Mahalagang-mahalaga ang musika sa teleserye, lalo pa’t bílang soap opera, nakabalangkas ang anyo nito sa melodrama. Sa kaso ng teleserye, ang pagkasangkapan sa musika ay higit na mapahahalagahan sa pagbaling sa matatawag na temang-awit panteleserye o theme song, na madalas ginagamit hindi lámang bilang pananda ng kaakuhan ng palabas o mohon ng simula’t wakas nito, kundi pati na rin bílang kabuuang temang musikal. Ibig kong maghain ng ilang kaisipan hinggil sa gámit, at siyempre, halaga ng mga ito bílang musikal na suhay ng teleseryeng babád sa melodrama. Upang maging masaklaw ako sa pagtalakay kahit papaano, ibabalangkas ko ang aking paggalugad sa gámit ng temang-awit panteleserye sa naging paraan ko ng pagkakasaysayan sa naging pag-angkop, pag-unlad, at pagbago sa teleserye. Ang papel na ito ay pagpapalawig ng aking pakasaysayang lápit sa teleserye habang ipinaliliwanag ang tatlong gámit na aking inihain—ang pagiging reiterasyon ng salaysay o naratibo ng palabas; ang pagiging tagapagpaigting ng drama at tema; at ang pagiging tagapagpalawig ng teleserye bílang telebiswal na produkto.
Music is very vital in the teleserye, since as a soap opera, its form is structured in melodrama. In the case of the teleserye, the use of music may be further valued by an exploration of what is called the teleserye theme song, commonly utilized not only as marker of program identity or signifier of its beginning and end, but also its being the program’s overall musical theme. I wish to offer some insights about the use, and of course, the value of these songs as musical iterations to the teleserye which is immersed in melodrama. To make the discussion relatively extensive, I will frame my exploration of the use of teleserye theme songs by using my periodization of the teleserye’s history of adaptation, development, and transformation. This paper expands my historical approach on the teleserye while it explains the three uses I offered—as reiteration to the teleserye story or narrative; as a means to heighten drama and theme; and as disseminator of the televisual product.
In a previous paper, the author had begun discoursing on the process of acculturating Korean/Hallyu soap opera aesthetics in television productions such as Only You (Quintos, 2009), Lovers in Paris (Reyes, 2009), and Kahit Isang Saglit (Perez & Sineneng, 2008). This paper attempts to expand the discussions of his “critico-personal” essay by situating the discussions in what he described as the “diasporization” of the Filipino, and the Philippines, as constructed in recent soap operas namely Princess and I (Lumibao, Pasion, 2012) A Beautiful Affair (Flores, Pobocan, 2012), and Kailangan Ko’y Ikaw (Bernal & Villarin, 2013). In following the three teleserye texts, the author observes three hallyu aesthetic influences now operating in the local sphere—first, what he called the “spectacularization” of the first world imaginary in foreign dramatic/fictional spaces as new “spectre of comparisons” alluding to Benedict Anderson; the crafting of the Filipino character as postcolonially/neocolonially dispossessed; and the continued perpetration of the imagination of Filipino location as archipelagically—and consequently, nationally—incoherent. The influences result in the aforementioned “diasporization”, an important trope of simulated and dramaturgically crafted placelessness in the process of imagining Filipino “communities” and their sense of “historical” reality, while covering issues relating to the plight and conditions of the diasporic Filipino.