Malacañang Manila

By the President of the rePuBlic of the PhiliPPinesProclaMation 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. roMuloExecutive 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 artistsBanduria - category cchoir - category adance - senior BalletMarimba - category cPiano - category ctraditional Music ensemble - category Bvoice - category c

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

how the naMcya logo came about

CONTENTSMESSAGE 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

THE 2010 NATIONALMUSIC COMPETITIONSFOR YOUNG ARTISTS

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

General Rules and Regulations

2010 NAMCYA i

IMESSAGE 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

AMESSAGE 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

iv 2010 NAMCYA

WMESSAGE FROM THE PROGRAM DIRECTOR

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

2010 NAMCYA 1

national Music competitions for young artists (naMcya) 2010

GENERAL REGULATIONS1. 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.

2 2010 NAMCYA

2. CATEGORYA 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. REGIONA Region is one of the 17 geographical areas from which competitors enter into the first level of competition.

4. REGIONALCOMPETITIONA 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. REGIONALCENTERA 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. REGIONALCENTERCOMPETITIONA 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

6.3.1RegionalCenterII-B,SouthernLuzonforRegionsIV-AandV.

6.3.2.RegionalCenterII-A,CentralLuzonforNCR,RegionsIII,andIV-B.

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

2010 NAMCYA 3

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. NATIONALCOMPETITIONThe 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 Instruments1. THEAPPLICATIONPACKET

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.

4 2010 NAMCYA

2. REGISTRATIONFEEA 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 BranchAccount 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. CONTENTSOFTHEAPPLICATIONPACKET3.1Video

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.

3.2BDODepositslip

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

3.3Photos

[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 5

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.

3.4RegistrationFormten (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. SPECIFICGUIDELINESPERINSTRUMENTAdditional and specific guidelines, rules, and regulations are indicated

under listings of the different Instruments.

5. INCOMPLETEAPPLICATIONPACKETSWILLNOTBEPROCESSED.6. COMPETITIONVENUEContestants 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.

6 2010 NAMCYA

7. JUDGES’PREROGATIVEThe 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. PRIZESANDAWARDS8.1 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. INQUIRIESInquiries, 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. PROVISIONSProvisions 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 7

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

8 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 9

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.

10 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

2010 NAMCYA 11

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. PERFORMANCEPARAMETERS

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.

t

contestantguitaristt

12 2010 NAMCYA

naMcya 2010

choir a additional and sPecific guidelines, rules and regulations

1. ELIGIbILITy ANd mEmbERShIp1.1. 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 GUIdELINESAdditional 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;

2010 NAMCYA 13

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):

14 2010 NAMCYA

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 REqUIREmENTS3.1. Regional (Video) Competition LevelTwo (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

2010 NAMCYA 15

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 pARAmETERS4.1. Participating choirs must come to the competitions in simple attire

without any school or any other identifying marks.

16 2010 NAMCYA

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.

2010 NAMCYA 17

naMcya 2010

dance - senior BalletADDITIONAL 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.

18 2010 NAMCYA

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

2010 NAMCYA 19

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.

20 2010 NAMCYA

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.).

2010 NAMCYA 21

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.

22 2010 NAMCYA

naMcya 2010

MariMBa - category csPecific 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:

2010 NAMCYA 23

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:

24 2010 NAMCYA

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

2010 NAMCYA 25

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.

26 2010 NAMCYA

naMcya 2010

Piano coMPetition – category cadditional 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.

2010 NAMCYA 27

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;

28 2010 NAMCYA

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.

2010 NAMCYA 29

• 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.

30 2010 NAMCYA

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

2010 NAMCYA 31

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.

32 2010 NAMCYA

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.

2010 NAMCYA 33

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.)

LanguageGroup (if app licable)

34 2010 NAMCYA

(Annotation p. 2 of 4)DescriptionofthePresentation:(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.

2010 NAMCYA 35

(Annotation p. 3 of 4)Title(s) of musical number(s) included, and song texts and translations (ifapplicable):

36 2010 NAMCYA

(Annotation p. 4 of 4)ListofInstrumentsandbriefdescription (if applicable):

NameofLocalInformant/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.)

2010 NAMCYA 37

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.

38 2010 NAMCYA

[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:

2010 NAMCYA 39

• 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.

40 2010 NAMCYA

Sample SUBMITTED REPERTOIRE LIST

Name : JUANA DE LA CRUZAge : 26 YRS. OLDVoice Classification : MEZZO SOPRANORegion Represented : NCR

OPERA, CANTATA OR ORATORIO (2)

1. REGIONAL (VIDEO) choice song #1Composer : George Frederic HandelOratorio : The MessiahTitle of Song : O thou that tellest good tidings to Zion

2. Composer : Giuseppe VerdiOpera : Don CarloTitle of Aria : O don fatale

ART SONGS (3)1. Composer : Robert Schumann

Title of Song : Widmung

2. Composer : Franz SchubertTitle of Song : Gretchen am Spinnrade

3. REGIONAL (VIDEO) choice song #2Composer : Gabriel FauréTitle of Song : Apres un réve

FILIPINO ART SONGS (2)1. Composer : Ernani Cuenco

Title of Song : Hangin

2. REGIONAL CENTER choice songComposer : Nicanor AbelardoTitle of Song : Magbalik ka Hirang

2010 NAMCYA 41

suggested rePertoire list

I. ARIAS

A. SOPRANOG. 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

42 2010 NAMCYA

A. SOPRANOTosca: 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

2010 NAMCYA 43

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

44 2010 NAMCYA

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

2010 NAMCYA 45

D. BARITONE/BASSC. 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)

46 2010 NAMCYA

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)

2010 NAMCYA 47

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

48 2010 NAMCYA

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

sPanish/englishE. 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

2010 NAMCYA 49

naMcya Board of directors, officers and staffchair 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

50 2010 NAMCYA

REGION I - ILOCOS REGIONDepED RO, 2500 San Fernando, La UnionDr. Ligaya Soledad T. Miguel, DirectorDr. Miriam Najera, CoordinatorTel. No. (072) 242-4768 / 242-6160Fax No. (072) 242-5495 / 242-5363Mobile No. 0915-4039669 (Dr. Najera)ro1@deped.gov.ph

CORDILLERA ADMINISTRATIVE REGIONDepED RO, Wangal, La Trinidad 2601 BenguetBenito S. Tumamao, DirectorMrs. Virginia Lupian, CoordinatorTel. No. (074) 422-1318 / 309-3013 / 422-4074Fax No. (074) 422-1804Mobile No. 0919-2950760 (Mrs. Lupian)vlupian@yahoo.comcar@deped.gov.ph

REGION II – CAGAYAN VALLEYDepED RO, Tuguegarao, 3500 CagayanDr. Jesus Lazo Taberdo, CESO III, Director IV Mrs. Mary Linda Ramos, CoordinatorTel. No. (078) 844-1862 / 844-3855Fax No. (078) 844-1862 / 844-0231Mobile No. 0920-9061153dpdpessd@yahoo.com

REGION III – CENTRAL LUZONDepED RO, Maimpis, San Fernando, PampangaDr. Mario L. Ramirez, DirectorDr. Violeta Villanueva, CoordinatorTel. No. (045) 961-7825 / 860-5211Fax No. (045) 860-5212 / 860-5302Mobile No. 0917-6104113 (Dr. Villanueva)ro3@deped.gov.ph

NATIONAL CAPITAL REGIONDepED NCR, Misamis St., Bago Bantay, Quezon CityDr. Teresita G. Domalanta, DirectorMrs. Luzonia Bayot, CoordinatorTelfax No. 921-4274 / 928-0104 / 453-8374 / 929-4212Mobile No. 0916-6951763 (Mrs. Bayot)ncr@deped.gov.ph

REGION IV- A - CALABARZONDepED RO, Rizal Prov’l. Capitol Compound 1601 Pasig CityDr. Paraluman R. Giron, DirectorMrs. Fe V. Enguero, CoordinatorTel. No. 633-7328Mobile No. 0915-9000468 (Mrs. Enguero)fenguero@yahoo.com

regional directors and coordinators

REGION IV – B – MIMAROPADepED RO, Meralco Ave., cor. St. Paul Road Pasig CityDr. Luisa B. Yu, OIC DirectorMs. Pilar L. Montes, CoordinatorTel. No. 631-4070 / 637-3093Fax No. 637-3139 / 637-2834Mobile No. 0918-7168654 (Mrs. Montes)eed_mimaropa@yahoo.com

REGION V – BICOL REGIONDepED RO, 4500 Legaspi CityDr. Celedonio L. Layon, Jr., DirectorDr. Amparo de Matta, CoordinatorTel. No. (052) 482-0046 / 820-8404Fax No. (052) 820-2663 / 820-4045Mobile No. 0921-7661495 (Dr. de Matta)ro5@deped.gov.ph

REGION VI – WESTERN VISAYASDepED RO, Duran St., 5000 Iloilo CityDr. Mildred L. Garay, OIC DirectorMs. Julieta Braga, CoordinatorTel. No. (033) 336-2816 / 335-0207Fax No. (033) 509-7653 / 337-3892Mobile No. 0921-9843689 (Ms. Braga)ro6@deped.gov.ph

REGION VII – CENTRAL VISAYASDepED RO, ECOTECH, Lahug, 6000 Cebu CityDr. Recaredo G. Borgonia OIC DirectorDr. Vivian Ginete, CoordinatorTel. No. (032) 231-1309 / 414-7399Fax No. (032) 255-4542 / 255-1313Mobile No. 0920-6631237 (Ms. Ginete)ro7@deped.gov.phviv_gg@yahoo.com

REGION VIII – EASTERN VISAYASDepED RO, Govt. Center, Candahug, LeyteDr. Sol F. Matugas, DirectorDr. Editha P. Jacer, CoordinatorTel. No. (053) 323-7031 / 524-9120 / 323-3156Fax No. (053) 323-6075ro8@deped.gov.ph

REGION IX – WESTERN MINDANAODepED RO, 7000 Zamboanga CityDr. Walter O. Albos, DirectorDr. Hadja Jaliha A. Sangkula, CoordinatorTel. No. (062) 215-3753 / 215-3751Fax No. (062) 991-5975 / 991-1907 / 215-3789Mobile No. 0927-7545262 (Dr. Sangkula)jsangkula@gmail.comro9@deped.gov.ph

REGION X – NORTHERN MINDANAODepED RO, 9000 Cagayan de Oro CityDr. Estrella A. Babano, DirectorMr. Raymund Antolo, CoordinatorTel. No. (088) 722-652 / 727-836 / 720-665Fax No. (088) 726-574Mobile No. 0918-9480056 (Mr. Antolo)ro10@deped.gov.phraymund_antolo2003@yahoo.com

CARAGA ADMINISTRATIVE REGIONDepED RO, Butuan CityDr. Isabelita M. Borres, OIC DirectorMiss Thelma Villanueva, CoordinatorTel. No. 342-8207 / 342-0302 / 342-2198 Fax No. 815-2021Mobile No. 0917-7188816 (Miss Villanueva)tcvillanueva_orig@yahoo.comcaraga@deped.gov.ph

REGION XI – SOUTHERN MINDANAODepED RO, F. Torres St., 8000 Davao CitySusana Teresa B. Estigoy, CESO IV, Director Ms. Thelma Bodikey, CoordinatorTel. No. 227-9342 / 221-6147 Fax No. 227-1102 / 211-8459Mobile No. 0918-5216910 (Mrs. Bodikey)deped11_sed@yahoo.com

REGION XII – EASTERN MINDANAODepED RO XII, Koronadal CityDr. Luz S. Almeda, DirectorMarianela Angeles, CoordinatorTelefax. No. (083) 228-9753 / 520-0421 228-5596 / 228-5597Mobile No.0928-9333521 / 0919-2349228 (Mrs. Angeles)ro12@deped.gov.phangelmarinel@yahoo.com

ARMMDepED, ARMM ORC Compound, 9600 Cotabato CityDr. Udtog K. Kawit – Al haj, Regional SecretaryDr. Taya K. Aplal, CoordinatorTel. No. (064) 4217884 / 390-1467 / 390-1458 / 421-9687Fax No. (064) 390-1465Mobile No. 09052433597

2010 NAMCYA 51

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 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 (Last, First, Middle)

Birthdate (Year, Month, Date)

school/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

titleInclude title of larger work from which the particular

work is taken, if applicablecomposer and/or

arrangeredition

(if any)

Performance time

(if required to 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 109Telefax : +632 832 3701 Email : namcya@gmail.comWebsite : www.namcya.org