

2010 NAMCYA 21
 NAMCYA 2010

MARIMBA - CATEGORY C
SPECIFIC GUIDELINES, RULES AND REGULATIONS

1. Application and Registration: Application Packet

1.1. Participating marimbists must also include the following in the

Application Packet, in addition to the requirements stated in the
General Rules:

1.1.1. One (1) clear photocopy of the contestant’s birth certificate.

1.1.2. Certification of formal training from his/her current Marimba

teacher specifying the number of years under the teacher’s
tutelage.

1.2. Incomplete Application Packets will not be processed.

1.3. NON-COMPLIANCE OR FALSIFICATION OF NAMCYA MARIMBA

COMPETITION REQUIREMENTS SHALL BE SUFFICIENT GROUNDS FOR
DISQUALIFICATION.

2. Age Eligibility

All contestants must be:

2.1 Not less than fifteen (15) years old by/on July 27, 2010 but not more
than twenty-five (25) years old by/on November 25, 2010;

2.2. Filipino citizens;

2.3. Dexterous in playing with two (2) mallets.

3. Video (VCD or DVD) performance

3.1. The video recording must be done in an enclosed venue room such
as a classroom, auditorium or the like, which is reasonably protected
from unnecessary sound.

3.2. Instrument requirements:

22 2010 NAMCYA
 3.2.1. Marimba instrument should be at least 4 octaves;

3.2.2. Tuning should be strictly A=440.

3.3. The video recording must not be edited, modified or enhanced from
the original sound (as in a recording studio or like facility).

3.4. In the video recording, the contestant must execute the following in
this sequence:

3.4.1. State name and region represented;

3.4.2. Immediately start the performance

3.5. No cut or editing will be allowed between the introduction and the
beginning of the performance. No cut or editing will likewise be
allowed between the numbers of the performance.

3.6. The video camera and microphone must be set approximately five (5)
meters away from the soloist and accompanist.

3.6. It is the responsibility of the contestant to make sure that his/her video
recording is compatible with any standard VCD/DVD player.

4. Performance Parameters

4.1. All pieces must be memorized and performed without scores for all
the competition levels.

4.2. At the Regional Center level, should the NAMCYA not be able to provide
the instrument, the Contestant must use his/her own instrument.
The NAMCYA shall provide the instrument for the National Finals for
contestants who choose not to perform on their own marimbas (See
item 4.3).

4.3 At the National Finals level, contestants will be provided with rehearsal
sessions onstage at the competition venue at a pre-arranged schedule
before the competition proper.

4.4. At the National Finals level, contestants who choose to perform on his/
her own marimba may do so, provided the following conditions are
met:
2010 NAMCYA 23
 4.4.1. Only Deagan, Musser, Yamaha, and Suzuki marimba brands are
allowed;

4.4.2. Tuning should be strictly A=440.

4.4.3. Instrument is in good condition;

Should the Contestant opt to perform on his/her own instrument, he/she

is solely responsible for transportation, handling, storage, acquisition of
permits and passes for ingress and egress of the instrument, and answerable
to all corresponding costs thereof. Furthermore, the NAMCYA Secretariat,
the Cultural Center of the Philippines, and any and all entities involved in the
competition shall not be held liable for any damage which shall be incurred for
the duration of the competition proper.

4.5. The contestant must bring his/her own accompanist.

4.6. Only live piano (non-electronic/non-electric) accompaniment is

allowed; piano will be provided by the NAMCYA at the Regional Center
level and the National Finals.

4.7. The performance sequence in the National Finals is left to the discretion
of the contestant.

4.8. The maximum playing time is indicated below for each level. At the
Regional Center level and the National Finals, the contestant may be
stopped when the time limit is reached.

4.9. The Board of Judges reserves the right to directly advance a

contestant from the Regional (Video) level to the National (Final)
Competition level.

5. Repertoire

5.1 Regional Competition (VIDEO), Playing time: 5 minutes maximum

• 3rd movement (Allegro assai) from the Violin Concerto No. 4 in E Major,
BWV 1042 by J. S. Bach. Transcribed and edited for Marimba and Piano
by Anthony J. Cirone

24 2010 NAMCYA
 5.2. Regional Center Competition, Playing time: 6 minutes maximum

• Fantasie Impromptu, Op. 66 by Frederick Chopin. Arranged by Claire

Omar Musser

5.3. National Finals, Playing time: 20 minutes maximum

• 3rd movement (Allegro assai) from the Violin Concerto No. 4 in E Major,
BWV 1042 by J. S. Bach. Transcribed and edited for Marimba and Piano
by Anthony J. Cirone

• Hungarian Rhapsody No. 2 by Franz Liszt. Transcribed by Hans Sitt

Copies of all competition pieces are available upon request from the NAMCYA
Secretariat or the NAMCYA Regional Coordinator.

2010 NAMCYA 25
 NAMCYA 2010

PIANO COMPETITION – Category C

ADDITIONAL AND SPECIFIC GUIDELINES, RULES AND REGULATIONS

1. Application and Registration

1.1. In addition to the common requirements of the Application Packet, the

following must be submitted in the same packet by or on the common
deadline:

1.1.1. Two (2) clear photocopies of the contestant’s birth certificate

1.1.2. Repertoire List from the repertoire requirements in Item 4 below.

The submitted Repertoire List may not be changed, altered, or
otherwise modified after July 27, 2010 without written consent
from the NAMCYA Piano Competition Chair. The contestant has
the responsibility to ensure that any request for change, alteration,
or modification of the Repertoire List be submitted in an early
and timely manner. This change, alteration or modification is a
privilege, if at all granted, and not a right.

1.1.3. One (1) clear copy each of all pieces in the Repertoire List except
for the contest piece (Item 4.8 below).

1.2. Non-compliance or falsification (whether deliberate or otherwise) of

any of the NAMCYA Piano Competition requirements shall be sufficient
grounds for disqualification.

1.3. Approximate performance time of each piece must be indicated, as

provided for in the Application/Registration Form.

2. Age Eligibility

To be eligible to join the Piano Competition, contestant must not be younger

than 20 years old by/on July 27, 2010 and not older than 25 years old by/on
November 26, 2010.

26 2010 NAMCYA
3. Repertoire and Performance Requirements

3.1. Piece(s) which are not in the Repertoire List (Item 4) below but
have the same or higher level of difficulty, may be included
provided a written and signed approval of the Piano Competition
Chair has been issued to the contestant. (See Item 1.2 Application
and Registration above.)

3.2. Contestants who perform works different from the official Repertoire
List submitted in the Applications Packet without written approval of
the Piano Competition Chair shall be disqualified.

3.3. Contestants may decide on their program sequence for the different
levels. The Concerto, however, must be the final piece performed at/
for the National Finals.

3.4. A piece by a Filipino composer with the same level of difficulty may be
submitted for either one (but not both) to fulfill the Romantic or 20th
Century piece requirement (Item 4.5).

3.5. The Sonata and Concerto must be by different composers.

3.6. Except for the Kundiman at the National Finals, all pieces at all
Competition Levels shall be performed from memory and without
scores.

3.7. Only pieces originally written for Piano will be allowed to be performed
at any level of the Competition.

3.8. Copy of the contest piece, Recuerdo Variations by Augusto Espino, is

available upon request from the NAMCYA Regional Coordinator or the
NAMCYA Secretariat.

4. Repertoire List

4.1. One (1) four- or five-voiced Prelude and Fugue from Well-Tempered
Clavier Books 1 or 2;

4.2. Two (2) contrasting movements from a Sonata by Haydn, Mozart or

Beethoven, Schubert, Liszt, Brahms, Grieg, Rachmaninoff, Berg, Bartok,
Prokofiev, Scriabin, Ginastera, Hindemith, or Barber;

2010 NAMCYA 27
 4.3 One (1) virtuoso Etude by Chopin, Liszt, Scriabin, Moskowski, Stravinsky
or Debussy;

4.4 In celebration of the bicentennial birth anniversary of Chopin and

Schumann, one (1) major work or two (2) or three (3) pieces from an
album of either composer;

4.5 One (1) 20th century work, or group of works by Prokofiev, Bartok,
Barber, Stravinsky, Ravel, Debussy, Scriabin, or Messiaen;

4.6 Two (2) contrasting movements from a Concerto by Mozart,

Beethoven, Chopin, Liszt, Rachmaninoff, Schumann, MacDowell, Saint-
Säens, Brahms, Prokofiev, Bartok, Gerswhin, Barber, Kabalevsky, Ravel,
Khachaturian, or Scriabin;

4.7 Contemporary pieces by Filipino composers to be chosen from: R.

Cayabyab, J. Ching, B. Custodio, R. Federizon, L. Kasilag, Ramon Santos,
and B. Tupas;

4.8 Contest Piece: Recuerdo Variations by Augusto Espino

5. Repertoire Requirement per Level

5.1 REGIONAL (Video) : 10-20 minutes

5.1.1. One (1) Prelude and Fugue by J. S. Bach

5.1.2. One (1) Etude

5.1.3. Choice of one (1) Romantic or 20th century piece.

Video (VHS, VCD, or DVD) performance

• The performance repertoire must consist of at least 10 minutes of

music, and must last no longer than 20 minutes. (Pauses in between
numbers are not considered in these limits.)

• The video recording must have been done in any enclosed venue
(room, classroom, auditorium, or like venue/space), which is reasonably
“sanitized” or protected from the intrusion of unwanted, undesirable
and/or unnecessary sound/s.

28 2010 NAMCYA
 • The video recording must not have undergone or been treated/mixed
in a recording or sound studio. The actual and ambient sound must
not have been mixed, enhanced or otherwise modified from the
original sound created in the enclosed venue.

• In the video recording the performer will (in the following exact
order):

m State his/her name and region;

m Immediately begin the performance.

• No cutting or editing will be allowed between the introduction and

the beginning of the performance. No cut or editing will likewise be
allowed between the numbers in/of the performance.

5.2 REGIONAL CENTER (live performance): 25 – 30 minutes:

5.2.1 Two (2) contrasting movements of a Sonata

5.2.2 Contest piece: Recuerdo Variations by A. Espino

5.2.3 Choice of one (1) Romantic or 20th century piece not performed
in the Regional Level

5.3 NATIONAL FINALS:

5.3.1 Mutya ng Pasig by Abelardo, or Madaling Araw by Francisco

Santiago, to be performed with a vocal soloist provided by the
NAMCYA Secretariat. A rehearsal schedule with the vocalist,
to be held on the day of the Finals, will be announced by the
Secretariat.

5.3.2 Two (2) contrasting movements of a Piano Concerto.

NOTE: Contestants must provide their own accompanists for the Concerto.

2010 NAMCYA 29
 NAMCYA 2010

Philippine Traditional Ensemble B

“Diwa ng Lunan at Pamayanan”

ADDITIONAL AND SPECIFIC GUIDELINES, RULES AND REGULATIONS

1. Performance

This year’s Philippine Traditional Ensemble competition shall adopt the

sub-theme Diwa ng Lunan at Pamayanan. Each participating group may
perform a local tradition from their cultural community or baranggay that best
represents the spirit (diwa) of their place and people. The selected tradition
may be a celebration, ritual, ceremony or similar communal activities that
largely involve musical performance. To help maintain the authenticity of the
presentation, this must be prepared under the guidance of an acknowledged
local culture bearer (master, elder, teacher, expert, artist or leader) who will act
as the main informant or consultant for the ensemble.

1.1.1 The performance may include singing, musical instruments,

movement and spoken text.

1.1.2 The performance duration should not exceed 10 minutes,

including entrance and exit.

1.1.3 Traditional attire is recommended.

1.1.4 The use of pre-recorded music, sound, voice or images is not

allowed.

1.1.5 Simple and portable stage props may be used provided these
are vital to the performance.

N.B. A cultural community means a social group identified by an ethnic heritage,

a common language and a set of cultural practices. A baranggay refers to a
socio-political group, not necessarily having a common ethnic background or
language, but participating in some common traditional cultural practices. It is

30 2010 NAMCYA
thus understood that participation is not limited to “indigenous” groups
such as those commonly identified as cultural minorities, but open to
those from the lowland or urban communities as well.

2. Eligibility and Membership

2.1 The festival is open to all existing school, church or community

ensembles whose members are:

2.1.1. Currently enrolled in high school, OR

2.1.2. Aged 11 to 17 years old (must not have reached 18 years)

by November 28, 2010.

2.2 Ensemble membership should be between four (4) to fifteen

(15) members, one (1) director or leader, and one (1) assistant
director.

3. Application and Registration

In addition to the common requirements in the Application Packet, participating

ensembles must submit the following:

3.1. One (1) clear copy of the birth certificate of each of the ensemble’s
members;

3.2. Written ANNOTATION [Format given below] which contains the

following information:

a. A brief description of the presentation.

b. Title(s) of piece(s), song(s) or dance(s) included.

c. Names of instruments used with a brief description.

d. Transcription of sung or recited texts with English

translation.

e. Name of main informant/consultant and brief biography.

2010 NAMCYA 31
Audio-Video Recording Mechanics

1. The audio-video recording must be done in a space that approximates

the shape and dimension of a live on-stage performance. Care must be
taken to find an environment with lighting conditions adequate for video
recording (daytime recording and natural outdoor lighting are ideal).

2. The recording must be shot from the angle of the viewing audience -- far
enough so that the entire “stage” is visible on screen but near enough to
recognize the faces of the performers. The video camera should be set
stationary on a tripod to avoid a shuddery image. No zoom or pan shots
will be done.

3. To produce the ideal sound recording, choose a venue with minimal to

zero external noise that might interfere with the performance (i.e. – passing
vehicles, humming of fans or air conditioners, loud animal or human
sounds). Avoid using spaces that produce excessive reverberation or echo
such as churches or gymnasiums. An external microphone placed close to
the performers is recommended if the video camera’s built in microphone
is inadequate to capture the performance clearly.

4. The performance will be recorded in the manner it is intended to be

performed live – including the necessary attire and props. No pre-recorded
sound or music will be used in the recording.

5. Before the performance, announce the name of the group and the title of
the performance as they appear on the application form. Thereafter, the
performance begins and continues without interruption until the end.

6. A copy of the footage in its raw form will be submitted; no editing as well
as visual or sound enhancements are allowed. Video submitted should be
in VHS, VCD or DVD formats.

The next four (4) document pages may be photocopied and/or detached
from the handbook.

This four (4)–page ANNOTATION should be TYPEWRITTEN and submitted with/

in the Application Packet SUBJECT TO THE DAY, DATE, TIME AND MODE OF
DELIVERY GENERAL GUIDELINES, to the NAMCYA Secretariat. Additional pages
may be attached if necessary.
32 2010 NAMCYA
 Philippine Traditional Ensemble (Category B):
Diwa ng Lunan at Mamamayan (Annotation p.1 of 4)

Title of Presentation:

Community: (Include a brief description of your community, not more than 50

words.)

Language Group (if app licable)

2010 NAMCYA 33
(Annotation p. 2 of 4)
Description of the Presentation:
(Give the necessary background information on the tradition being presented and
how it relates to the sub-theme “Diwa ng Lunan at Mamamayan”, in not more than
200 words.

34 2010 NAMCYA
(Annotation p. 3 of 4)
Title(s) of musical number(s) included, and song texts and translations (if
applicable):

2010 NAMCYA 35
(Annotation p. 4 of 4)
List of Instruments and brief description (if applicable):

Name of Local Informant/Consultant (This refers to the person who acted as

the main source of information for this presentation. Include a brief biography
describing the person’s expertise or knowledge of the tradition. Not more than
50 words.)

36 2010 NAMCYA
 NAMCYA 2010

VOICE - Category C

ADDITIONAL AND SPECIFIC GUIDELINES, RULES AND REGULATIONS

1. Divisions for Solo Voice:

• FEMALE
• MALE (Male Soprano or Alto, and Countertenor shall be classified
under the MALE Division.)

2. Eligibility

2.1 Females: Not younger than 18 years old by/on July 27, 2010 and not
older than 30 years old by/on November 23, 2010.

2.2 Males: Not younger than 18 years old by/on July 27, 2010 and not older
than 32 years old by/on November 23, 2010.

3. Repertoire

3.1. Using the format prescribed below, contestant must prepare a

repertoire of seven (7) songs, herein called the SUBMITTED REPERTOIRE
LIST, consisting of the following:

3.1.1 Two (2) Arias of contrasting styles or mood, from Oratorio or

Cantata or Opera, sung in the original key and language.

3.1.2. Three (3) foreign Art songs, sung in original language.

3.1.3. Two (2) Filipino art songs of contrasting styles or mood which may
or may not be taken from the Suggested Repertoire List below.
Less familiar works from contestants’ own regional repertory may
also be included. Arrangements of folk songs are also eligible for
consideration.

2010 NAMCYA 37
 [For reference, please see Suggested Repertoire List below.]

3.2. Only live piano accompaniment, and no other instrument for

accompaniment, shall be allowed.

3.3. Except for No. 3.1.3, at least two (2) other foreign languages (that
is, aside from a Filipino language) should be represented in the
SUBMITTED REPERTOIRE LIST.

3.4. Contestant must specify in the SUBMTTED REPERTOIRE LIST the choice
piece for each level of competition. No choice song may be repeated
at any level.

3.5. Songs may be performed in the contestant’s order of preference.

4. Additional Requirements

4.1. One (1) clear photocopy of contestant’s birth certificate;

4.2. SUBMITTED REPERTOIRE LIST (Item 3.1);

4.3. One (1) set of scores of all songs in the SUBMITTED REPERTOIRE LIST.

4.4. Mechanics of the video (VHS, DVD, or VCD) recording

4.4.1. The video recording must have been done in any enclosed venue
(AV room, classroom, conference room, auditorium or like space
or venue) which is reasonably “sanitized” or protected from the
intrusion of unwanted, undesirable, and/or unnecessary sounds.

4.4.2. Recording done in a studio or any recording which has undergone

or been treated to mixing, and/or sound enhancement procedures
will not be accepted.

4.4.3. Contestants using artificial amplification (use of a sound system)

or enhancement (editing in any form) in their submitted videos
will be automatically disqualified.

4.4.4. Accepted video formats are VHS, VCD, or DVD.

4.4.5. In the following sequence, the performer:

38 2010 NAMCYA
 • States his/her name and Region represented, and
• Immediately begins the performance.
4.4.6. Absolutely NO CUTTING OR EDITING will be allowed between
the spoken introduction and the beginning of the first number,
and anywhere else in the entire recorded performance from
beginning to end.

5. Competition Parameters

5.1. REGIONAL COMPETITION (Video) – 3 songs

5.1.1. One (1) aria from an Opera, Oratorio or Cantata;

5.1.2. Two (2) songs, contestant’s choice

5.2. REGIONAL CENTER - 3 songs

5.2.1. One (1) song, contestant’s choice;

5.2.2. Two (2) songs, Judges’ choices to be announced one (1) hour
before the start of the competition

5.3. NATIONAL COMPETITION

• Contestant shall perform a program of songs taken from the SUBMITTED

REPERTOIRE LIST with time limit of not less than 15 minutes but not
more than 20 minutes. Timing begins at the start of the first song up
to and until the end of the last song. Point penalties related to singing
time limits shall be determined by the Board of Judges.

• Special prizes for Opera and lieder performance may be awarded at

the National Finals round.

2010 NAMCYA 39
Sample SUBMITTED REPERTOIRE LIST
Name : JUANA DE LA CRUZ
Age : 26 YRS. OLD
Voice Classification : MEZZO SOPRANO
Region Represented : NCR

OPERA, CANTATA OR ORATORIO (2)

1. REGIONAL (VIDEO) choice song #1

Composer : George Frederic Handel
Oratorio : The Messiah
Title of Song : O thou that tellest good tidings to Zion

2. Composer : Giuseppe Verdi

Opera : Don Carlo
Title of Aria : O don fatale

ART SONGS (3)

1. Composer : Robert Schumann
Title of Song : Widmung

2. Composer : Franz Schubert

Title of Song : Gretchen am Spinnrade

3. REGIONAL (VIDEO) choice song #2

Composer : Gabriel Fauré
Title of Song : Apres un réve

FILIPINO ART SONGS (2)

1. Composer : Ernani Cuenco
Title of Song : Hangin

2. REGIONAL CENTER choice song

Composer : Nicanor Abelardo
Title of Song : Magbalik ka Hirang

40 2010 NAMCYA
 SUGGESTED REPERTOIRE LIST

I. ARIAS
A. SOPRANO
G. F. HÄNDEL Rinaldo: Lascia ch’io pianga
Cara sposa
Giulio Cesare: V’adoro pupille
Piangero la sorte mia
G. PERGOLESI La Serva Padrona: Stizzoso, mio stizzoso
W. A. MOZART Idomeneo: Zeffiretti, lusinghieri
Le Nozze di Figaro: Porgi amor qualche ristoro
E Susanna non vien!...Dove sono I bei momenti
Giunse alfin il momento…Deh vieni, non tardar
Venite, inginocchiatevi
Don Giovanni: Batti, batti o bel Masetto
Vedrai, carino
Mi tradi quell’alma ingrata
Cosi Fan Tutte; In uomini, in soldati
Come scoglio
Una donna quindici anni
La Clemenza di Tito: Non piu di fiori
Die Zauberflöte: Ach, ich fühl’s
O zittre nicht, mein lieber Sohn
Der Hölle rach
L. V. BEETHOVEN Fidelio: O wär ich schon mit dir vereint
G. DONIZETTI L’Elisir d’Amore: Prendi per me sei libero
Don Pasquale: Quel guardo il cavaliere
La Fille du Regiment: Chacun le sait
(La Figlia del Reggimento): (Ciascun lo dice)
V. BELLINI I Puritani: Qui la voce soave
La Sonnambula: Ah non credea mirarti
G. VERDI Un Ballo in Maschera: Volta la terrea
Saper vorreste
Morró ma prima in grazia
G. PUCCINI Manon Lescaut: In quelle trine morbide
Sola, perduta, abbandonata
La Boheme: Mi chiamano Mimi
Donde lieta usci
Quando m’en vo

2010 NAMCYA 41
A. SOPRANO
Tosca: Vissi d’arte
Madame Butterfly: Un bel di vedremo
La Rondine: Chi bel sogno di Doretta
Suor Angelica: Senza mamma, o bimbo
Gianni Schicchi: O mio babbino caro
Turandot: Signore, ascolta
Tu che di gel sei cinta
F. CILEA Adriana Lecouvreur: Ecco, respiro appena…Io son l’umile ancella
R. LEONCAVALLO Pagliacci: Quel fiamma avea nel guardo…
Stridono lassu (Ballatella)
CH. GOUNOD Faust: Ah! Je ris de me voir si belle (Jewel Song)
Romeo et Juliette: Je veux vivre
J. MASSENET Manon: Je ne suis que faiblesse…Adieu, notre petite table
G. BIZET Carmen: Je dis que rien ne m’epouvante
J. STRAUSS Die Fledermaus: Mein Herr Marquis
Klänge der Heimat (Csardas)
G. GERSHWIN Porgy and Bess: Summertime
My man’s gone now
K. WEILL What good would the moon be?
G. C. MENOTTI The Medium: Monica, Monica dance the waltz

B. MEZZO-SOPRANO
C. MONTEVERDI L’Arianna: Lasciatemi morire
H. PURCELL Dido and AeneasL: Thy hand, Belinda. When I am laid in earth
C. GLÜCK Paride ed Elena: O del mio dolce ardor
Orfeo ed Euridice: Che faro senza Euridice
W. A. MOZART Le Nozze di Figaro: Voi che sapete
Non so piu cosa son, cosa faccio
La Clemenza di Tito: Parto, parto ma tu ben mio
Deh perquesto istante solo
Don Giovanni: Vedrai, carino
Batti, batti o bel Masetto
Cosi Fan Tutte: Smanie implacabile
E amor un ladroncello
In uomini, in soldati
Una donna quindici anni

42 2010 NAMCYA
B. MEZZO-SOPRANO
G. ROSSINI L’Italiana in Algeri: Cruda sorte
Il Barbiere di Siviglia: Una voce poco fa
La Cenerentola: Non piu mesta
G. VERDI Il Trovatore: Stride la vampa
Don Carlo: O don fatale
Nel giardin del velo
P. MASCAGNI Cavalleria Rusticana: Voi lo sapete, o mamma
P. I. TCHAIKOVSKY Jean d’Arc: Adieu, forets!
CH. GOUNOD Faust: Faites-lui mes aveux
Romeo et Juliette: Que fais-tu, blanche tourterelle?
A. THOMAS Mignon: Connais-tu le pays ou fleurit l’oranger
J. MASSENET Manon: Va! Laisse couler mes larmes
C. SAINT-SAENS Samson et Dalila: Amour! Viens aider ma faiblesse
Mon coeur s’ouvre a ta voix
Printemps qui commence
G. BIZET Carmen: L’amour est un oiseau rebelled (Habanera)
Pres des remparts de Seville (Seguidille)
En vain pour eviter les reponses
J. STRAUSS Die Fledermaus: Chacun a son gout

C.TENOR
G. F. HÄNDEL Serse: Frondi tenere…Ombra mai fu
Atalanta: Care selve
W. A. MOZART Die Zauberflöte: Dies Bildnis ist bezaubernd schön
Die Entführung aus dem Serail: Constanze, Constanze…O wie Ängstlich Wenn
der Freude Frisch zum Kampfe
Le Nozze di Figaro: In quegl’anni
Cosi Fan Tutte: Un aura amorosa
Don Giovanni: Dalla sua pace
Il mio Tesoro intanto
G. DONIZETTI L’Elisir d’Amore: Una furtiva lagrima
Quanto e bella
Don Pasquale: Com’e gentil

2010 NAMCYA 43
C.TENOR
G. ROSSINI Il Barbiere di Siviglia: Il mio nome saper
Ecco ridente in cielo
G. VERDI La Traviata: Lunge da lei…De miei bollenti spiriti
Macbeth: A la paterna mano
Rigoletto: Questa o quella
G. PUCCINI La Boheme: Che gelida manina
Tosca: Recondita armonia
E lucevan le stelle
Gianni Schicchi: Firenze e come un alberito fiorito
R. LEONCAVALLO Pagliacci: O Colombina
F. CILEA L’Arlesiana: E la solita storia nell’ pastore
G. BIZET Carmen: La fleur que tu m’avais jetée
J. HALE VY La Juive: Rachel, quand du Seigneur
G. MEYERBEER L’Africaine: Pays merveilleux…O Paradis!
CH. GOUNOD Romeo et Juliette: Ah! Leve-toi, soleil
Faust: Salut! Demeure chaste et pure
E. LALO Le Roi d’Ys: Vainement, ma bien-aimée
J. MASSENET Manon: Ah! Fuyez, douce image
En ferment les yeux
WERTHER Pourquoi mes reveiller
A. THOMAS Mignon: Elle ne croyait pas dans sa candeur naïve
Adieu, Mignon
P. I. TCHAIKOVSKY Eugene Onegin: Kuda, kuda
K. WEILL Street Scene: Lonely house

44 2010 NAMCYA
D. BARITONE / BASS
C. GLÜCK Paride ed Elena: O del mio dolce ardor
W. A. MOZART Le Nozze di Figaro: Se vuol ballare
Non piu andrai, farfallone amoroso
Hai gia vinta la causa…Vedro mentr’io sospiro
Tutto e disposto…Aprite un po quegl’occhi
Don Giovanni: Madamina, il catalogo e questo
Finch’han dal vino
Ho capito, Signor, si
Deh, vieni alla finestra
Cosi Fan Tutte: Donne miei
Die Zauberflöte: O Isis un Osiris
In diesen heil’gen Hallen
Der Vogelfänger bin ich ja
Ein Mädchen oder Weibchen wünscht Papageno sich
G. ROSSINI Il Barbiere di Siviglia: Largo al factotum
A un dottor della mia sorte
La Calunnia
G. DONIZETTI Don Pasquale: Bella siccome un angelo
Ah! Un foco insolito
L’Elisir d’amore: Come Paride vezzoso
G. VERDI Macbeth: Come dal ciel precipita
Pietá, rispitto, amore
Il Trovatore: Il balen del suo sorriso
La Traviata: Di Provenza il mar
Don Carlo: Ella giammai m’amo
Per me giunto e il di supremo
G. PUCCINI La Boheme: Vecchia zimarra
P. MASCAGNI Cavalleria Rusticana: Il cavallo scalpita
R. LEONCAVALLO Pagliacci: Si puo? Si puo? (Prologo)
CH. GOUNOD Faust: Avant de quitter ces lieux
Le veau d’or est toujours debout (The Golden Calf)
Serenade
Romeo et Juliette: Mab, la reine de mensonges
J. OFFENBACH Les Contes d’Hoffmann: Scintille, diamante
G. BIZET Carmen: Votre toast, je peux vous le rendre (Toreador Song)

2010 NAMCYA 45
II. LIEDER
(Legend: S = Soprano / MS = Mezzo Soprano / T = Tenor / B = Baritone/Bass

W. A. MOZART Das Veilchen (S/MS/T/B)

Abendempfindung (S/MS/T/B)
An Chloë (S/MS/T)
L. V. BEETHOVEN Adelaïde (T/B)
Any song from An Die Ferne Geliebte (T/B)
F. SCHUBERT Gretchen am Spinnrade (S/MS)
Heidenröslein (S/MS/T/B)
Sei mir gegrüßt (S/MS/T/B)
Frühlingsglaube (T/B)
Die Forelle (S/MS/T/B)
Du bist die Ruh (S/MS)
Der Tod und das Mädchen (S/MS)
Ständchen (Horch, horch die Lerche) (S/MS)
An die Musik (S/MS/T/B)
Ständchen (Leise flehen, meine Lieder) (T/B)
Auf dem Wasser zu singen (S/MS/T/B)
Lachen und Weinen (S/MS/T/B)
Nacht und Träume (S/MS/T/B)
Ganymed (S/MS/T/B)
Der Zwerg (S/MS/T/B)
An die Nachtigall (S/MS/T/B)
Nachtstück (S/MS/T/B)
Der Musensohn (S/MS/T/B)
Wohin? (T/B)
Ungeduld (T/B)
Morgengruß (T/B)
Die Junge Nonne (S/MS)
Erlkönig (S/MS/T/B)
R. SCHUMANN Widmung (S/MS/T/B)
Du bist wie eine Blume (S/MS/T/B)
Der Nußbaum (S/MS/T/B)
Seit ich ihn gesehen (S/MS)
Er, der herrlichste von allen (S/MS)
Ich kann’s nicht fassen, nicht glauben (S/MS)
Du Ring an meinem Finger(S/MS)
Helft mir, ihr Schwestern (S/MS)

46 2010 NAMCYA
 Süßer Freund, du blackest (S/MS)
An meinem Herzen, an meiner Brust (S/MS)
Im wunderschönen Monat Mai (T/B)
Ich grolle nicht(T/B)
Das ist ein Flöten und Geigen ((T/B)
Ein Jüngling liebt ein Mädchen (T/B)
Aus alten Märchen (T/B)
Die alten bösen Lieder (T/B)
J. BRAHMS Von ewiger Liebe (S/MS/T/B)
Immer leiser wird mein Schlummer (S/MS/T/B)
R. STRAUSS Zueignung (S/T)
Allerseelen (S/T)
Die Nacht (S/T)
Heimliche Aufforderung (S/MS/T)
Traum durch die Dämmerung (S/MS/T)
Schlagende Herzen (S/MS/T)
Ich trage meine Minne (S/MS/T)

III. ORATORIO [Piece for solo voice from the following composers and works.]
A. VIVALDI Gloria
Magnificat
J. S. BACH St. Matthew’s Passion (Matthäuspassion)
St. John’s Passion (Johannespassion)
Weihnachtsoratorium
G. F. HÄNDEL The Messiah
Ode for St Cecilia
Jephtha
J. HAYDN Die Schöpfung
W. A. MOZART Exsultate Jubilate (S)
Laudate Dominum (S)
Coronation Mass
G. ROSSINI Stabat Mater
Petite Messe Solennelle
F. MENDELSSOHN Elijah
G. VERDI Messa da Requiem

2010 NAMCYA 47
IV. ART SONGS (1780 – 1930) by the following composers:
ITALIAN/FRENCH
V. Bellini, F. Poulenc, G. Rossini, C. Debussy, G. Verdi, R. Hahn, P. Tosti,
C. Saint-Saens, S. Donaudy, M. Ravel

SPANISH/ENGLISH
E. Granados, F. J. Haydn, M. de Falla, J. A. Carpenter, F. Obradors, C. Ives,
B. Britten

V. FILIPINO ART SONGS by the following composers:

N. Abelardo, L. Kasilag, F. Santiago, E. Cuenco, L. San Pedro, R. Umali, F. P. de
Leon, A. Peña, L. Silos

48 2010 NAMCYA
NAMCYA BOARD OF DIRECTORS, OFFICERS AND STAFF
Chair Veronica L. Tapia-Merk
Vice-Chair Jose Nuñez
Secretary/Treasurer Mauricia Borromeo
PRO Dr. Antonio Hila
Secretary-General Dr. Ramon G. Acoymo
Program Director Luz Corazon R. Roque

Members Alfonso “Coke” Bolipata

Assistant Secretary Jonathan E. Malaya
Corazon Iñigo
Dr. Patricia Licuanan
Renato Lucas
Pilar Montes
Edgardo Montesclaros
Rebecca Nulud
Sr. Maria Anunciata Sta Ana, SPC
Nena del Rosario-Villanueva

Ex-Officio Isabel Caro Wilson – CCP President

Cecile Guidote-Alvarez – NCCA, Executive Director

Corporate Secretary Attorney Susan Bustos-Jacinto

Secretariat Juanito D. Bernabe – Office Manager

Julius B. Abawag – Accountant/Bookkeeper
Artemio “PJ” Tolibas – Office Assistant

2010 NAMCYA 49
 REGIONAL DIRECTORS AND COORDINATORS
REGION I - ILOCOS REGION
DepED RO, 2500 San Fernando, La Union
Dr. Ligaya Soledad T. Miguel, Director
Dr. Miriam Najera, Coordinator
Tel. No. (072) 242-4768 / 242-6160
Fax No. (072) 242-5495 / 242-5363
Mobile No. 0915-4039669 (Dr. Najera)
ro1@deped.gov.ph
CORDILLERA ADMINISTRATIVE REGION
DepED RO, Wangal, La Trinidad 2601
Benguet
Benito S. Tumamao, Director
Mrs. Virginia Lupian, Coordinator
Tel. No. (074) 422-1318 / 309-3013 /
422-4074
Fax No. (074) 422-1804
Mobile No. 0919-2950760 (Mrs. Lupian)
vlupian@yahoo.com
car@deped.gov.ph
REGION II – CAGAYAN VALLEY
DepED RO, Tuguegarao, 3500 Cagayan
Dr. Jesus Lazo Taberdo, CESO III, Director IV Tel. No. (033) 336-2816 / 335-0207
Mrs. Mary Linda Ramos, Coordinator
Tel. No. (078) 844-1862 / 844-3855
Fax No. (078) 844-1862 / 844-0231
Mobile No. 0920-9061153
dpdpessd@yahoo.com
REGION III – CENTRAL LUZON
DepED RO, Maimpis, San Fernando,
Pampanga
Dr. Mario L. Ramirez, Director
Dr. Violeta Villanueva, Coordinator
Tel. No. (045) 961-7825 / 860-5211
Fax No. (045) 860-5212 / 860-5302
Mobile No. 0917-6104113 (Dr. Villanueva)
ro3@deped.gov.ph
NATIONAL CAPITAL REGION
DepED NCR, Misamis St., Bago Bantay,
Quezon City
Dr. Teresita G. Domalanta, Director
Mrs. Luzonia Bayot, Coordinator
Telfax No. 921-4274 / 928-0104 / 453-8374 ro8@deped.gov.ph
/ 929-4212
Mobile No. 0916-6951763 (Mrs. Bayot)
ncr@deped.gov.ph
REGION IV- A - CALABARZON
DepED RO, Rizal Prov’l. Capitol Compound Tel. No. (062) 215-3753 / 215-3751
1601 Pasig City
Dr. Paraluman R. Giron, Director
Mrs. Fe V. Enguero, Coordinator
Tel. No. 633-7328
Mobile No. 0915-9000468 (Mrs. Enguero) ro9@deped.gov.ph
fenguero@yahoo.com
50 2010 NAMCYA
REGION IV – B – MIMAROPA
DepED RO, Meralco Ave., cor. St. Paul Road
Pasig City
Dr. Luisa B. Yu, OIC Director
Ms. Pilar L. Montes, Coordinator
Tel. No. 631-4070 / 637-3093
Fax No. 637-3139 / 637-2834
Mobile No. 0918-7168654 (Mrs. Montes)
eed_mimaropa@yahoo.com
REGION V – BICOL REGION
DepED RO, 4500 Legaspi City
Dr. Celedonio L. Layon, Jr., Director
Dr. Amparo de Matta, Coordinator
Tel. No. (052) 482-0046 / 820-8404
Fax No. (052) 820-2663 / 820-4045
Mobile No. 0921-7661495 (Dr. de Matta)
ro5@deped.gov.ph
REGION VI – WESTERN VISAYAS
DepED RO, Duran St., 5000 Iloilo City
Dr. Mildred L. Garay, OIC Director
Ms. Julieta Braga, Coordinator
Fax No. (033) 509-7653 / 337-3892
Mobile No. 0921-9843689 (Ms. Braga)
ro6@deped.gov.ph
REGION VII – CENTRAL VISAYAS
DepED RO, ECOTECH, Lahug, 6000 Cebu City
Dr. Recaredo G. Borgonia OIC Director
Dr. Vivian Ginete, Coordinator
Tel. No. (032) 231-1309 / 414-7399
Fax No. (032) 255-4542 / 255-1313
Mobile No. 0920-6631237 (Ms. Ginete)
ro7@deped.gov.ph
viv_gg@yahoo.com
REGION VIII – EASTERN VISAYAS
DepED RO, Govt. Center, Candahug, Leyte
Dr. Sol F. Matugas, Director
Dr. Editha P. Jacer, Coordinator
Tel. No. (053) 323-7031 / 524-9120 /
323-3156
Fax No. (053) 323-6075
REGION IX – WESTERN MINDANAO
DepED RO, 7000 Zamboanga City
Dr. Walter O. Albos, Director
Dr. Hadja Jaliha A. Sangkula, Coordinator
Fax No. (062) 991-5975 / 991-1907 /
215-3789
Mobile No. 0927-7545262 (Dr. Sangkula)
jsangkula@gmail.com
REGION X – NORTHERN MINDANAO
DepED RO, 9000 Cagayan de Oro City
Dr. Estrella A. Babano, Director
Mr. Raymund Antolo, Coordinator
Tel. No. (088) 722-652 / 727-836 / 720-665
Fax No. (088) 726-574
Mobile No. 0918-9480056 (Mr. Antolo)
ro10@deped.gov.ph
raymund_antolo2003@yahoo.com
CARAGA ADMINISTRATIVE REGION
DepED RO, Butuan City
Dr. Isabelita M. Borres, OIC Director
Miss Thelma Villanueva, Coordinator
Tel. No. 342-8207 / 342-0302 / 342-2198
Fax No. 815-2021
Mobile No. 0917-7188816 (Miss Villanueva)
tcvillanueva_orig@yahoo.com
caraga@deped.gov.ph
REGION XI – SOUTHERN MINDANAO
DepED RO, F. Torres St., 8000 Davao City
Susana Teresa B. Estigoy, CESO IV, Director
Ms. Thelma Bodikey, Coordinator
Tel. No. 227-9342 / 221-6147
Fax No. 227-1102 / 211-8459
Mobile No. 0918-5216910 (Mrs. Bodikey)
deped11_sed@yahoo.com
REGION XII – EASTERN MINDANAO
DepED RO XII, Koronadal City
Dr. Luz S. Almeda, Director
Marianela Angeles, Coordinator
Telefax. No. (083) 228-9753 / 520-0421
228-5596 / 228-5597
Mobile No.0928-9333521 / 0919-2349228
(Mrs. Angeles)
ro12@deped.gov.ph
angelmarinel@yahoo.com
ARMM
DepED, ARMM ORC Compound, 9600
Cotabato City
Dr. Udtog K. Kawit – Al haj, Regional
Secretary
Dr. Taya K. Aplal, Coordinator
Tel. No. (064) 4217884 / 390-1467 / 390-
1458 / 421-9687
Fax No. (064) 390-1465
Mobile No. 09052433597
 2010 NAMCYA APPLICATION FORM

THE COMPLETE APPLICATION FORM CONSISTS OF

FOUR (4) PAGES.
ALL FOUR PAGES MUST BE SUBMITTED.

(Page 1 of 4)
[This page may be photocopied as needed.]

INSTRUMENT CATEGORIES [Underline ONE (1) only]:

Banduria Category C Choir Category A
Dance (Ballet) Senior Category Marimba Category C
Piano Category C Voice Category C
Traditional Music Ensemble Category B
1. Name of Contestant [Individual (Last, First, Middle) or Group Name]:
_ _______________________________________________________________________

2. Region: _________________ Province: _______________________________________

3. Address: _______________________________________________________________

4. Contact Numbers: Home: _________________ Mobile: ________________________

Office: _________________ Fax: ___________________________
Email: _________________________________________________

5. I hereby certify that all the above information is true and correct. I/We promise to
abide by all the guidelines, rules and regulations of the competition. I/We understand
that any prize, award, recognition and/or distinction may and will be rescinded and
revoked if any information in the application form is found to be false.

6. Signature of the Applicant: ________________________________________________

For minors: Parent, guardian &/or music teacher, Signature Above Printed Name

7. Approved by Regional Coordinator: _ ___________________________________

(Signature above Printed Name)

Date: _ _______________________________________

2010 NAMCYA 51
 2010 NAMCYA APPLICATION FORM

(Page 2 of 4)
[This page may be photocopied as needed.]

Complete names in alphabetical order of all performers in the Video

(excluding Conductor/Musical Director/Musical Leader for group contestans)

NAME BIRTHDATE SCHOOL/

(Last, First, Middle) (Year, Month, Date) YEAR LEVEL
 2010 NAMCYA APPLICATION FORM

(Page 3 of 4)
[This page may be photocopied as needed.]

1. Name of Conductor/Musical Director/Group Leader Leader (For group

contestants only)

________________________________________________________________________

2. Official Title/Designation: _________________________________________________

3. Name of official Assisting Artist/Accompanist (if any):

________________________________________________________________________

Reminder: ONLY THOSE PERSONS WHOSE NAMES APPEAR ABOVE

MAY APPEAR IN THE VIDEO. AUTOMATIC DISQUALIFICATION
AND/OR RESCINDING OF ANY AND ALL AWARDS,
DISTINCTIONS AND PRIZES MAY AND WILL RESULT IF THIS
RULE IS NOT FOLLOWED.

4. Date and Year of Completion of Video Recording: _ ____________________________

5. I hereby certify that all the information supplied on the application

form sheet is true.

____________________________________________
(Signature above Printed Name)

____________________________________________
(Designation of Signatory)
 2010 NAMCYA APPLICATION FORM

(Page 4 of 4)
[This page may be photocopied as needed.]

Repertoire for Regional Competition (Video Level)

[For Banduria, Choir and Piano:]
Repertoire for Regional Center and National Finals
Title Performance
Include title of larger work Time
from which the particular Composer and/or Edition (if required to
work is taken, if applicable Arranger (if any) be indicated)
For additional information, please contact
the Secretariat at:
NAMCYA
Folk Arts Theater
Cultural Center of the Philippines Complex
Roxas Boulevard, Pasay City 1307 Philippines
Telephone : +632 5515091 551-5094
832 1120 local 109
Telefax : +632 832 3701
Email : namcya@gmail.com
Website : www.namcya.org