music 10 learners material quarter 3

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Quarter III: CONTEMPORARYPHILIPPINE MUSIC

CONTENT STANDARDS

The learner demonstrates understanding of...1. Characteristic features of contemporary music.

PERFORMANCE STANDARDS

The learner...1. Sings contemporary songs.

LEARNING COMPETENCIES

The learner...

1. Listens perceptively to excerpts of major contemporary works.2. Describes characteristics of traditional and new music.3. Gives a brief biography of selected contemporary Philippine

composers.4. Sings selections of contemporary music with appropriate pitch,

rhythm, style, and expression.5. Explores ways of creating sounds on a variety of sources.6. Improvises simple vocal/instrumental accompaniments to selected

songs.7. Creates a musical on the life of a selected contemporary Philippine

composer.8. Evaluates music and music performances using knowledge of musical

elements and style.

From the Department of Education curriculum for MUSIC Grade 10 (2014)

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

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CONTEMPORARYPHILIPPINE MUSIC

According to National Artist Ramon Santos, PhD, “contemporary music in thePhilippines refers to compositions that have adopted ideas and elements from 20th

century art music in the west, as well as the latest trends and musical styles in theentertainment industry.”

The modern Filipino repertoire consists of musical pieces that have been written in 20thcentury idioms that have evolved out of such stylistic movements as impressionism,expressionism, neo-classicism, as well as avant garde and new music.

New music are compositions which are improvisational works such as the earlycompositions of Dr. Ramon Santos, Radyasyon and Quadrasyon; Josefino “Chino”Toledo’s Samut-Sari, Pintigan and Terminal Lamentations, and Jonathan Baes’ Walaand Banwa.

20th CENTURY

TRADITIONAL COMPOSERS

With Spain and then America having colonized the Philippines from the early 1500sto the late 1800s, it was unavoidable that Western compositional techniques found

their way into the works of Filipino composers. Yet, even 20th century Filipino composershave managed to retain some traditional elements in their assimilation of Westerntechniques. In fact, they have become the strongest foundations of what we now knowas Philippine music.

Among the major Philippine contemporary composers are Francisco Buencamino Sr.,Francisco Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col.Antonino Buenaventura, Rodolfo Cornejo, Lucio San Pedro, Rosendo Santos Jr.,Alfredo Buenaventura, and Ryan Cayabyab.


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FRANCISCO B. BUENCAMINO SR.(1883 – 1952)

Francisco Beltran Buencamino Sr. was born on November5, 1883 in Bulacan. He was the son of a musically inclinedcouple. His father was Fortunato Buencamino, a churchorganist and band master. His mother was Luisa Beltran, anoted singer. He studied music composition and harmony atLiceo de Manila. Unfortunately, he was not able to finish.

He taught at the Ateneo de Manila, and at Centro Escolar deSeñoritas whose Conservatory of Music he founded. He alsocreated the Buencamino Music Academy in 1930 whereNicanor Abelardo was one of his students. Expanding his

career, he ventured into musical directing and scoring, and composing film music forSampaguita Pictures, LVN, and Excelsior.

Buencamino’s compositions include Harana, Pandanggo ni Neneng, Collar deSampaguita, Dulces las Horas, Mayon (Fantasia de Concierto), My Soul’s Lament,Larawan, Mazurka, Boholana, Mi Bandera, Princesa ng Kumintang, Maligayang Bati,Ang Bukang Liwayway, Pandanggo ni Neneng, Ang Bagong Balitaw, Himig ng Nayon,Damdamin (Romance), and Pizzicato Caprice.

Many of his piano works have become a staple part of the Philippine repertoire of today’syoung students, especially Mayon, Larawan, and Maligayang Bati. He also wrote severalzarzuelas and kundimans. He passed away on October 16, 1952 after which a posthumousaward honored him with the title “Outstanding Composer.”

LARAWANFrancisco Buencamino Sr.


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Francisco Santiago(1889 – 1947)

Francisco Santiago is known as the “Father of the Kundiman”and belongs to the “Triumvirate of Filipino Composers.” Hefinished his music specialization at the American Conservatoryof Music in Chicago, where he obtained his Doctorate Degreein 1924.

Santiago’s music was Romantic in style, incorporating Westernforms and techniques with folk materials. He composed severalworks such as kundiman, symphonies, piano concertos, andother music pieces for the piano, violin, and voice.

Among his famous works are Pakiusap, Madaling Araw, Sakali Man, Hibik ng Pilipinas,Ano Kaya ang Kapalaran, and Kundiman (Anak Dalita). This piece was sung beforethe Royal Court of Spain upon the request of King Alfonso II. He was also a musicaldirector for films. Among the films whose music he supervised are Kundiman, LeronLeron Sinta, Madaling Araw, Manileña, and the movie inspired by his own compositionPakiusap. He became the first Filipino Director of the UP Conservatory of Music.

PILIPINAS KONG MAHALFrancisco Santiago


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NICANOR ABELARDO(1893 – 1934)

Nicanor Abelardo is one of the “Triumvirate of FilipinoComposers” which includes Antonio Molina and FranciscoSantiago. He studied music at the Chicago Music College andwas influenced by the musical styles of Schoenberg, Hindemithand Stravinsky.

Abelardo developed a style that combined European romanticismwith chromaticism. His compositions contain hazy tones,dissonance and unusual chordal combinations found in suchworks as Cinderella Overture, Panoramas, and a violin sonata.Although a 20th century modern composer in style, he is also

considered a composer in the Romantic style. His best-known compositions include Mutyang Pasig, Nasaan Ka Irog, Cavatina for Violoncello, and Magbalik Ka Hirang.

ANTONIO J. MOLINA(1894 – 1980)National Artist for Music

Antonio Molina, the first National Artist for Music, isconsidered one of the “Triumvirate of Filipino Composers”which includes Nicanor Abelardo and Francisco Santiago. Hebegan his music career as an orchestral soloist at the ManilaGrand Opera House.

He served as Dean of the Centro Escolar UniversityConservatory of Music from 1948 to 1970. He was also afaculty member of the University of the Philippines’Conservatory (now College) of Music.

Molina was a product of both the Romantic and Impressionist schools of thought. Hewas fascinated by the dynamics and harmonies of Debussy, but retained much of theRomantic style in his melody. A characteristically impressionist work is his piano workMalikmata (Transfiguration). The mysteriously exotic chords of this piece gradually leadto a lyrical melody, with the traditional harmonies abruptly returning to the initial mood.Molina wrote several compositions for piano, violin, and voice as well as a Spanish-styleopera form known as the zarzuela.


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MUTYA NG PASIGMusic and Lyrics by Nicanor Abelardo

He is best known for his poignantly romantic serenade for violin and piano Hatinggabi.Subsequent transcriptions of this piece were written for the cello, flute, piano, and guitar.Other works by Molina include orchestral music - Misa Antoniana Grand Festival Mass,Ang Batingaw, Kundiman-Kundangan; chamber music - String Quartet, Kung sa IyongGunita, Pandangguhan; and vocal music - Amihan, Awit ni Maria Clara, and LarawanNitong Pilipinas. He received the National Artist for Music award in 1973. He passedaway on January 29, 1980.


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HATINGGABI (Excerpt)Antonio J. Molina (Music) / Levi Celerio (Lyrics)

PANDANGGO SA ILAW (Excerpt)Antonino Buenaventura (Music) / Levi Celerio (Lyrics)

SA UGOY NG DUYAN (Excerpt)Lucio San Pedro (Music) / Levi Celerio (Lyrics)


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HILARION RUBIO Y FRANCISCO(1902 – 1985)

Hilarion Rubio was born on October 21, 1902 in Bacoor, Cavite. A composer, musicteacher, conductor, and clarinetist, he created substantial works for the orchestra. Heserved as conductor for opera, ballet, dance recitals, and movie music.

His early interest in music came from the influence of his uncle who was then playingwith the Bacoor Band. His first music lessons in music theory and clarinet were with Fr.Amando Buencamino who taught him solfeggio and some musical instruments. When hewas eight years old, he was accepted as a member of the Bacoor Band as a clarinetist. Atthat time, he made his first composition Unang Katas for his concert with the band.In hishigh school years at the North High School (now Arellano High School), Rubio becamea member of several orchestras. He performed with various movie house bands andorchestras. He was also a member of the Lyric Theater Orchestra, Trozo Band in BenavidesStreet, and the Band Moderna in Tondo. After he graduated from high school in 1930,he co-founded the Anak Zapote Band. He later became a bandleader and conductor ofthe ROTC Band of the Conservatory of Music, University of the Philippines (UP) andplayed the violin and timpani with the UP Junior Symphony Orchestra.

After his student years, Rubio became a conductor of opera at the Manila Music Schoolin 1936. He became the choirmaster and choral conductor of the Choir Islanders. Also,he assumed the position of instructor at the Conservatory of Music, University of thePhilippines. He was also a lecturer at the Buencamino Music Academy, La ConcordiaCollege, College of the Holy Spirit, Santa Isabel College, Laperal Music Academy, ManilaMusic School, St. Theresa’s College, and the Valencia Academy of Music. He becamefull professor of the UP Conservatory of Music from 1936-1937. He was appointeddirector of the Conservatory of Music, Centro Escolar University in 1944-1945.

During the Second World War, Rubio composed and arranged many works and conductedmany military and civilian brass bands. After the war, he was appointed conductor ofthe Manila Municipal Symphony Orchestra. He held various positions, including as VicePresident of the PASAMBAP (Pambansang Samahan ng mga Banda sa Pilipinas), theNational Band Association, board and charter member of the League of Filipino composers,and the first President of the Philippine Bandmaster’s Association. He was conductor ofthe National Opera Company for 23 years from 1937 to 1960.

Rubio’s compositions include: Bulaklaken, Theme and Variations for Band, Dance ofthe Nymphs Rondo, Florente at Laura (overture), Halik, Danza, Unang Katas, Two-part Invention (piano), Ang Konsyerto (ballet), Ang Magsasaka, Bukang Liwayway,Concertino in C (marimba and piano), Filipinas Kong Mahal, Hatulan Mo Ako,Ginintuang Araw, In a Tropical Sea, Light, Narra, Mutya ng Silangan, To the FilipinoYouth, Nela, National Heroes Day Hymn, and Salamisim. He passed away on December28, 1985.


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COL. ANTONINO BUENAVENTURA(1904 – 1996)National Artist for Music

Col. Antonino Ramirez Buenaventura was a renownedcomposer, conductor, and teacher. His father Lucio was thechief musician of the Spanish artillery band in Intramuros andfounder of Banda Buenaventura. As a young boy, he hadalready demonstrated a passion for music while learning therudiments of music and solfeggio and becoming a proficientclarinet player.

Col. Buenaventura further developed his musical abilities atthe Conservatory of Music, University of the Philippines (UP)at the age of 19. He received a Teacher’s Diploma in Scienceand Composition at UP. Nicanor Abelardo and Francisco

Santiago were among his famous mentors. At the University, Buenaventura led the UPROTC Band and established the UP Junior Orchestra which was the first collegiateorchestra in the country. He pursued further studies at the Institute of InternationalEducation in New York. He was also awarded a study grant by the UNESCO in 1949.He was a delegate to the general assembly of the International Society for Music Educationheld in Montreux, Switzerland in 1976. He represented the country at the general meetingsof the International Music Council (IMC) in Rome (1962) and Hamburg (1964).

Buenaventura was actively involved with the various military bands which ultimatelyearned him his military rank of Colonel. He was a music instructor and band conductorof the Philippine Military Academy (PMA). Later, he restored the Philippine ConstabularyBand in 1945, which was reputedly likened to a symphony orchestra. It was consideredas “one of the best military bands in the world.” It would later be renamed the PhilippineArmy Band. He also founded the San Pablo Music Academy in Laguna.

Buenaventura was a faculty member of the UP Conservatory of Music. Later, he becamethe music director of the Conservatory of Music, University of Santo Tomas (UST) in1961. After retiring from the military, he became the music director at the School ofMusic and Arts, University of the East (UE) in 1964. He promoted Philippine musicthrough his extensive use of folk materials which he had recorded around the countrywith Ramon Tolentino and National Artist for Dance Francisca Reyes Aquino.Buenaventura composed the music and folk dance notations for the dance researches ofAquino. As a multi-awarded musician, he composed Minuet, Mindanao Sketches,Divertimento for Piano and Orchestra, Variations and Fugue, and Greetings based onPhilippine folk music. Pandanggo sa Ilaw, one of his most popular compositions, remainsa favorite performance repertoire of many folk dance companies. He was declared NationalArtist for Music in 1988 and passed away in 1996.


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RODOLFO S. CORNEJO(1909 – 1991)

R o d o l f o S . C o r n e j o was born on May 15, 1909 in Singalong,Manila. Inspired by his mother’s genuine support, the youngCornejo started formal music lessons at the age of six. Heperformed on stage after only two years of music studies. Duringthis time, he was also invited as organist of the Pasay CatholicChurch. His first composition at age 10 was a piano pieceentitled Glissando Waltz. It was followed three years later by amilitary march entitled Salute. At the age of 14, 26 of Cornejo’scompositions were already listed by the United PublishingCompany Inc.

Cornejo graduated with a Teacher’s Diploma in Pianoforte and a Teacher’s Diploma inScience and Composition at the Conservatory of Music, University of the Philippines(UP) in 1930. He received his Bachelor of Music degree major in piano and theory fromthe Chicago Musical College of Roosevelt University, USA in 1932. He received a Masterof Music degree major in composition and conducting at the Chicago Musical College ofRoosevelt University, USA in 1933. He was conferred a Doctor of Music degree honoriscausa in 1954. He received his Doctor of Philosophy degree major in composition fromthe Neotarian College of Philosophy in Kansas City, USA in 1947.

Cornejo taught at the UP Conservatory of Music and became the researcher and officialcomposer of the Philippine government-in-exile. He was appointed by then PresidentManuel L. Quezon. He was commissioned to write a symphony and an opera and composethe music for the documentary film on President Quezon’s funeral. He served as pianist-director of a USO concert unit that entertained the Allied Forces at the E.T.O., theMarianas, and the Hawaiian Islands during World War II.

Cornejo was the soloist of the Manila Symphony Orchestra, Filipinas Youth SymphonyOrchestra, and UP Symphony Orchestra. Later on, he became the musical director of theSampaguita and Vera-Perez Movie Companies. Since 1978, he held concerts in the UnitedStates. He appeared as composer-conductor at the Seattle Opera House and the SeattlePlayhouse. He is listed in “The International Who’s Who in Music.”

Cornejo was also known for his extemporaneous thematic improvisations based on theletters of people’s names. His compositional output includes A la Juventud Filipina,Bailes de Ayer, Caprice on a Folksong, Cello Sonata, Ibong Adarna, Kandingan, Malakasat Maganda, Overture, Okaka, Oriental Fantasy, Ibong Adarna, Piano Concerto Nos.1,2,3, Ruby, and Song of the Miners. He passed away on August 11, 1991.


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Felipe Padilla de Leon was born on May 1, 1912 in Barrio Papaya(now General Tinio) in Penaranda, Nueva Ecija. He is the son ofJuan de Leon and Natalia Padilla. Felipe de Leon married pianistIluminada Mendoza with whom he had six children. Bayani andFelipe Jr., are two of his children. Bayani is a well-known composer,and Felipe Jr. is a writer and the chairman of the NationalCommission for Culture and the Arts (NCCA).

De Leon’s talent in painting and drawing was discovered duringhis school days and admired by his uncle, peers. People asked himto make illustrations and sketches and was paid for them. When he

was studying at the Nueva Ecija High School, he went on trips with his hometown bandand wrote short pieces for them. He took up Fine Arts at the University of the Philippinesin 1927, but he had to stop schooling in order to make a living. He played the trombonein dance orchestras which performed in cabarets, circuses and bodabil (vaudeville). Then,he worked as an assistant conductor of the Nueva Ecija High School Orchestra where hestarted doing musical arrangements. Later on, he wrote music for the zarzuela.

He decided to study formally and enrolled at the Conservatory of Music, University ofthe Philippines, where he studied under National Artists Col. Antonio Buenaventura andAntonio Molina. He contributed articles to the school paper and vernacular magazines.Later, he wrote music columns for the Manila Times (then known as Manila Tribune)and Taliba. He graduated with a music teacher's diploma, major in conducting in 1939.Much later, he took advanced studies in composition under Vittorio Giannini of theJulliard School of Music in New York, USA. De Leon received many awards, such asComposer of the Year (1949), Manila Music Lovers Society, Musician of the Year (1958),UP Conservatory of Music, and others. He was conferred an honorary degree, doctor ofphilosophy in the humanities, by the University of the Philippines in 1991.

De Leon wrote piano compositions, hymns, marches, art songs, chamber music, symphonicpoems, overtures, band muic, school songs, orchestral works, operas, kundiman, andzarzuelas. He was known as a nationalist composer who expressed the Philippines' culturalidentity through his compositions. Two operas which are considered his masterpiecesare the Noli Me Tangere (1957) and El Filibusterismo (1970). These two operas havebeen staged in the Philippines and abroad. He also wrote a march during the Japaneseregime entitled Tindig, Aking Inang Bayan, and another march Bagong Lipunan duringthe martial law. He wrote the popular Christmas carols Payapang Daigdig (1946), NocheBuena, and Pasko Na Naman, both in 1965. Felipe de Leon received a posthumousaward as National Artist for Music in 1997. He died on December 5, 1992.

FELIPE PADILLA DE LEON SR.(1912 – 1992)National Artist for Music


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LUCIO SAN PEDRO(1913 – 2002)National Artist for Music

Lucio San Pedro was born on February 11, 1913 inAngono,Rizal. Since his elementary days, he started composing. Hestudied the banjo which inspired him to become a seriousmusician. He later pursued his music degree at the Universityof the Philippines and the Juilliard School in New York, USA.Upon returning to the Philippines, he became a professor oftheory and composition at the University of the Philippines’College of Music.

San Pedro is known as a “romantic nationalist.” Heincorporated Philippine folk elements in his compositions

with Western forms and harmony. His chords have a rich expressive tonality, as representedin his well-loved Sa Ugoy ng Duyan, a lullaby melody sung by his mother.

His orchestral compositions are best represented by the Suite Pastorale (1956), a poeticaural description of his hometown Angono, and his nationalistic symphonic poem LahingKayumanggi (1962). Other compositions include songs, pieces for violin, cello, and chorus.His works for the symphonic band was where he was most prolific and productive bothas composer and conductor.

His musical prowess was internationally recognized when he was invited to be a judge atthe prestigious Van Cliburn International Piano Competition in 1980. He was declaredNational Artist for Music in 1991 and passed away on March 31, 2002.

ROSENDO E. SANTOS JR.(1922 – 1994)

R o s e n d o E . S a n t o s J r . was born on September 3, 1922 inCavite City. At age 11, he started composing band marches,instrumental, and vocal scores, as well as music for Catholicmasses.

He studied in Cavite schools and later graduated from the UPConservatory of Music where he eventually became a facultymember. He also pursued a Master of Music degree in theoryand composition from the Catholic University of America inWashington, D.C. After which, he also served on its facultyas well as in West Virginia University and Howard University.


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ALFREDO BUENAVENTURA(1929 – )

Dr. Alfredo Santos Buenaventura, composer, conductor andteacher, was born in Sta. Maria, Bulacan on October 14, 1929.He grew up in a musical environment and became a bandmember in his hometown at a young age. He was drawn byhis fascination with trumpets and trombones and became oneof its arrangers and conductors. He was one of twenty boysopranos of Tiples at Sto. Domingo Church from where hereceived his first significant musical training. At that time, healso wrote his first composition, Danza.

A prolific composer, Buenaventura has composed over 50 major works including fivefull-length operas, operettas, dance dramas, cantatas, symphonies, concertos, ballets,overtures, prelude, fugues, and chamber music. His compositions and other creativeworks have transcended territorial, racial, and language barriers as these have beenperformed abroad by international virtuosi and religious groups. Many of his compositionsare based on Filipino heroes, legends, and epics. He uses native songs, both tribal andfolk, as themes of his music compositions. A number of his compositions are accompaniedby Filipino indigenous instruments.

Some of his major works include the operas Maria Makiling (1961), Diego Silang(1966), Prinsesa Urduha (1969), cantatas Ang Ating Watawat (1965), Pasko ng Barangay(1964), three piano concertos subtitled Celebration, Determination, and Exultation, and

As a UNESCO scholar, Santos was awarded the “Philippine Composer of the Century”after receiving the “Composer of the Year Award” in Manila in 1956 and 1957. He joinedthe faculty at Wilkes University, Pennsylvania in 1968. He performed as timpanist, pianist,and conductor with several orchestral groups. He conducted church choirs in Maryland,New Jersey, Lehman, Huntsville, and Shavertown United Methodist Churches inPennsylvania, USA. He composed the background music for J. Arthur Rank Films atPinewood Studios in London, England, where he worked with British composers MalcolmArnold and Muir Mathieson. Among Santos’ teachers were famous composers AaronCopland, Irving Fine, Humphrey Searle, and conductor Norman Del Mar.

A prolific composer, he had composed several piano concerti, sonatas, symphonies,symphonic poems, five operas in Filipino, numerous band overtures, and more than 200marches. He had also written 50 masses in Latin and 20 in English. He has more than1,000 musical compositions in the library of the University of the Philippines. Santos’last musical work and only ballet composition, Melinda’s Masquerade, was performedin 1995, a year after his death. Santos passed away on November 4, 1994 in Swoyersville,Pennsylvania, USA.


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CIPRIANO “RYAN” CAYABYAB(1954 – )

Ryan Cayabyab is a popular contemporary composer whoalso has classical compositions to his credit, such as Misa,Four Poems for Soprano and Piano, and Te Deum. Hiscompositional style makes much use of syncopation, extendedchords, and chromatic harmony.

Among his numerous compositions are the award-winningKay Ganda ng Ating Musika (1978), as well as the modernzarzuela Alikabok (2003), the opera Spoliarium with librettoby Fides Cuyugan-Asensio, and a variety of choral pieces andsong cycles. He also produced a number of recordings,

including the memorable album One, where he personally sang the unaccompanied songson different tracks to produce 16 voices.

Cayabyab was born on May 4, 1954 in Manila. He obtained his Bachelor of Music degreeat the University of the Philippines’ College of Music. After which, he became a facultymember for Composition at the same University. He also served as the Executive andArtistic Director of the San Miguel Foundation for the Performing Arts, which oversawthe operations and programming of the San Miguel Philharmonic Orchestra and the SanMiguel Master Chorale. At present, he continues to be a much sought-after professor,musical director, composer, arranger, and conductor in the Philippine concert and recordingscenes.

symphonies such as Dakilang Lahi (1971), Gomburza (1981), and Rizal, the GreatMalayan Antagonist (1990). His minor works numbering more than 50 cover mostlyreligious songs and hymns for specific celebrations such as the Sixteenth Centenary ofSt. Augustine, Mass for the 400th Year of the Augustinian Recollect, and the PhilippineMusic Festival. His other creative musical works have been commissioned by the CulturalCenter of the Philippines, Metropolitan Theater, and the National Music Competitionsfor Young Artists (NAMCYA).

Buenaventura’s compositional style rests mainly on his own set of musical ideas, whereinhe creates a combination of contemporary and conventional materials. He keeps hismelodies simple and understandable but with contemporary harmonies that enhance theircomplexity. He became an official organist of the Manila Cathedral in 1960. He becamethe Dean of the College of Music, Centro Escolar University. He is a member of theLeague of Filipino Composers. He received a number of awards in the music industry.He was twice an awardee of the Republic Cultural Heritage Award and the The OutstandingFilipino Award (TOFIL) for Music in 1995.


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SUMMARY

With the European and American influences brought by our colonizers, it was inevitablethat the musical styles of 20th century Western composers found their way into Philippinecompositions.

Francisco Buencamino founded the Centro Escolar de Señoritas, Conservatory of Music.He also created the Buencamino Music Academy in 1930. Nicanor Abelardo was one ofhis students. Expanding his career, Buencamino also ventured into musical direction andscoring, composing music for Sampaguita Pictures, LVN, and Excelsior. He also wroteseveral zarzuelas and kundiman. Francisco Santiago is known as the “Father of theKundiman” and belongs to the “Triumvirate of Filipino Composers.”

Nicanor Abelardo developed a style that combined European romanticism withchromaticism. He belongs to the “Triumvirate of Filipino Composers” together withFrancisco Santiago and Antonio Molina. The Tanghalang Nicanor Abelardo (MainTheater) of the Cultural Center of the Philippines and the Abelardo Hall of the College ofMusic, University of the Philippines are named after him. Antonio Molina came to beknown as the “Father of Philippine Impressionist Music,” while composer Lucio SanPedro integrated indigenous musical forms, conventions, and instruments in his works inthe modern nationalistic style.

Hilarion Rubio was a Filipino composer, music teacher, conductor, and clarinetist. Hisname was closely identified with his works for the orchestra, conductor for opera, ballet,dance recitals, and music for movies. Col. Antonino Buenaventura promoted Philippinemusic by extensively using folk materials in his works. He recorded folk and dance musicaround the country with Ramon Tolentino and National Artist for Dance Francisca ReyesAquino. Buenaventura composed the music and did the notations for the folk dances asresearched by Aquino.

Rodolfo S. Cornejo was considered “the first Filipino composer who received an honorydegree from a government recognized music school in the United States.” He was knownfor his “pianistic and compositional talent” by extemporizing a piano composition at thespur of the moment. Felipe P. de Leon wrote piano compositions, hymns, marches, artsongs, chamber music, symphonic poems, overtures, band muic, school songs, orchestralworks, operas, kundimans and zarsuelas. He was known as a nationalist composer whoexpressed the Philippines' cultural identity through his compositions.

Lucio San Pedro is known as a “romantic nationalist.” He incorporated Philippine folkelements in his compositions with Western forms and harmony. His chords have a richexpressive tonality, as represented in his well-loved Sa Ugoy ng Duyan, a lullaby melodysung by his mother. Rosendo Santos Jr. is listed in the “New Groves Dictionary ofMusic and Musicians.” A prolific composer, his works include concerti, sonatas,symphonies, symphonic poems, five operas in Philippine dialect, numerous band overtures,


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and more than 200 marches. He wrote 50 masses in Latin and 20 in English. He has morethan 1,000 musical compositions in the library of the University of the Philippines.

Alfredo Buenaventura is among the few composers in the Philippines who composedfive full-length operas. He has his own set of ideas about music and composition. Hecreated a combination of contemporary and conventional, kept his melodies simple andunderstandable, but he used contemporary harmonies to suit the intellectuals.Contemporary composer and conductor Ryan Cayabyab spans both popular and classicalworlds with his pop, ballads, operas, zarzuela, orchestral, and choral compositions.

WHAT TO KNOW

1. Discuss the lives and musical contributions of the following 20th century Filipinocomposers:a. Francisco Buencamino Sr. g. Rodolfo Cornejob. Francisco Santiago h. Felipe Padilla de Leon Sr.c. Nicanor Abelardo i. Lucio San Pedrod. Antonio Molina j. Rosendo Santos Jr.e. Hilarion Rubio k. Alfredo Buenaventuraf. Col. Antonino Buenaventura l. Ryan Cayabyab

2. Point out the characteristics of the musical style of the above-mentioned Filipinocomposers.

Composer Characteristics of the Musical Style

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WHAT TO PROCESS

A. Listening Activity

1. Your teacher will play excerpts of recordings of any (one composition) ofthe following works by Filipino song composers:

a. Antonio Molina - Hatinggabi, Misa Antoniana, Grand FestivalMass, Ang Batingaw, Kundiman- Kundangan;String Quartet, Kung sa Iyong Gunita,Pandangguhan, Amihan, Awit ni Maria Clara,Larawan Nitong Pilipina

b. Lucio San Pedro - Sa Ugoy ng Duyan, Suite Pastorale, LahingKayumanggi

c. Ryan Cayabyab - Misa, Four Poems for Soprano and Piano, TeDeum, Kay Ganda ng Ating Musika, LimangDipang Tao, Da Coconut Nut, Alikabok,Spoliarium, Kumukuti-kutitap

d. Col. AntoninoBuenaventura - Minuet, Mindanao Sketches, Divertimento for

Piano and Orchestra, Variations and Fugue,and Greetings, Pandanggo sa Ilaw, Princesang Kumintang, Pandanggo ni Neneng

e. AlfredoBuenaventura - Maria Makiling (1961), Diego Silang(1966),

Prinsesa Urduha (1969); Ang Ating Watawat(1965), Pasko ng Barangay (1964); DakilangLahi (1971), Gomburza (1981), and Rizal, theGreat Malayan Antagonist (1990.

f. Rodolfo Cornejo - A la Juventud Filipina, Bailes de Ayer, Capriceon a Folksong, Cello Sonata, Cello Sonata,Ibong Adarna, Kandingan, Malakas atMaganda Overture, Okaka, Oriental Fantasy,Ibong Adarna, Piano Concerto Nos. 1,2,3,Ruby, Song of the Miners,

g. Hilarion Rubio - Bulaklaken, Dance of the Nymphs Rondo,Florente at Laura, Halik, Danza, AngKonsyerto (ballet), Ang Magsasaka, Bukang

Liwayway, Concertino in C (Marimba andpiano), Filipinas Kong Mahal, Hatulan Mo

Ako, Ginintuang Araw, In a Tropcal Sea,Filipino Youth, Nela, Light, Narra, Mutya ng

Silangan


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2. Listen carefully to each excerpt and recognize the different musical stylesof the composers.

3. Analyze the music. Take note of the elements of music present: rhythm,melody, tempo, dynamics, texture, harmony, form, and timbre.

4. Choose a composition that you like. Write a short reaction paper on it inrelation to its musical elements.

B. Evaluation of Listening Activity“Name the Composer, Title of the Music, Musical Style, and Description”

1. After the above Listening Activity, your teacher will prepare selected excerptsof compositions by Lucio San Pedro, Antonino Buenaventura, AlfredoBuenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino,Hilarion Rubio, Rosendo Santos Jr, Francisco Santiago, Nicanor Abelardo,Felipe Padilla de leon Sr., and Ryan Cyabyab.

2. The class will be divided into four teams, with each team forming a line.3. As your teacher plays a few measures of the first excerpt, the first student

in each line goes to the board and writes the name of the composer. Thesecond student will write the title of the music. The third student will writethe musical style. Then, the fourth student will write a description of themusic in one phrase.

4. The team that writes the correct answers first, scores four (4) points.

h. Rosendo Santos Jr. Melinda’s Masqueradei. Nicanor Abelardo - Nasaan Ka Irog?, Bituing Marikit, Mutya ng

Pasig, Paskong Anong Saya, Cavatina,Kundiman ng Luha, Magbalik Ka Hirang

j. Francisco Santiago- Kundiman (Anak Dalita), Himutok, Pakiusap,Madaling Araw, Sakali Man, Pilipinas Kong

Mahal, Ano Kaya ang Kapalaran?k. Felipe de Leon Sr. - Bulaklak Alitaptap, Bagong Lipunan,

Payapang Daigdig, Pasko na Naman, NocheBuena, Kay Tamis ng Buhay, Sapagkat Mahal

Kital. Francisco Buencamino - Harana, Pandanggo ni Neneng, Collar de

Sampaguita, Dulces las Horas, Mayon(Fantasia de Concierto), My Soul’s Lament,Larawan, Mazurka, Boholana, Mi Bandera,Princesa ng Kumintang, Maligayang Bati,Ang Bukang Liwayway, Pandanggo ni Neneng,Ang Bagong Balitaw, Himig ng Nayon,Damdamin (Romance), and Pizzicato Caprice.


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WHAT TO UNDERSTAND: SOLO, DUET, TRIO, QUARTET, QUINTET

1. Compose a simple song. Write the lyrics and the music.2. You may adapt a certain melody from the compositions of the traditional

composers that you like. Write the new lyrics to fit the music.3. You may include an accompaniment such as guitar, flute, recorder, keyboard,

drums, tambourine, maracas or improvise musical instruments from theenvironment.

4. You may sing it a capella (without accompaniment) or with accompaniment.Perform your composition or your song adaptation in class.

5. What motivated you to compose or adapt the music of that song?

WHAT TO PERFORM

A. Singing Activity

Individual or in groups: Sing any of the compositions of Lucio San Pedro, Col.Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, RodolfoCornejo, Francisco Buencamino Sr., Hilarion Rubio, Rosendo Santos Jr., NicanorAbelardo, Francisco Santiago, Felipe Padilla de Leon, and Ryan Cayabyab.

If individual activity, choose one composition that you will perform.If group activity, do the following procedure:

1. Your teacher will divide the class into four groups.2. Your group will choose any traditional composer. Research further on his

compositions, if needed.3. Select one composition that you like best or you are familiar with, or you

may learn a new song. Choose your group’s musical director.4. Sing the song in class with your groupmates interpreting the music with

appropriate pitch, rhythm, style, timbre, dynamics, melody, texture, harmony,and expression.

5. You may add instrumental accompaniment like guitar, flute, recorder,maracas, tambourine, or keyboard.

5. The same procedure goes on until all the students in the line have had theirturn.

6. One student will be assigned as the scorer. The team with the highest scoreis the winner. In case of a tie, the first team to finish is the winner.

7. The scorer will announce the winners and then asks them this question:What was the most significant thing that you have learned from this activity?


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Evaluation of Singing Activity

Rating Scale: 5 - Very Good 2 - Poor4 - Good 1 - Needs Follow up3 - Fair

Rating the other performers (if individual activity):

1. How well did the performers express the messageof the songs? __________

2. How well did the performers pronouncethe lyrics of the songs? __________

3. How well did the performers sing based on musicalelements and style:a. pitch __________b. rhythm __________c. style __________d. expression __________e. dynamics __________f. melody __________g. timbre __________h. texture __________i. harmony __________

Rating the group members (if group activity):

1. How well did the group members express themessage of the songs? __________

2. How well did the group members sing? __________3. How well did the group members participate? __________

6. You may bring a minus one music in CD, or from your mobile phone or onUSB.

7. You may improvise simple vocal or instrumental accompaniment/s to thesongs you have chosen.

8. You may explore ways of creating sounds as instrumental accompanimentto the song from a variety of sources or from the environment.

9. Your teacher will choose the “Best Singing Group” based on musicianship(musical elements) 60%, presentation impact and showmanship 20%,ensemble coordination and organization 20%.

10. All students will evaluate by rating each other’s performance and their ownperformance.


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B. Creating and Performing Activities: Musical

1. Your teacher will divide the class into four groups. Each group choose atraditional composer that was discussed in class. Research further on hislife and works.

2. Create a contemporary musical on the life of your chosen composer.Incorporate some of his compositions (melodic fragments) in the musicaland story.

3. Improvise simple vocal or instrumental accompaniments (example: guitar,keyboard, percussion) for the songs that you have chosen.

4. Explore ways of creating sounds as accompaniment on a variety of sourcesor from the environment for the creation of the musical.

5. Perform the musical in class. Your teacher will choose the “Best GroupMusical Performance” based on musicianship (musical elements) 50%,audience impact and showmanship 20%, ensemble coordination andorganization 20%, stage discipline or deportment 10%.

Evaluation of Creating and Performing Activities: Musical


Rating the other performers / groups:

1. How well did the performers express themessage of the musical? __________

2. How well did the performers act in the musicalbased on the following:a. voice quality __________b. expression __________c. stage presence __________d. audience impact __________e. mastery of the musical __________g. musical elements (rhythm, melody, dynamics) __________h. technique __________i. showmanship __________


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Rating your own group members:

1. How well did your group members express themessage of the musical? __________

2. How well did your group members perform? __________3. How well did your group members coordinate with

each other during the performance in the ensemble? __________ 4. How well did your group organize yourselves in

the ensemble? __________

Rating myself:

1. How well did I express the message of the musical? __________2. How well did I perform with my group? __________3. How well did I coordinate with the other members

during the performance in the ensemble? __________ 4. How well did I cooperate in the ensemble? __________


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NEW MUSIC COMPOSERS

Composers of experimental New Music in the Philippines include Jose Maceda,Lucrecia Kasilag, Ramon Santos, Manuel Maramba, Jerry Dadap, Francisco

Feliciano, Josefino “Chino” Toledo, and Jonas Baes. They retained the Filipino spiritby incorporating traditional music forms as well as indigenous rhythms and instrumentsin their compositions.

JOSE MACEDA(1917 – 2004)National Artist for Music

Jose Maceda was born in Manila on January 17, 1917. Hestarted his music studies at the Academy of Music in Manila.Later, he went to Paris to study with Alfred Cortot. Heeventually pursued advanced studies in the USA with E. RobertSchmitz and earned a Doctorate Degree in Ethnomusicologyfrom UCLA.

Maceda’s musical style changed when he encountered the musicof the indigenous tribes of Mindoro in 1953. He then embarkedon his life’s work, dedicated to the understanding andpreservation of Filipino traditional music. His extensive researchand fieldwork resulted in an immense collection of recorded

music taken from the remote mountain villages and far-flung inland communities in thePhilippines. Although his compositional approach tended to be Western in style, Macedacombined sounds of the environment with ethnic instruments. His compositions wereusually for large groups of musicians. Among his works are Ugma-Ugma (1963), a workfor voice and ethnic instruments; Agungan (1975), a piece for six gong families; Pagsamba(1968), a musical ritual for a circular auditorium using several ethnic percussioninstruments; Cassettes 100 (1971), a composition for 100 cassette tape recorders; andUgnayan (1974), an ethnic piece played at the same time over several radio stations.

Considered as the first Filipino avant garde composer, he also worked at a recordingstudio in Paris in 1958 which specialized in musique concrète. During this period, he metPierre Boulez, Karlheinz Stockhausen, and Iannis Xenakis, considered the musical giantsof this musical genre.Maceda served as Professor of Piano and Musicology at the Collegeof Music, University of the Philippines from 1952 to 1990. He was appointed ExecutiveDirector of its Center for Ethnomusicology in 1997. In the same year, he was conferredthe honor of National Artist for Music. He passed away in Manila on May 5, 2004.


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UDLOT-UDLOT (Excerpt)Jose Maceda

LUCRECIA R. KASILAG(1918 – 2008)National Artist for Music

Lucrecia R. Kasilag was born in San Fernando, LaUnion on August 31, 1918. She went to Manila topursue a degree in Music at the Philippine Women’sUniversity. She then obtained her Master’s degree fromthe Eastman School of Music in New York, USA.

Her compositions were influenced by her professorsIrving McHose and Wayne Barlow. Kasilag’scompositions demonstrated a fusion of Eastern andWestern styles in using instruments, melody, harmony,and rhythm. She is particularlyknown for incorporatingindigenous Filipino instruments into orchestralproductions.


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DIVERTISSEMENT (Excerpt)Lucrecia R. Kasilag

Edited

Among Kasilag’s many compositions are Toccata for Percussion and Winds (1959),composed for indigenous Muslim instruments and Western instruments; The Legend ofthe Sarimanok (1963), composed for chamber orchestra and Philippine ethnic instruments;Divertissement and Concertante (1960), compositions for piano and orchestra combiningWestern and Eastern forms, harmonies, and intervals; and Dularawan (1969), a musicaldrama combining a dance solo with a chorus and an ethnic orchestra. Her other worksinclude compositions for piano, instrumental ensemble, and chorus.

She was equally admired in the academe as a former Dean of the College of Music andFine Arts, Philippine Women’s University. In the cultural field, she was the President ofthe Cultural Center of the Philippines. In the dance circles, she was the President andMusic Director of the Bayanihan Dance Company. She also served as Chairman of theAsian Composers’ League and the League of Filipino Composers.

She is credited for having written more than 200 musical works, ranging from folksongsto opera to orchestral works, which she continued to compose for the rest of her life. Forall these outstanding achievements, she was conferred the title of National Artist forMusic in 1989. She passed away in Manila in August 2008.


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RAMON P. SANTOS(1941 – )National Artist for Music

Ramon P. Santos was born in Pasig on February 25,1941. He completed his Bachelor of Music degree atthe College of Music, University of the Philippines.He finished his Master of Music degree at IndianaUniversity, USA. He received his Doctor ofPhilosophy degree in Composition at the StateUniversity of New York, USA. He had also pursuedgraduate studies in Ethnomusicology at the Universityof Illinois, USA.

Santos’ compositional style features chromaticism, music seria, and electronic components,combined with indigenous Philippine music elements. His works include Ding Ding NgaDiyawa, Nabasag na Banga at Iba’t iba pang Pinag-ugpong-ugpong na Pananalita saWikang Pilipino para sa Labing Anim na Tinig, and L’BAD. He had done extensiveresearch on the gamelan music of Java as well as the traditional music of the Ibaloi,Maranao, Mansaka, Bontoc, Yakan, and Boholano tribes in the Philippines.

Santos held the position of Dean of the UP College of Music from 1978 to 1988. Atpresent, he is the head of the UP Center of Ethnomusicology and was appointed ProfessorEmeritus of the same institution. He was conferred the title of National Artist for Musicin 2014.

L’BADRamon P. Santos


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FR. MANUEL MARAMBA, OSB(1936 – )

Fr. Manuel Perez Maramba, OSB is one of the mostaccomplished musicians and liturgists in the Philippines emergingduring the second half of the 20th century. He was born on July4, 1936 in Pangasinan.

When he was 11 years old, he gave his first public performanceat the Bamboo Organ in Las Piñas. He became the officialaccompanist of the Las Piñas Boys Choir at 14 years old. Hewas the youngest finalist to participate in the National MusicCompetitions for Young Artists (NAMCYA) piano competition

in 1978. Immediately after high school, he was sent on full scholarship to the Universityfor Music and Performing Arts in Graz, Austria. There, he earned with distinction thedegree of Master of Arts in Church Music. He also received a Teacher’s Certificate inOrgan. His musical career led him to the United States, where he performed at CarnegieHall at the age of 19.

After finishing his Bachelor of Music degree major in Piano at the Conservatory of Music,University of Sto. Tomas (UST), Fr. Maramba pursued his studies abroad where hereceived his Master of Music degree, Artist Diploma, Bachelor of Music degree inComposition, and Teacher’s Certificate in Theory from the Peabody Conservatory ofJohns Hopkins University, USA. He received a Master’s degree of Musical Arts inPerformance from Yale University’s School of Music, USA. He also studied sacred musicat the Kirchenmusikschule in Regensburg, Germany. He took further lessons in piano,organ, and the harpsichord at the Hochschule fur Musik in Vienna, Austria.

Fr Maramba is a monk at Our Lady of Montserrat Abbey in Manila. He was the formerdirector of the Paul VI Institute of Liturgy in Malaybalay, Bukidnon during which hecomposed the music for the papal mass. A prominent canon lawyer, he served on theNational Appellate Matrimonial Tribunal. He was also a faculty member at the USTConservatory of Music, St. Scholatica’s College, and Sta. Isabel College.

He has composed operas like Aba!, Sto. Nino, La Naval, and Lord Takayama Ukon. Hisother major compositions are the music for Awakening which was commissioned byBallet Philippines and music for Philippine Ballet Theater’s production of Seven Mansions;three masses – Papal Mass for World Youth Day, 1995; Mass in Honor of St. LorenzoRuiz, and the Mass in Honor of the Sto. Nino; three cantatas – St. Lorenzo Ruiz, St.Benedict, and St. Scholastica; Three Psalms; A hymn in honor of St. Lorenzo Ruiz, andthe official hymn of the 1996 National Eucharistic Congress; a zarzuela entitled AngSarswela sa San Salvador, and three orchestral works – Pugad Lawin, The Virgin ofNaval, and Transfiguration.


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JERRY DADAP(1935 – )

Jerry Dadap, the first Filipino composer to conduct his ownworks at the Carnegie Recital Hall in New York City, was bornon November 5, 1935 in Hinunangan, Southern Leyte. Heearned his Bachelor’s Degree in Music, major in Compositionat the Conservatory of Music, University of the Philippines(UP) in 1964.

In 1968, he went to the USA on a study-observation grantfrom the Music Promotion Foundation of the Philippines. Whilethere, he received a full scholarship grant from the UnitedPresbyterian Church of USA from 1969 to 1971. During that

time, he obtained his Postgraduate Diploma in Composition at the Mannes College ofMusic in New York, USA. Upon his return to the Philippines in 1971, he taughtcomposition, ear training, and orchestration at the Sta. Isabel College of Music in Manila.

Dadap started composing when he was still studying at Silliman University in the southerncity of Dumaguete. Among his numerous compositions are The Passionate and the Wild(1960), Mangamuyo I (1976) and Mangamuyo II (1977), The Redemption (1974), FiveLittle Fingers (1975), Tubig ng Buhay (1986), Dakilang Pagpapatawad (1986), AndresBonifacio, Ang Dakilang Anak Pawis, Ang Pag-ibig ng Diyos, Balitaw Nos. 1-7, Lam-ang Epic, Lorenzo Ruiz, Chorale Symphonic Ode Nos. 1 and 2, Aniway at Tomaneg,Song Cycle, Nos. 1-4, Choral Cycle Nos. 1-3, and Diyos Ama ay Purihin. His majorworks as composer-conductor were performed at the concert “LAHI” that featured worksby local major composers.

FRANCISCO F. FELICIANO(1942 – 2014)National Artist for Music

Francisco F. Feliciano, avant garde composer and conductorfor band and chorus, was born on February 19, 1942 inMorong, Rizal. His first exposure to music was with the MorrizBand, a brass ensemble established and owned by hisfather, Maximiano Feliciano. He started his music career inthe high school band where he had played the cymbals and theclarinet.

Feliciano obtained his Teacher’s Diploma in Composition andConducting at the Conservatory of Music, University of thePhilippines (UP) in 1964, and a Bachelor of Music degree


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JOSEFINO TOLEDO(1959 – )

Josefino “Chino” Toledo is a recognized figure in the Asiancontemporary art music scene. He received his Master of Musicdegree from the Cleveland Institute of Music, USA. Among hisawards are the following: “Ten Outstanding Young Men”(TOYM); “International Award for the Arts”; “Civitella RanieriFellowship in Italy”; and the “Chancellor Awards for OutstandingMusical Works,” University of the Philippines.

major in Composition in 1967. Subsequent degrees include a Master in Music Compositionfrom the University of the Philippines, a Diploma in Music Composition from theHochschule der Kunst in Berlin, Germany, and a Master of Musical Arts and Doctoratein Music Composition from Yale University School of Music, USA. He studiedcomposition with Jacob Druckman, Isang Yun, H.W. Zimmerman and Krystof Penderecki.

Feliciano became the choir conductor and instructor in music fundamentals at St. AndrewsSeminary in Quezon City. He became an instructor at the UP Conservatory of Music andconducted the UP Symphony Orchestra. He was the musical director of the movie AngBukas ay Atin and provided orchestration for a number of musical productions includingMy Fair Lady and various Philippine productions. Feliciano composed more than 30major works, including the musical dramas Sikhay sa Kabila ng Paalam, Ashen Wings,and the monumental three-act opera La Loba Negra (1984). He also wrote music for theorchestra such as Prelude and Toccata (1973), Fragments (1976), Life of Wartime FilipinoHero Jose Abad Santos, and the ballet Yerma (1982).

Among his other large works are Transfiguration and Missa Mysterium for orchestraand large chorus. He has composed several prize winning works such as Pokpok Alimpako,(a favorite piece of choirs in international choral competitions), Salimbayan, Umiinog,and Walang Tinag (Perpetuum I mobile) which was premiered at the ISCM Festival inNew York City, USA. His latest choral works, Pamugún and Restless, have been performedby Filipino choirs in various choral festivals in Europe. In 1977, he was given a John D.Rockefeller III Award in Music Composition.

Feliciano composed hundreds of liturgical pieces, mass settings, hymns, and songs forworship. He founded the Asian Institute for Liturgy and Music (AILM) in Quezon City,a school for church musicians, and supervised the publication of a new Asian hymnalcontaining mostly works of Asian composers. He was conferred the title of NationalArtist for Music in 2014. He died on September 19, 2014.


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Toledo served at the Pangkat Kawayan (a bamboo orchestra) from 1966 to 1979 and thePhilippine Youth Orchestra (PYO) in 1977-1978. A principal percussionist of the ManilaSymphony Orchestra in 1980-1983, he later became music director and principal conductorin 1985. He attended the 1984 International Computer Music Conference in France. Hewas the country’s representative to the 1980 Young Composers Conference in HongKong,the ASEAN Composers Forum on Traditional Music in 1989 (Philippines) and 1993(Singapore), the 1995 ASEAN Composers Workshop (Indonesia), and the 1996International Composers Workshop (Gaudeamus, Amsterdam). He was also a fellow atthe 1990 Pacific Music Festival and Pacific Composers Conference (Japan).

Toledo is a Music Professor at the College of Music, University of the Philippines (UP).He is the founding music director of the Metro Manila Community Orchestra, the UPFestival Orchestra, and the Crosswave Symphony Orchestra. He is noted for conductingthe premiere performances of the works of Filipino composers as well as other Asiancomposers. His own music, including works for chorus, orchestra, chamber ensemble,solo instrument, and music theater have been performed by well-known internationalartists and ensembles.

AUIT(Excerpt)

Josefino Toledo


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JONAS BAES(1961 – )

Jonas Baes was born in Los Baños, Laguna in 1961. Heenrolled at the College of Music, University of the Philippines(UP) in 1977 as a student of Ramon P. Santos.While at UP,he encountered the works of Jose Maceda and attended severalseminar-workshops of visiting lecturers. He researched onthe music of the Iraya-Mangyan people of Mindoro, whichlater became the inspiration for his compositions. From 1992-1994, he studied with Mathias Spahlinger in Freiburg,Germany.

Baes is known for writing music utilizing unorthodox musical instruments such as bean-pod rattles, leaves, iron-nail chimes, and various Asian instruments such as bambooscrapers, bamboo flutes, and vocal music using Asian vocal techniques. His early worksin the 1980s were influenced by Maceda in the use of large numbers of performers.

In the 1990s, he experimented with various methods by which the audience becameintegral in the performance. It was also typical for social theory to influence the work ofBaes who has made a mark on contemporary music and cultural politics in the Asianregion.

Some of Baes’ musical compositions include: Imagined Community, after BenedictAnderson for four bamboo scrapers, bamui trail caller, sarunai for oboe, khaen formouth organ, and about a hundred iron nail chimes distributed among the audience;1997/2001; WALA (Nothingness) for seven or hundreds of men’s voices 1997/2001;DALUY (Flow)interval music for five animator-percussionists and about a hundred birdwhistles distributed among the audience, 1994; IBO-IBON (birdwoman) for dancerwearing small bells, two large wind chimes passed around the audience, four animator-callers, and iron nail chimes played by the audience (1996); SALAYSAY, for solo voice,three percussionists, and pairs of pebbles distributed among the audience; PATANGIS-BUWAYA (and the crocodile weeps) for four sub-contrabass recorders or any blowninstruments 2003; PANTAWAG (music for calling people) for 15 bamboo scrapers, 15palm leaves, and 20 muffled “forest” voices 1981; and BASBASAN (blessing) for 20bean-pod rattles and 20 muffled men’s voices 1983.

Baes received the Gawad Chancellor para sa Pinakamakusay na Mananaliksik (Hall ofFame, 2003) from the University of the Philippines. He is currently an Associate Professorin Composition and Theory at the UP College of Music as well as an ethnomusicologist,cultural activist, and writer.


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SUMMARY

Jose Maceda’s musical style shifted when he encountered the music of the indigenoustribes of Mindoro in 1953. He then embarked on his life’s work, dedicated to theunderstanding and preservation of Filipino traditional music. His extensive research andfieldwork resulted in an immense collection of recorded music taken from the remotemountain villages and far-flung inland communities in the Philippines.

Lucrecia Kasilag’s compositional style demonstrated a fusion of Eastern and Westernstyles in using instruments, melody, harmony, and rhythm. She is particularly known forincorporating indigenous Filipino instruments into orchestral productions.

Ramon Santos’ compositional style features chromaticism, music seria, and electroniccomponents, combined with indigenous Philippine music elements.

Fr. Manuel Maramba OSB, one of the most accomplished musicians in the Philippines,is best known as a liturgical composer whose body of works lean towards religiousfigures and events. His versatility as a pianist, composer, arranger, theorist, and teacheris widely recognized in the local musical scene.

Jerry Dadap, the first Filipino composer to conduct his own works at the CarnegieRecital Hall in New York City,

Francisco Feliciano is one of Asia’s leading figures in liturgical music, having composedhundreds of liturgical pieces, mass settings, hymns, and songs for worship. At the AsianInstitute for Liturgy and Music, a school for church musicians which he founded, hesupervised the publication of a new Asian hymnal containing mostly works of Asiancomposers.

Josefino Toledo is the founding music director of the Metro Manila Community Orchestra,the UP Festival Orchestra, and the Crosswave Symphony Orchestra. He is noted forconducting the premiere performances of the works of Filipino composers as well asother Asian composers. His own music has been performed by well-known internationalartists and ensembles.

Jonas Baes, Associate Professor in Composition and Theory, ethnomusicologist, culturalactivist, and writer, has explored innovative territories and unusual musical treatments inhis works.


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WHAT TO KNOW

1. Research and describe the characteristics of New Music.

2. Discuss the lives and works of following 20th century Filipino composers andperformers:

a. Jose Maceda e. Jerry Dadapb. Lucrecia Kasilag f. Francisco Felicianoc. Ramon Santos g. Josefino Toledod. Fr. Manuel Maramba, OSB h. Jonas Baes

3. Point out the characteristics of the musical style of the above-mentioned Filipinocomposers.

Composer Characteristics of the Musical Style

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WHAT TO PROCESS


1. Your teacher will play excerpts of recordings of any (one composition) ofthe following works by Filipino new music composers:

a. Jose Maceda - Ugma-Ugma; Agungan ; Pagsamba; Ugnayan; UdlotUdlot

b. Lucrecia Kasilag - Toccata for Percucssion and Winds; The Legendof the Sarimanok; Divertissement and Concertante; Dularawan

c. Josefino Toledo - 2nd Og-og; Abe; Ako ang Daigdig; Alitaptap; Aliw-iw; Awiting Bayan; Barasyon; Asia; Kah-non; Humigit Kumulang;Lima; Mi-sa; Missa de gallo; Oyog-Oyog; Musika para sa; Pasyonat Buhay; Pompyang; Pintigan; Pilipino Komiks; Sigaw; Tatluhan;Auit, Ub-og; Ug-nay; Tula-li

d. Francisco Feliciano - Sikhay sa Kabila ng Paalam; Ashen Wings;La Loba Negra; Prelude and Toccata ; Fragments; Yerma; The lifeof wartime Filipino hero, Jose Abad Santos; Transfiguration; MissaMysterium; Pokpok Alimpako; Salimbayan; Umiinog, Walang Tinag;Pamugún and Restless

e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I) andMangamuyo II; The Redemption; Five Little Fingers; Tubig ngBuhay; Dakilang Pagpapatawad; Andres Bonifacio, Ang DakilangAnak Pawis; Ang Pag-ibig ng Diyos; Balitaw Nos. 1-7; Lam-angEpic; Lorenzo Ruiz; Chorale Symphonic Ode Nos. 1 and 2; Aniwayat Tomaneg; Song Cycle, Nos. 1-4; Choral Cycle Nos. 1-3; DiyosAma ay Purihin; Lam-ang Epic; Mangamuyo I and II; Five LittleFingers; Tubig ng Buhay; The Redemption.

f. Fr. Manuel Maramba - Aba!, Sto. Nino; La Naval; Lord TakayamaUkon; Awakening ; Seven Mansions; Papal Mass for World YouthDay, 1995; Mass in Honor of St. Lorenzo Ruiz; Mass in Honor of theSto. Nino; cantatas St. Lorenzo Ruiz, St. Benedict, and St. Scholastica;Three Psalms—A hymn in honor of St. Lorenzo Ruiz, and the officialhymn of the 1996 National Eucharistic Congress; Ang Sarswela saSan Salvador; Pugad Lawin; The Virgin of Naval; andTransfiguration.


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g. Ramon Santos - Ding Ding ng a Di ya wa ; Nab as ag n a B an gaa t Ib a’t i ba p an g P in ag - ug po ng -u g po ng n a Pananalitasa Wikang Pilipino para sa labing anim na tinig, and L’BAD

h. Jonas Baes - WALA (Nothingness); DALUY (flow); IBO-IBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA ; PANTAWAG ;BASBASAN (Blessing).

2. Listen carefully to each excerpt and be able to recognize the different musicalelements and styles of the composers.

3. Analyze the music focusing on the elements of music present, such as rhythm,melody, tempo and dynamics, texture and harmony, form, and timbre.

4. Choose a composition that you like. Write a reaction paper on it


1. After the above ListeningActivity, your teacher will prepare selected excerptsof compositions by the following: Josefino Toledo, Ramon Santos, JoseMaceda, Fr. Manuel Maramba, Lucrecia Kasilag, Francisco Feliciano, JerryDadap, and Jonas Baes.

2. The class will be divided into four teams, with each team forming a line.

3. As your teacher plays a few measures of the first excerpt, the first studentin each line goes to the board and writes the name of the composer. Thesecond student will write the title of the music. The third student will writethe musical style. Then, the fourth student will write a description of themusic in one phrase.

4. The team that writes the correct answers first, scores four (4) points.

5. The same procedure goes on until all the students in the line have had theirturn.

6. One student will be assigned as the scorer. The team with the highest scoreis the winner. In case of a tie, the first team to finish is the winner.

7. The scorer will announce the winners and then asks them this question:What was the most significant thing that you have learned from this activity?


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1. Your teacher will divide you into groups.2. Compose a simple song incorporating indigenous music and folksongs or

you may adapt a certain melody from the compositions of the New Musiccomposers that you like. Write the new lyrics to fit the music.

3. You may include an accompaniment or improvised musical instruments.4. Sing it a capella (without accompaniment) or with accompaniment.5. Perform your composition or song adaptation in class.6. Choreograph dance movements by interpreting the music of the new

composer that you have chosen, if needed.7. Perform in class.8. Write a reaction papaer on “How did you feel in our incorporating our

indigenous music to your compositions or song adaptations.” Submit it inclass next meeting.

WHAT TO PERFORM

Creating and Performing Activities: Musical

1. Your teacher will divide the class into four groups. Each group choose atraditional composer that was discussed in class. Research further on hislife and works.


3. Improvise simple vocal or instrumental accompaniments (example: guitar,keyboard, percussion) to the songs that you have chosen.




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2. How well did the performers sing and act inthe musical based on the following:a. voice quality __________b. expression __________c. stage presence __________d. audience impact __________e. mastery of the musical __________f. pitch __________g. rhythm __________h. style __________i. acting __________

Rating your own group members:

1. How well did your group members express themessage of the musical? __________

2. How well did your group members perform? __________3. How well did your group members participate? __________

Rating myself:

1. How well did I express the message of the musical? __________2. How well did I perform with my group? __________3. How well did I coordinate with the other members during the performance

in the ensemble? __________ 4. How well did I cooperate in the ensemble? __________


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SONG COMPOSERS

The 20th century Filipino song composers/lyricists include Levi Celerio, Constanciode Guzman, Mike Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco,

Angel Peña, Leopoldo Silos Sr., Santiago Suarez. Together, they had produced amemorable output of traditional Filipino love songs, music for the movies, and materialsfor contemporary arrangements and concert repertoire.

LEVI CELERIO(1910 – 2002)National Artist for Literature and Music

Prolific lyricist and composer Levi Celerio was namedNational Artist for Music and Literature in 1997. Also aviolinist, he had written the lyrics for over 4,000 songs inhis lifetime, including many for film. A great number ofkundimans and Filipino love songs have lyrics written byhim, most notable of which are Dahil sa Iyo, Buhat, andAng Pasko ay Sumapit.

Celerio was known for creating musicwith a mouth-blown leaf

Celerio was born in Tondo on April 30, 1910. He studied at the Academy of Music inManila under a scholarship. Later, he went on to join the Manila Symphony Orchestra.Aside from writing his own lyrics, he also translated and re-wrote the lyrics of folksongsto traditional melodies like Maliwanag Na Buwan from Ilocos, Ako ay May Singsingfrom Pampanga, and Alibangbang from the Visayas.

His achievements include a citation in the Guinness Book of World Records for being theonly person to make music with a mouth-blown leaf. He will forever be rememberedthrough his lyrics for songs such as Ang Pipit (music by Lucio D. San Pedro); BagongPagsilang (music by Felipe Padilla de Leon); Sa Ugoy ng Duyan (music by Lucio D. SanPedro); Misa de Gallo (music by J. Balita); Itik-itik (folk song); Tinikling (folk song),among others. Celerio passed away on April 2, 2002.


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CONSTANCIO DE GUZMAN(1903 – 1982)

Constancio Canseco de Guzman was born on November 11,1903 in Guiguinto, Bulacan. He grew up in Manila where hestudied piano and composition under Nicanor Abelardo. At theprodding of his father, he went to law school but switched topursue and finish a BS Commerce degree at Jose Rizal Collegein 1928. He passed the certified public accountants (CPA) boardexaminations in 1932. After he took the CPA board exam, hestarted working for the movies.

Acknowledged as the “Dean of Filipino Movie Composers andMusical Directors,” De Guzman became the music director ofmovie production companies like Sampaguita, LVN, Royal,

Excelsior, Lea, and Tagalog Ilang-Ilang Productions. His “unexpected” hit music,Panaginip, paved the way for him to record hundreds of songs, principally under Villarand Columbia Records.

In 1948, his song Ang Bayan Ko and Kung Kita’y Kapiling won the gold medal at theParis International Fair. Bayan Ko was later adopted as the symbolic song of the PeoplePower Movement of 1986. The same song won for him the Awit Award for Best FilipinoLyricist. Some of De Guzman’s notable compositions include Babalik Ka Rin, Ang TangiKong Pag-ibig, Birheng Walang Dambana, Maalaala Mo Kaya, and Sa Piling Mo. DeGuzman passed away on August 16, 1982.

MIGUEL “MIKE” VELARDE JR.(1913 – 1986)

Miguel “Mike” Guison Velarde Jr, composer, conductor, movie actor, and musicaldirector was born in Manila on October 23, 1913 as the second of two children of Dr.Miguel Velarde, Sr. and Dolores Guison. His family moved to Zamboanga when he wasonly one year old and where he spent the succeeding eighteen years of his life. His exposureto the unaffected and unpretentious environment of Basilan and Zamboanga had influencedhis creative imagination, mainly nurtured by his mother who became his first music teacherin piano and violin when he was six years old.

Velarde studied at the Zamboanga Normal School, where he became a member of theschool orchestra and graduated as valedictorian. He then went to Manila to pursuemedicine at the University of the Philippines, but later realized that it was music that hetruly loved. He learned the basics of harmony and composition from Antonio Molinaand Ariston Avelino as he further deepened his musical knowledge through self-study.


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Later, when his father however objected to his plans to pursue a music career, he went onto support himself as a bus conductor to realize his dream. He later got a job at a radiostation where he was featured as singer and jazz composer in its morning and eveningprograms. He also opened a jazz school and became song editor for the Philippines FreePress.

Velarde eventually went into writing Tagalog songs, composing the song Ugoy-UgoyBlues which opened opportunities for him in the movies. He had a jazz band known as“Mike Velarde’s Jazztocrats.” He became editor of the Literary Song Movie Magazine.

Velarde composed musical scores for Sampaguita Films’ movie productions and managedits advertising department. Among his most important works were Luksang Tagumpay,which received the FAMAS (Filipino Movie Arts and Sciences) Award for Best Picture(1960) and for which he wrote its story and screenplay, and Alaala Kita for Best Director(1961). He attributes substantive influence from American composer and songwritersIrving Berlin and Cole Porter.

In subsequent years, Velarde created his own style as he composed highly melodious andromantic songs such as Ikaw, Lahat ng Araw, Habang Buhay, Minamahal Kita , Ikaw ayAkin, and Dahil Sa Iyo. In 1970, he won the Best Conductor award at the First InternationalPopular Song Contest in Japan with his composition As Long as Forever. He receivedthe Cultural Achievement Award in Popular Music from the Philippine GovernmentCultural Association in 1975 and the Gawad CCP Para Sa Sining in 1986. His othercompositions include Buhat, Ikaw, Bituing Marikit, Minamahal Kita, Dating Sumpaan,Dalisay, Eternally Yours, and Gabi at Araw. Velarde passed away in 1986.

SANTIAGO SUAREZ(1901 – 1964)

Santiago Suarez was born in Sampaloc, Manila. He learned how to play the piano fromhis grandmother who was also a competent harpist, while his grandfather played theflute. He attended the Conservatory of Music, University of the Philippines and the Ateneode Manila in Intramuros. He took private music lessons from Caetano Jacobe, PedroFloriaga, and Nicanor Abelardo.

Suarez’s compositions are a mixture of the soulful kundiman style and the lively strainsof the countryside. The melodies are tonal and catchy, while the rhythms follow theregular meter with minimal tempo changes. His harmonies follow the traditional classicalprogression, making his compositions easy to understand without the complexities ofform and structure. Some of his works are quite popular and heard even with today’sclassical singers, pop singers, and choral groups. They include the following: Ligaya Ko,Pandanggo ni Neneng, Dungawin mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libisng Nayon, Harana, Kataka-taka, Labandera Ko, Lakambini, Kamia, Ikaw ang Buhay


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Ko!, Kay Lungkot nitong Hating-Gabi, and Mutya Niyaring Puso. Suarez passed awayin 1964.

RESTITUTO “RESTIE” UMALI(1916 – 1998)

Restituto Aquino Umali was born in Paco, Manila on June 16, 1916. His early exposureto music was due to the influence of his father who taught him violin as well as hisexposure to the regular family rondalla. He was also taught solfeggio and score readingat the Mapa High School where he became an active member of the school glee club andorchestra.

Umali played the E-flat horn, trombone, and tuba when he was part of the UST (Universityof Santo Tomas) Band. He also taught choral arranging and orchestration at the USTConservatory of Music. He majored in Composition and Conducting at the Conservatoryof Music, University of the Philippines (UP) and Commerce at the Jose Rizal College.He even passed an electrician’s course at the Philippine School of Arts and Trades beforeembarking on a rewarding career as musical scorer for movies.

During World War II, Umali took lessons in harmony from Felipe Padilla de Leon. Shortlyafter the war, he performed with the Manila Symphony Orchestra. He continued hisstudies in composition and conducting even while teaching at the UP Conservatory ofMusic. He was under the tutelage of noted composers such as Lucrecia Kasilag, AntonioBuenaventura, and Ramon Tapales.

Umali arranged the Philippine national anthem and the local classic Kataka-taka for theBoston Pops Orchestra when it performed for the Philippine Independence Night inBoston in 1972. He composed approximately 120 movie theme songs and more than250 scores for movies. His musical scoring career was capped by a Universal Pictures’production of No Man Is An Island starred by Jeffrey Hunter and Barbara Perez. Hismusical scores for the movies Sa Bawat Pintig ng Puso (1964), Pinagbuklod ng Langit(1969), Mga Anghel na Walang Langit (1970), and Ang Alamat (1972) won for him“Best Musical Score” honors at the Filipino Academy of Movies Arts and Sciences(FAMAS Awards). He also garnered the “Best Music Awards” for Bitter-Sweet at the1969 Manila Film Festival and Ang Agila at Ang Araw at the 1973 Olongapo Film Festival.

Among Umali’s most popular songs are Saan Ka Man Naroroon, Alaala ng Lumipas,Ang Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di Ka Nag-iisa, and Paano Kita Lilimutin.He had arranged the performance of Maestro Federico Elizalde’s Manila Little Symphonyaired on radio stations DZRH and DZPI, apart from his stint as musical director fofSampaguita Pictures.


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BAYAN KO (Excerpt)Constancio de Guzman, music / Corazon de Jesus, lyrics

DAHIL SA IYO (Excerpt)Mike Velarde Jr., music / Dominador Santiago, lyrics

/

BAKYA MO NENENG (Excerpt)Santiago Suarez

SAAN KA MAN NAROROON (Excerpt)Restie Umali, music / Levi Celerio, lyrics


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ANGEL PEÑA(1921 – 2014)

A n g e l M a t i a s P e ñ a is a classical and jazz composer,arranger, and bass player. He is widely considered bymodern Filipino jazz musicians as “one of the founders oftraditional jazz in the Philippines.”

He was born was born on April 22, 1921 to a musical family.Peña learned solfeggio from his mother Rosario VelardeMatias. His mother was a schoolteacher who studied voiceat the University of the Philippines. His father, GregorioCid Peña, played the violin. His grandfather was a respected

guitar player. He grew up in Malabon which was then famous for its musicians andmarching bands. At the age of 11 when his mother passed away, he was discouraged byhis father to continue his musical pursuits. But, the boy persisted and proceeded to studymusic theory and composition.

Peña wrote his first original jazz composition just before World War II erupted. He alsowrote kundimans for the young women he would be courting. After the war, he becameone of the most sought-after musical arrangers in Manila. He had also switched fromguitar to bass. This switch led him to write orchestral background music for variousmusical ensembles.

He also wrote musical scores for film companies, most notably LVN Pictures. As hisinterest in classical composition grew more intense, he formed a big band in 1956 for theUpsilon Sigma Phi’s traditional concert at the University of the Philippines. During thattime, he composed Bagbagtulambing, a landmark in Philippine music.

In 1959, the University of Santo Tomas launched a national symphonic compositioncontest open to Filipino composers. Peña’s entry Igorot Rhapsody won first prize thefollowing year. Since then, he moved effortlessly between the jazz and classical idioms.In the mid-1960s during his 3-year stint in Hongkong, he earned a Licentiate with theRoyal School of Music in London.

Peña auditioned for the Honolulu Symphony Orchestra. He was immediately acceptedas bassist and later as arranger in 1969. He would spend the next 28 years in Hawaii,where he continued to write his own music. As farewell homage, the Manila SymphonyOrchestra performed his Concerto for Double Bass and Orchestra. In 1981 on the occasionof the 75th anniversary of Filipino presence in Hawaii, the Honolulu Symphony premieredhis Concerto for Jazz Quartet and Orchestra with an all-star Filipino jazz quartet.

The following year, the Cultural Center of the Philippines performed a concert of hisclassical works in his honor. Despite of his absence from Manila, local jazz groups


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continued to play his compositions. The seeds that he had sown began to bear fruit. Now,a new generation of Filipino musicians are starting to discover the composer. When hefinally came back to the Philippines, he started teaching scholars in Double Bass as anadjunct faculty member of the UP College of Music. He started collaborating with theUP Jazz Ensemble on a number of concerts.

In 1998, a House Resolution from the State of Hawaii’s House of Representatives waspassed to honor Peña for his contributions in the field of music as a world renowned jazzmusician, musical arranger, and Hawaii’s own living classical composer. The Jazz Societyof the Philippines-USA further gave him a Lifetime Achievement Award at the ThirdAnnual Fil-Am Jazz Festival in Hollywood. Pena passed away on December 22, 2014.

ERNANI CUENCO(1936 – 1988)National Artist for Music

Ernani Joson Cuenco, composer, film scorer, musicaldirector and music teacher, was conferred the National ArtistAward for Music in 1999. His works embody a Filipino senseof musicality that contain the classical sound of the kundiman.

Cuenco was born on May 10, 1936 in Malolos, Bulacan. As aboy, he was encouraged to learn the violin. He was mentoredby his mother, his godmother Doña Belen Aldaba Bautista,and his first teacher, Jovita Tantoco. He earned his Bachelor’sDegree in Music, major in Piano at the UST Conservatory ofMusic in 1956. A UST scholarship grant in the same year

enabled him to study the cello under Professor Modesto Marquiz, which he finished in1965. In 1968, he completed his Master of Music degree at the Sta. Isabel College.

From 1960 to 1968, Cuenco was a cellist at the Manila Symphony Orchestra under Dr.Hubert Zipper. Likewise, he played for the Filipino Youth Symphony Orchestra and theManila Chamber Soloists from 1966 to 1970.

His career as a musical director began in 1960 when he was discovered by then actorJoseph Estrada while he was playing as part of a band he had formed with friends at anexclusive restaurant in Makati. In 1963, Cuenco was sent as a delegate to the InternationalMusic Conference in Tokyo, Japan. Aside from being a composer and musical director,he was also a faculty member at the UST Conservatory of Music until his death on July11, 1988.


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GEORGE CANSECO(1934 – 2004)

George Masangkay Canseco was born on April 23, 1934 inNaic, Cavite. He graduated with a Liberal Arts degree at theUniversity of the East. After graduation, he worked for thePhilippines Herald and the Associated Press as a journalist. Healso worked as a “free-lance scriptwriter for hire” in Manila.

Canseco was considered as “a nationally acclaimed composerof numerous popular classics.” He was commissioned byFormer First Lady Imelda R. Marcos to compose a nationaltribute hymn entitled Ako Ay Pilipino (I Am A Filipino). Hewrote the classic Kapantay Ay Langit, a theme from the award-winning motion picture of the same title, sung by Amapola. Its

English version entitled You’re All I Love containing some Tagalog lyrics was sung byAmerican singer Vic Dana. The song won the Manila Film Festival “Best Song of theYear Award” in 1972. He followed it with an English song entitled Songs exclusively forSongs and Amapola under the Vicor Music Corporation Pioneer Label.

One of his best-known compositions was Child, the English-language version of FreddieAguilar’s signature song Anák. He wrote songs for the country’s top popular singerssuch as Sharon Cuneta, Basil Valdez, Regine Velasquez, Zsa Zsa Padilla, Pilita Corrales,Martin Nievera, and Kuh Ledesma.

Canseco credited film producer and Vicor Music Corporation owner Vic del Rosario forgiving him his biggest break in the music industry. He was elected President of the FilipinoSociety of Composers, Authors and Publishers, Inc. (FILSCAP) in 1973. He was alsoelected as Councilor for the First District of Quezon City in 1988.

His legacy as a composer include approximately 120 song titles including Ikaw, KailanganKita, Dito Ba, Hiram, Tubig at Langis, Hanggang sa Dulo ng Walang Hanggan,Sinasamba Kita, Kastilyong Buhangin, Minsan Pa Nating Hagkan ang Nakaraan,Ngayon at Kailanman, Saan Darating ang Umaga, Sana Bukas Pa ang Kahapon, DearHeart, Gaano Kadalas ang Minsan, Paano kita Mapapasalamatan, and KahaponLamang. He passed away on November 19, 2004 in Manila.

To this day, Cuneco’s compositions are popular and well-loved, especially Gaano KoIkaw Kamahal and Bato sa Buhangin which he composed for films in honor of his wife.Aside from these signature pieces, Cuenco’s other songs include Nahan, Kahit na Magtiis,Diligin Mo ng Hamog ang Uhaw na Lupa, Pilipinas, Inang Bayan, Isang Dalangin, andKalesa.


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GAANO KO IKAW KAMAHAL (Excerpt)Ernani Cuenco, music / Levi Celerio, lyrics

DAHIL SA ISANG BULAKLAK (Excerpt)Leopoldo Silos Sr., music / Levi Celerio, lyrics


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SUMMARY

Song composers became popular with their musical compositions used as musicalbackground or theme songs in movies and films.

Levi Celerio made it to the Guinness Book of World Records for being the only personto make music with a leaf. He received numerous awards for his musical achievements infilm.

Constancio de Guzman was acknowledged as the “Dean of Filipino movie composersand musical directors.” He is the composer of the nationalistic song Bayan Ko.

Mike Velarde Jr. was a composer, conductor, and musical director. He composed thepopular song Dahil Sa Iyo in 1938. In 1975 the Philippine Government CulturalAssociation awarded him the Cultural Achievement Award in Popular Music. He receivedthe Gawad CCP Para Sa Sining in 1986.

LEOPOLDO SILOS Sr.(1925 – 2015)

Leopoldo Silos Sr. was born on March 6, 1925.He was a composer, singer, and arranger. Hecomposed and recorded a number of romanticsongs, the most famous of which were two ofhis well known hits, Dahil Sa Isang Bulaklak(Because Of One Flower) and Hindi KitaMalimot (I Can’t Forget You). He was also theaward-winning musical director of the long-running television musical program, Aawitan

Kita, which starred Armida Siguion-Reyna.

Accordingly, the music of Silos touches the sentiment quite deeply. His lyrical melodiesare complemented by exotic harmonies. His melodies were made more appealing throughtheir extended chords, diminished intervals, and secondary dominants. Thus, that enrichedthe otherwise basic chordal patterns accompanying a tonal melody. Although not as widelyperformed as other mainstream love songs and kundimans, his music always impressesthe listener with its melodic sincerity and elegantly crafted accompaniments. The othernotable compositions of Silos include Aling Kutsero, Ay Anong Saklap, Basta’t MahalKita, Diyos Lamang ang Nakakaalam, Hindi Ko Malilimutan, Lagi kitang Naaalala,Langit sa Lupa, Halina Halina, Lihim na Pag-ibig, and Mundo Ma’y Mawala. He diedon March 10, 2015.


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WHAT TO KNOW

1. Discuss the lives and musical contributions of the following 20th centuryFilipino song composers

a. Levi Celerio f. George Cansecob. Constancio de Guzman g. Angel Peñac. Mike Velarde Jr. h. Leopoldo Silos Sr.d. Ernani Cuenco i. Santiago Suareze. Restie Umali

2. For each of the composers named above, give the title of any of hiscompositions.

Ernani Cuenco was a composer, film scorer, musical director, and music teacher. Hewas hailed as a National Artist in Music in 1999. His works embody the Filipino sense ofmusicality. The classical sound of the kundiman is evident in some of his ballads. Up tothis day, his compositions are popular and well-loved.

Restie Umali was a composer, teacher, and musical arranger. He arranged the Philippinenational anthem and the local classic Kataka-taka for the Boston Pops Orchestra when itperformed for the Philippine Independence Night in Boston in 1972. He wrote a total ofmore or less120 movie theme songs. He composed more than 250 scores for movieswhich was capped by a Universal Pictures production of No Man Is An Island starred byJeffrey Hunter and Barbara Perez.

George Canseco was considered “a nationally acclaimed composer of numerous popularFilipino classics.” He composed songs for Filipino singers and movie stars.

Angel Peña is a classical and jazz composer, musical arranger, and bass player. He iswidely considered by modern Filipino jazz musicians as “one of the founders of traditionaljazz in the Philippines.”

Leopoldo Silos Sr. was a composer, singer, and musical arranger. He composed andrecorded romantically soulful songs. He was the award winning musical director of thetelevision musical Aawitan Kita.

Santiago Suarez was an accomplished composer of traditional Filipino love songs. Hispopular works include Dungawin Mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libisng Nayon, and Kataka-taka.


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Composer Title of Any Composition

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

________________ _____________________________________________

WHAT TO PROCESS


1. Your teacher will play excerpts of recordings of any of the following worksby Filipino song composers:

a. Levi Celerio - Ang Pipit; Sa Ugoy ng Duyan; Misa de Gallo;Itik-itik (folk song); Tinikling (folk song); and AngPasko ay Sumapit.

b. Constanciode Guzman - Bayan Ko, Babalik Ka Rin, Ang Tangi Kong Pag-

ibig, Birheng Walang Dambana, Maalaala MoKaya, Sa Piling Mo, Ang Langit ko’y Ikaw

c. Mike Velarde Jr. - Buhat, Ikaw, Bituing Marikit, Minamahal Kita,

Dating Sumpaan, Dalisay, Eternally Yours, Gabiat Araw, Dahil sa Iyo


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d. Ernani Cuenco - Nahan, Kahit na Magtiis, Diligin Mo ng Hamogang Uhaw na Lupa, Pilipinas, Inang Bayan, Isang

Dalangin, Kalesa, Gaano Ko Ikaw Kamahal, Batosa Buhangin

e. Restie Umali - Saan Ka Man Naroroon, Alaala ng Lumipas, Ang

Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di KaNag-iisa, Paano Kita Lilimutin

f. George Canseco - Ikaw, Kailangan Kita, Dito Ba, Hiram, Langis at

Tubig, Hanggang sa Dulo ng Walang Hanggan,Sinasamba Kita, Kastilyong Buhangin, Minsan pa

nating hagkan ang Nakaraan, Ngayon atKailanman, Saan Darating ang Umaga, Sana

Bukas Pa ang Kahapon, Dear Heart, GaanoKadalas ang Minsan

g. Angel Peña - Bagbagtulambing, Igorot Rhapsody, Concerto for

Double Bass and Orchestra, Concerto for JazzQuartet and Orchestra

h. Leopoldo Silos Sr. Dahil sa Isang Bulaklak, Hindi Kita Malimot,Aling Kutsero, Ay Anong Saklap, Basta’t MahalKita, Diyos lamang ang nakakaalam, Hindi koMalilimutan, Lagi kitang Naaalala, Langit at

Lupa, Halina Halina, Lihim na Pag-ibig, MundoMa’y Mawala

i. Santiago Suarez - Ligaya Ko, Pandanggo ni Neneng, Dungawin Mo

Hirang, Bakya Mo Neneng, Caprichosa, Sa Libisng Nayon, Harana, Kataka-taka, Labandera Ko,

Lakambini, Kamia, Ikaw ang Buhay Ko!, KayLungkot Nitong Hating-Gabi, Mutya Niyaring

Puso

2. Listen carefully to each excerpt and be able to recognize the different musicalstyles of the composers.


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3. Analyze the music and take note of the elements of music present, such asrhythm, melody, tempo and dynamics, texture and harmony, form, andtimbre.

4. Choose a composition that you like. Write a reaction paper on it.


1. After the above Listening Activity, your teacher will prepare selected excerptsof compositions by the following: Celerio, De Guzman, Velarde, Cuenco,Umali, Canseco, Peña, Silos, and Suarez.

2. The class will be divided into four teams, with each team forming a line.3. As your teacher plays a few measures of the first excerpt, the first student

in each line goes to the board and writes the name of the composer. Thesecond student will write the title of the music. The third student will writethe musical style. Then, the fourth student will write a description of themusic in one phrase.

4. The team that writes the correct answers first, scores four (4) points.5. The same procedure goes on until all the students in the line have had their

turn.6. One student will be assigned as the scorer. The team with the highest score

is the winner. In case of a tie, the first team to finish is the winner.7. The scorer will announce the winners and then asks them this question:

What was the most significant thing that you have learned from this activity?


1. Compose a simple song. Write the lyrics and the music.2. You may adapt a certain melody from the compositions of the song

composers that you like. Write the new lyrics to fit the music.3. You may include an accompaniment such as guitar, flute, recorder, keyboard,

drums, tambourine, maracas or improvise musical instruments from theenvironment.

4. You may sing it a capella (without accompaniment) or with accompaniment.5. Do some dance movements of the music.6. Perform your composition or your song adaptation and the dance

movements.7. What motivated you to compose or adapt the music of that song?8.. How did you feel about this activity?


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WHAT TO PERFORM

A. Singing Activity: Song Medley

I n d i v i d u a l o r i n g r o u p s : Sing any of the compositions of Celerio, De Guzman,Velarde, Cuenco, Umali, Canseco, Peña, Silos, and Suarez.

For group work, do the following:

1. Your group will choose any song composers. You research further on hiscompositions, if needed.

2. Select three compositions that you like best or you are familiar with or youmay learn a new song. Choose your musical director.

3. Sing the three (3) minutes medley in class with your groupmates interpretingthe music with appropriate pitch, rhythm, style, timbre, dynamics, melody,texture, harmony, and expression.

4. You may bring an instrumental accompaniment like guitar, flute, recorder,maracas, tambourine, or keyboard.

5. You may bring a minus one music in CD, or from your mobile phone, orUSB.

6. You may improvise simple vocal or instrumental accompaniment/s to thesongs you have chosen.

7. You may explore ways of creating sounds as instrumental accompanimentto the song from a variety of sources or from the environment.

8. Your teacher will choose the “Best Singing Group” based on musicianship(musical elements) 60%, presentation impact and showmanship 20%,ensemble coordination and organization 20%.

9. All students will evaluate by rating each other’s performance and their ownperformance.

B. Creating and Performing Activities: Musical

1. Your teacher will divide the class into four groups. Each group choose asong composer that was discussed in class. Research further on his life andworks.


3. Improvise simple vocal or instrumental accompaniments (example: guitar,keyboard, percussion) to the songs that you have chosen.



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2. How well did the performers sing and act in the musicalbased on the following:a. voice quality __________b. expression __________c. stage presence __________d. audience impact __________e. mastery of the musical __________g. musical elements (rhythm, melody, dynamics) __________h. technique __________i. showmanship __________j. acting __________

Rating your own group members:1. How well did your group members express the

message of the musical? __________2. How well did your group members perform? __________3. How well did your group members coordinate with

each other during the performance in the ensemble? __________ 4. How well did your group organize yourselves in

the ensemble? __________

Rating myself:1. How well did I express the message of the musical? __________2. How well did I perform with my group? __________3. How well did I coordinate with the other members

during the performance in the ensemble? __________ 4. How well did I cooperate in the ensemble? __________
