WESTERN MUSIC

FINALS REVIEWER

MUSIC OF LATIN AMERICA

The music of Latin America is the product of three major influences – Indigenous, Spanish-Portuguese, and African.
Sometimes called Latin music.

It includes the countries that have had a colonial history from Spain and Portugal, divided into the following areas:
b. Central America – Belize, Costa Rica, El Salvador, Guatemala, Honduras, and Panama

c. Carribean – Cuba, Dominican Republic, Guadeloupe, Haiti, Martinique, and Puerto Rico

d. Brazil

At the same time, because of the inter-racial cross breeding and migration, the above named countries were also
somewhat commonly populated by five major ancestral groups as follows:
c. European descendants mainly from Spain and Portugal but also including the French, Dutch, Italian, and British

d. Asian descendants from China, Japan, India, and Indonesia/Java

e. Mixed descendants from the above-named groups

INFLUENCES ON LATIN AMERICAN MUSIC

 Indigenous Latin-American Music

 Before the arrival of the Spanish, Portuguese, and other European colonizers, the natives were found to be using
local drum and percussion instruments such as the guiro, maracas, and turtle shells.

 Quenas only are played during the dry season. Materials came from hollow tree trunks, animal skins, fruit shells, dry
seeds, cane and clay, hardwood trees, jaguar claws, animal and human bones, and specially-treated inflated eyes of
tigers.

 The indigenous music of Latin America was largely functional in nature, being used for religious worship and
ceremonies.

 The use of instruments as well as singing and dancing served to implore the Gods for good harvest, victory in
battles, guards against sickness and natural disasters, and of course provide recreation.

2. Native American/indian music

 The ethnic and cultural groups of the principal native Americans share many similar yet distinctive music
elements pertaining to melody, harmony, rhythm, form, and dynamics.

 Short musical motives from descending melodic lines were a common feature, where tempo, rhythm, and tone
colors vary with the specific occasion or ritual.

 Some of the Native American music includes courtship songs, dancing songs, and popular American or Canadian
tunes like Amazing Grace, Dixie, Jambalaya, and Sugar Time. Many songs celebrate themes like harvest, planting
season or other important times of year.

3. Afro-Latin American Music

 The African influence on Latin American music is most pronounced in its rich and varied rhythmic patterns
produced by the drums and various percussion instruments.

 Complex layering of rhythmic patterns was a favorite device, where fast paced tempos add to the rhythmic density.

 Vocal music was often deep chested while instrumental music greatly relied on resonant drums and sympathetic
buzzers to produce rich sounds and occasional loud volume levels to reflect their intensity.
4. Euro-Latin American Music

 The different regions of Latin America adopted various characteristics from their European colonizers.

 Melodies of the Renaissance period were used in Southern Chile and the Colombian Pacific coasts, while step-wise melodies
were preferred in the heavily Hispanic and Moorish-influenced areas of Venezuela and Colombia.

 Other European influences were manifested in the texture of Euro-Latin American music, from unaccompanied vocal solos to
those accompanied by stringedinstruments.

5. Mixed American Music

  The diversity of races and cultures from the Native Americans, Afro-Latin Americans, and Euro-Latin Americans
account for the rich combinations of musical elements including the melodic patterns, harmonic combinations, rhythmic
complexities, wide range of colors and dynamics, and various structural formats.
 This musical fusion of Latin America combining native instruments with European counterparts and musical theories
was further enriched by the instruments brought by the African slaves. The result of the massive infusion of African
culture also brought about the introduction of other music and dance forms such as the Afro- Cuban rumba, Jamaican
reggae, Colombian cumbia, and the Brazilian samba.

6. Popular Latin American Music

 Latin America has produced a number of musical genres and forms that had been influenced by European folk
music, African traditional music, and native sources.

 Much of its popular music has in turn found its way to the many venues and locales of America, Europe, and
eventually the rest of the world.

 Its danceable rhythms, passionate melodies, and exotic harmonies continue to enthrall music and dance enthusiasts
worldwide even as the forms themselves undergo constant modifications that are more relevant to the times. Some
of these Latin American popular music forms are tango, bossa nova, samba, son, and salsa.

a. Samba

 The samba is a dance form of African origins around 1838 which evolved into an African- Brazilian invention in the
working class and slum districts of Rio de Janeiro.

 Its lively rhythm, consisting of a meter but containing three steps each that create a feeling of a 3/4 meter instead, was meant
to be executed for singing, dancing, and parading in the carnival.
 Samba has a number of variations, so that there is no clear-cut definition of a single samba form. Its most adventurous kind is
known as the batucada, referring at once to a large percussion ensemble of up to a hundred players, a jam session, or an
intensely polyrhythmic style of drumming.

b. Son

 The son is a fusion of the popular music or canciones (songs)of Spain and the African rumba rhythms of Bantu
origin.

 Originating in Cuba, it is usually played with the tres (guitar), bongos, maracas, and claves (two wooden sticks that
are hit together).

 Although the son is seldom heard today, its most important legacy is its influence on present-day Latin American
music, particularly as the forerunner of salsa.

c. Salsa

 The salsa is a social dance with marked influences from Cuba and Puerto Rico that started in New York in the mid 1970’s.
Its style contains elements from the swing dance and hustle as well as the complex Afro-Cuban and Afro-Carribean dance
forms of pachanga and guaguanco.

 The execution of the salsa involves shifting the weight by stepping sideways, causing the hips to move while the upper body
remains level.

 The arms and shoulders are also incorporated with the upper body position. In each, a moderate tempo is used while the
upper and lower bodies act in disjoint as described above.

-Maria Reynalyn Magtibay

LATIN AMERICAN MUSICAL INSTRUMENTS

 Varied cultures developed in Latin America gave rise to different types of wind and percussion instruments.

Aztec and Mayan Instruments

 Religious functions and played by professional musicians

 some instrument considered as holy

 music supposed to glorify God

Tlapitzali

 a flute variety from the Aztec culture made of clay with decorations of abstract designs or images of their deities.

Teponaztli

 Mexican slit drum hollowed out and carved from piece of hardwood.

Concha
  wind instrument made from the shell of a large sea snail.

Rasp

 hand percussion instrument whose sound is produced by scrapping a stick that has a series of indentations or
notches with another stick, creating rattling effects

Huehueti

 upright tubular drum used by the Aztecs and other civilizations. It is made of opened at the bottom and standing on
three legs cut from base.

Whistles

 made from natural elements like bones of animal.

 Used in ceremonies to call spirits.

Incan Musical Instrument

 Among the Incas of South America, two instrumental varieties we're common:
 Ocarina
 Zampoñas

Ocarina

 ancient vessel flute made of clay or ceramic with four to twelve finger holes and a mouthpiece that projects from the
body.

Zamponas

 From the Andes Mountains of South America.

 Played by blowing over the top of the tubs.

Andean Musical Instrument

The Andean highland also their own varieties of flutes that include the following:

 Siku

 Wooden Tarka

 Quena

 Charango

Siku

 Originally from Aymaras of Peru and Bolivia. It is traditionally found all across the Andes.

 Different types of bamboo are used to change the quality of the sound.

Wooden Tarka

 Vertical flute with a mouthpiece similar to that of a recorder.

 Used during rainy season and tribal ceremony.

 Primitive, soft and mellow with a rasp in the low range.

Quena

 vertical cane flute made from fragile bamboo.

 Used in dry season.

 6 finger holes and one thumb hole

Charango

 Ten-stringed Andean guitar Bolivia.

 Like the size of ukulele and similar version of mandolin.

 Produces bright sounds and is often used in serenade in Southern Peru.

Mariachi

 Extremely popular band in Mexico whose original ensemble consisted of violins, guitars, a harp and an enormous
guitarron.
  It's extremely passionate and romantic with its blended harmonies and a catchy rhythms. It's musicians are distinctly
dressed in wide-brimmed hats, jackets, and pants adorned with silver buttons.

-Merian Merana

Vocal and dance forms in Latin American music

Vocal and Dance Forms

1.Cumbia

 originated in Panama and Columbia

 popular African courtship dance

 Became popular dance with European and African instrumentation and characteristics

2.Tango

• African origin meaning “African Dance” or from the Spanish word “Taner” meaning to play an instrument.

• 1890 - foremost

• Argentinian and Uruguayan urban popular song and dance

• 1940 - Became more intellectual

• 1960 - More improvisation and movement were incorporated into the form

3. Cha cha

 Ballroom dance that originated in Cuba in the 1953

 May be danced with Cuban music, Latin Pop, or Latin Rock
 May contain polyrhythmic patterns, a normal count of “ two- three- chachacha” and “four and one, two and three”

4. Rumba

 Popular recreational dance of Afro-Cuban origin, normally used as a ballroom dance where a solo dancer or couple would be
in an embrace though slightly apart.
 also used for concert music, as it appeared in the Second Piano Concerto of the French composer Darius Milhaud.

5. Bossa Nova

 originated in 1958 as a movement effecting a radical change in the classic Cuban samba.

 “bossa” comes from the Brazilian capital of Rio de Janeiro

 Bossa – trend, charming, harmony, rhythm into a“swaying” feel

Antonio Carlos Jobim

 became famous with his song Desafinado (1957)

 Foremost figure of the Bossanova
 collaborated with Vincius de Moraes in the play Orfeu da Conceicao (1956)
 musical recording of Cancao do Amor Demais (1958), and the song Garota de Ipanema or Girl from Ipanema (1962)

Vinicius de Moraes

 Fundamental figure in Brazilian music

 Wrote lyrics for a great number of songs that became all- time bossa nova and samba classic
 wrote some good music, and left several important albums
 With Haroldo he composed the folk song “ Loura ou Morena”

Sitti Navarro

 known as the “Philippines’ Queen of Bossa Nova.”

 Some of her bossa nova songs include Para sa Akin, Hey Look at the Sun, Lost inSpace, and Kung Di Rin Lang Ikaw

6. Reggae

 Urban popular music and dance style that originated in Jamaica in the mid 1960’s

 Contained Engilsh text coupled with Creole expressions that were not so familiar to the non-Jamaican.

Bob Marley

 Best known proponent of reggae music, Jamaican singer-songwriter, musician, and guitarist
 One Love, Three Little Birds; No Woman, No Cry; Redemption Song; and Stir It Up

7. Foxtrot
  Gave rise to other dances such as the black bottom, Charleston and shimmy.

 20th century social dance that originated after 1910 in the USA.

Black Bottom - dance combining shoulder and hip movements

Charleston - Steps involve kicking the legs and swinging the arms

Shimmy - Involves moving shoulders backwards and forwards at a time

8. Paso Doble

 (“double step”)

 a theatrical Spanish dance used by the Spaniards in bullfights, where the music was played as the matador enters
(paseo) and during passes just before the kill (faena)

-Marinne Corpuz

Popular Music
- is music with wide appeal that is typically distributed to large audiences through the music industry.
- It stands in contrast to both art music and traditional or "folk" music
- The original application of the term is to music of the 1880s Tin Pan Alley period in the United States. 

Song structure
 Verse
 Refrain/chorus
 Bridge

 In the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or
region to another.

Scholars have classified music as "popular" based on various factors, including whether a song or piece becomes known to listeners
mainly from hearing the music
 its appeal to diverse listeners.
 its treatment as a marketplace commodity in a capitalist contexts.
 Sales of 'recordings' or sheet music are one measure

Anahid Kassabian separated popular music into four categories;

 "popular as populist,“
 "popular as folk,"
 "popular as counterculture,“
 "popular as mass,"

David Riesman - “the youth audiences of popular music fit into either a majority group or a subculture.”

America Popular Music

"The most significant feature of the emergent popular music industry of the late 18th and early 19th centuries was the extent of its
focus on the commodity form of sheet music". 

Amateur music-making in the 19th century often centered around the piano.

In addition to the influence of sheet music, another factor was the increasing availability during the late 18th and early 19th century of
public popular music performances in "pleasure gardens and dance halls, popular theatres and concert rooms"

One of the early popular music performers to attain widespread popularity was a Swedish opera singer Jenny Lind, who toured the US
in the mid-19th century.

The center of the music publishing industry in the US during the late 19th century was in New York's 'Tin Pan Alley' district.

Player pianos could be used to record a skilled pianist's rendition of a piano piece

By the early 1900s, the big trends in popular music were the increasing popularity of vaudeville theaters and dance halls and a new
invention—the gramophone player.

Radio broadcasting of music, which began in the early 1920s, helped to spread popular songs to a huge audience
 increased the ability of songwriters, singers and bandleaders to become nationally known
 Another factor which helped to disseminate popular music was the introduction of "talking pictures"—sound films—in the
late 1920s, which also included music and songs.

 1950s and 1960s - new invention of television began to play

  1960s - development of new technologies in recording,.

 1970s - trend towards consolidation in the recording industry continued

 1990 - consolidation trend took a new turn: inter-media consolidation.
- availability of sound recording software and effects units software meant that an amateur indie band could
record an album—which required a fully equipped recording studio in previous decades—using little more
than a laptop and a good quality microphone.

Western Popular Music

In contrast to Western popular music, a genre of music that is popular outside of a Western nation, is categorized into World music.

The hybrid styles have also found a space within Western popular music through the expressions of their national culture.

African Popular Music

Popular African music styles have stemmed from traditional entertainment genres, rather than evolving from music used with certain
traditional ceremonies like weddings, births, or funerals.

African popular music tends to stay within the roots of traditional African Popular Music. 

The genre of music, Maskanda, is popular in its culture of origin, South Africa.

A popular maskandi artist, Phuzekhemisi, had to lessen the political influence within his music to be ready for the public sphere.

Indonesia Popular Music

Popular music in Indonesia can be categorized as hybrid forms of Western rock to genres that are originated in Indonesia and
indigenous in style.

The genre of music, Dangdut, is a genre of popular music specifically found in Indonesia.

 Another music scene that is popular in Indonesia is Punk rock.
 In a study involving young students in Shanghai, youth find that they enjoy to listen to both Chinese, other Asian
nationalities, and Anglo-American popular music

China Popular Music

 There are three ways that young people of China were able to access global music.
o The first reason was a policy change since the late 1970s where the country was opened up to the rest of the world
instead of being self-contained.
o The second reason is that the Chinese television and music industry since the 1980s has broadcast television shows
from their neighboring Asian societies and the West.
o The third reason is the impact of the internet and smart phones on the accessibility of streaming music.

Arabian Popular Music

 Turkish music and Western musical styles.

 Umm Kulthum - "We must respect ourselves and our art. The Indians have set a good example for us - they show great
respect for themselves and their arts. Wherever they are, they wear their native dress and their music is known throughout the
world. This is the right way."

 1980s and 1990s - popular music has been seen as a problem for the Iranian government

 1990 and 2004 - the youth overall preferred Western popular music

Philippine Popular Music

 Late 1940’s - American forms of entertainment re-surfaced in the Philippines.

 1950’s - popularized version of the samba was introduced

This was followed by the emergence of the instrumental groups known as the cumbachero (a local version of a Latin-American
band), which became well-known in fiestas and other social gatherings.

 1950’s - 1960’s - newer genres as rock and roll and country music appealed to a younger generation of Filipino popular
artists.

 1970s - Conscious efforts to develop that Filipino sound (Pinoy Sound) with the creation of Filipino rock music, dubbed
as Pinoy Rock, Filipino Jazz or Pinoy Jazz and Filipino pop ballad or the Manila Sound.
o Metro Manila Popular Music Festival (or Metro Pop), a song writing competition for amateurs and professionals,
became the buffer for the creation of new pop songs and the introduction of emerging artists and performers.

Likha Awit Pambata 

Himig Awards and Cecil Awards.
 Organisasyon ng mga Pilipinong Mang-aawit (OPM)

The effort to probe deeper into the search for a Filipino identity in popular music was attempted in the late 1980’s and the early 90’s
by a group of composers who banded together to form KATHA (write/create).

This effort gave rise to the move to create Brown Music, a kind of counterpart to the African-American “Black Music”.
-Dominna Aleth C. Entienza

Jazz
 therapeutic outlet for human feelings, the Africans used music to recall their nostalgic past in their home country as well as to
voice out their sentiments on their desperate condition at that time.
 New Orlean, Louisiana - Jazz Capital of the World
 ‘Birth’ Of Jazz
 Louis became one of the greatest jazz trumpeters and singers of all time

Ragtime

 marching mode” made by John Philip Sousa where the effect is generated by an internally syncopated melodic line pitted
against a rhythmically straightforward
o bass line.
 regular meters and clear phrases, with an alternation of low bass or bass octaves and chords.

Scott Joplin
 Scott played guitar, cornet, and piano.
 1893—performed at World’s Columbian Exhibition in Chicago
 Maple Leaf Rag, Solace, and The Entertainer
 King and Father of Ragtime

Jelly Roll Morton

 Jelly Roll Morton (1890-1941)
 born in New Orleans
 pianist/bandleader
 Frog I More Rag
 Big Band

Glenn Meller Orchestra

 The term ‘Big Band” refers to a large ensemble form originating in the United States in the mid 1920’s closely associated
with the Swing Era with jazz elements.
 Swing music is known for its strong rhythm section.
o bigger band, bigger
o sound
Relying heavily on percussion (drums), wind, rhythm section (guitar, piano, double bass, vibes), and brass instruments (saxophones),
with a lyrical string section (violins and other string instruments) to accompany a lyrical melody.

A standard big band 17-piece instrumentation like percussion, brass, and woodwind instruments:

Five saxophones (most often two altos, two tenors, and one baritone), four trumpets, four trombones (often including one bass
trombone), and a four-piece rhythm section (composed of drums, acoustic bass or electric bass, piano and guitar).

Bebop or bop is a musical style of modern jazz which is characterized by a fast tempo, instrumental virtuosity, and improvisation that
emerged during World War II. The speed of the harmony, melody, and rhythm resulted in a heavy performance where the instrumental
sound became more tense and free.

Bebop or Bop
 Dizzy Gillespie
 A synonym for “jazz fusion,” jazz rock is a mix of funk and R&B (“rhythm and blues”) rhythms, where the music used
amplification and electronic effects, complex time signatures, and extended instrumental compositions with lengthy
improvisations in the jazz style.

Popular singer/songwriters
 Joni Mitchell

 Ballads
o The ballad originated as an expressive folksong in narrative verse with text dealing typically about love
o The word is derived both from the medieval French “chanson balladee” and “ballade” which refers to a dancing
song.

 Blues Ballads
o It is a fusion of Anglo- American and Afro-American styles from the 19th century that deals with the anti-heroes
resisting authority.
  Pop Standard and Jazz Ballads
o This is a blues style built from a single verse of 16 bars ending on the dominant or half-cadence, followed by a
refrain/chorus part of 16 or 32 bars in AABA form.
o The B section acts as the bridge, and the piece normally ends with a brief coda

 Pop and Rock Ballads

o A pop and rock ballad is an emotional love song with suggestions of folk music. This style is sometimes applied to
strophic story-songs.

 George Gershwin
o The Man I Love
 Erving Berlin
o Always
 Duke Ellington
o In a Sentimental Mood
 Don McLean’s
o “American Pie.”

Standard
 In music, the term “standard” is used to denote the most popular and enduring songs
- Its style is mostly in a slow or moderate tempo with a relaxed mood. It also features highly singable
melodies within the range and technical capacity of the everyday listener.

Frank Sinatra
 “Ol Blue Eyes,” “Chairman of the Board,” or “The Voice”
 He was a successful singer, actor, producer, director, and conductor
 My Way and Strangers in the Night

Nat King Cole

 an accomplished pianist, he owes most of his popular musical fame to his soothing baritone voice, which he used to perform
in big band, vocal jazz, swing traditional pop, and jump blues genres.
 He was the first black American to host his own television show and maintained worldwide popularity over 40 years past his
death.
 “one of the most important musical personalities in United States history.”
 Unfogettable, Mona Lisa, and Too Young
 one of the most popular entertainers in the international music scene during the 1960s.
 Portrait of My Love, Softly as I Leave You, the James bond theme From Russia with Love, Born Free, which became his
signature song, and Walk Away

Matt Monro
 Rock and Roll
 was a hugely popular song form in the United States during the late 1940’s to the 1950’s.
 It combined Afro-American forms such as the blues, jump blues, jazz, and gospel music with the Western swing and country
music.
 It derived its name from the mot of a sonhip on the ocean, “rock and roll.”
 The greatest exponent of the rock and roll style
 Heartbreak Hotel and Blue Suede Shoes were complemented by his good looks

Elvis Presley
 The Beatles
 “the most commercially successful band in the history of popular music
 I Saw Her Standing There, Get Back, While My Guitar Gently Weeps, Rock and Roll Music, and Ticket to Ride.

John Lennon
 founder member of the rock band The Beatles
 Imagine, Mind Games, Power to the People, Dream, Nobody Told Me, Watching the Wheels, Woman, Whatever Gets You
Through the Night, and Instant Karma.
 2008, Rolling Stone Magazine ranked him the “fifth-greatest singer of all time.”

James Paul McCartney

 “recognized as one of the most successful composers and performers of all time,

 60 gold discs and sales of over 100 million albums and 100 million singles of his work with the Beatles and as a solo artist
 Hey Jude; Fool on the Hill; I’ll Follow the Sun; I Will; I Saw Her Standing There; All My Loving.

Disco
 French word “discotheque” which means a library for phonograph records.
 Disco music pertained to rock music that was more danceable, thus leading to the establishment of venues for public dancing
also called discos.

Donna Summer
 “A Queen of Disco”
  The disco style had a soaring and reverberating sound rhythmically controlled by a steady beat (usually meter) for ease of
dancing, and accompanied by strings, horns, electric guitars, and electric pianos or synthesizers
 ABBA
 Earth, Wind and Fire

Pop Music
 Popular music literally means “music of the populace,” similar to traditional folk music of the past.
 Entertainment of large numbers of people, whether on radio or in live performances.
 Parallel with the disco era, other pop music superstars continued to emerge

Michael Joseph Jackson

 “King of Pop”
 entertainer, singer-songwriter, record producer, musical arranger, dancer, choreographer, actor, businessman, and
philanthropist.
 1982 Thriller remains the world's best-selling album of all time
 first African American entertainer to amass a strong crossover following on MTV.
 “robot” and the “moonwalk.”
 "Most Successful Entertainer of All Time“
 sale of 750 million records worldwide. Jackson is one of the
 “world’s most famous artists”

Alternative Music
 Alternative music was an underground independent form of music that arose in the 1980’s.
 It became widely popular in the 1990’s as a way to defy “mainstream” rock music.
 it was known for its unconventional practices such as distorted guitar sounds, oppressive lyrics, and defiant attitudes.
 It was also characterized by high energy levels that bred new styles such as new wave, punk rock, post-punk, indie rock,
gothic rock, jangle pop, noise pop, C86, Madchester, Industrial Rock, and Shoegazing.
-Kycee Cortez

CONTEMPORARY PHILIPPINE MUSIC

20th CENTURY TRADITIONAL COMPOSERS

TRADITIONAL COMPOSERS:

 Francisco B. Buencamino Sr.

 Francisco Santiago
 Nicanor Abelardo
 Antonio J. Molina
 Hilarion Rubio y Francisco
 Col. antonio Buenaventura
 Rodolfo S. Cornejo
 Felipe Padilla De Leon Sr.
 Lucio San Pedro
 Rosendo E. Santos Jr.
 Alfredo Buenaventura
 Cipriano “Ryan” Cayabyab

Francisco B. Buencamino Sr. (1883-1952)

 In early 1900s, he taught music at Ateneo de Manila and Centro Escolar de Senoritas.
 1930, Founded the Buencamino Music Academy.
 1938, He founded the Conservatory of Music. Wherein he also handled music lesson at the Liceo de Manila.
 1940's when he started working as a musical director
 Francisco Buencamino died on 16th of October 1952.
 “Ang Larawan” 1943 - most acclaimed work.
 “Marcela 1904”, “Si Tio Celo 1904”, “Yayang 1905” are some of his sarswela.
 “En el bello Oriente” 1909 as one of his ealiest composition.
 “Ang Una kong pag-ibig” his popular kundiman.
 “Outstanding Composer”

Dr. Francisco Santiago (1889-1947)

 was born on the 29th of January 1889 in Sta. Maria Bulacan

 His parents were Felipe and Maria Santiago.
 Married to Concepcion de Leon in 1923 and they had 4 children
 “Father of Kundiman”
 belongs to “Triumvirate of Filipino Composers”
  1916, as a piano instructor at the University of the Philippines
 1922, when he obtained his teacher's cetrificate in science and harmony
 1924, he obtained his maters in music at the Conservatory of Chicago and doctorate at Chicago Music School in the same
year.
 1925, when he returned to Philippines to resumed his teaching at the University of the Philippines.
 1930-1946 as the Director at the UP Conservatory of Music.
 Appointed as the Professor Emeritus at the University of the Philippines.
 Kundiman “Anak Dalita” in 1917
 “Sonata Filipina in D Flat Major” in 1922
 “Sumilang na Ang Manunubos” in 1932
 Francisco died on the 28th of September 1947
 Patnubay ng Sining at Kalingan Award in 1968

Nicanor Abelardo (1893-1934)

 belongs to “Triumvirate of Filipino Composers”

 in 1916, he composed “U.P Beloved”
 1918, he was appointed as an assisstant instructor in solfeggio and harmony
 1919, when he became a full-pledged instructor
 1923, when he received his techer's certificate in science and composition
 “Mutya ng Pasig”
 “Nasaan ka Irog” 1923
 “Cavatina” Violincello
 “Magbalik ka Hirang”
 More than 140 works, Abelardo died in 1934 leaving behind unfinished works

Antonio J. Molina (1894-1980)

 was born on the 26th of December 1894

 First National Artist for Music
 considered one of the “Triumvirate of Filipino Composers”
 began his career as an orchestral soloist at the Manila Grand Opera House.
 1923, he otained his teacher's diploma
 1948-1970, serves as the Dean of the Centro Escolar University Conservatory of Music
 He was also a faculty member of the University of the Philippines Conservatory of Music
 1953, Conductor of the year Award from the Music Alumni Award
 1972, UP Conservatory Alumni Award and the Phi Kappa Beta Award
 his first composition “Matinal” 1912
 “Hatinggabi” 1915 his most famous violin piece.
 His most important orchestral works are “Misa Antoniana: Grand Festival Mass” 1964 and “Ang Batingaw” 1972

Hilarion F. Rubio (1902-1985)

 born on 21st October 1902 in Bacoor, Cavite

 He was accepted as a member of the Bacoor Band as a clarinet at the age of 8,
 He made his composition “Unang Katas” which was for the band
 By the time he graduated High School in North High School (Now Arellano High School) he founded Anak Zapote Band
 he taught and conducted the Municipal Symphony Orchestra
 Also re-organized the UNIDA church Choir.
 Became the vice-president of the PASAMBAP or National Band Association.
 Also a Charter member of the League of Filipino Composers,
Internationally, a member of the NAtional Band Conductor's Association in Washington D.C USA

 D' Original Band

Antonio Buenaventura (1904-1996)

 a soldier by profession, was made a NAtional Artist in Music in 1988

 born on May 4, 1904 in Baliwag, Bulacan
 A sickly child who was unable to engage in much physical activitiesThough he graduated in University of the Philippines,
he wanted to be part of military.
 Buenaventura was actively involved with the various military bands which ultimately earned him his military rank of
Colonel
 was a faculty member of the UP Conservatory of Music, later he became the music director of the Conservatoty of Music,
University of Santo Tomas in 1961
 1964, he became the music director at the school of music and arts, and University of the East
 He promoted Philippine music through the use of folk material
 “Pandanggo sa Ilaw” his most popular composition
 He was declaired as a National Artist for Music in 1988 and passed away in 1996

Rodolfo Cornejo (1909-1991)

 was born on the 15th of May 1909 in Manila

  His parents are Miguel Cornejo Sr. and Crisanta Soldevilla
 at 6, he started piano lessons with Gelacio Reyes
 at 10, he wrote his first composition Glissando Waltz
 at 13, he wrote and published a military march Salute
 In 1932, he acquired a bachelors degree in piano and theory at the Chicago Musical College of Roosevelt university.
 In 1933, Completed his masters degree
 In 1934, he returned to the Philippines, founded and directed the Manila Conservatory of music.
 1939, Left for US to pursue a doctorate study in composition.
 1947, He earned his doctorate degree at the Neotarian College in Kansas, City, USA.
 his first composition “Glissando Waltz”
 he wrote over 300 compositions
 In 1945, the Chicago Music College awarded him an honorary doctorate in Music
 He is listed in the International Who's Who in Music

Felipe Padilla de Leon (1912-1992)

 was born on May 1, 1912 in Nueva Ecija.

 He took up Fine Arts in University of the Philippines in 1927
 He graduated with a music teacher's diploma, major in conducting in 1939
 He took advanced studies in composition in Julliard School of Music in New York.
 1991, doctor of philosophy in the humanities, by the University of the Philippines
 2 operas which considered his masterpiece are the “Noli Me Tangere” (1957) and “El Filibusterismo” (1970)
 De Leon recieved many awards, such as Composer of the Year (1949)
 Manila Music Lovers Society, Musician of the Year (1958)

Lucio San Pedro (1913-2002)

 was born on february 11, 1913 in Angono, Rizal

 pursued his music degree at the University of the Philippines and the Julliard School in New York USA
 he was known as “Romantic Nationalist”
 he incorporated Filipino folk elements in his compositions with Western forms and Harmony.
 His chords have a rich expressive tonality

 His most famous works “Sa Ugoy ng Duyan”, a lullaby melody sung by his mother.
 He was declared National Artist for Music in 1991
 He passed away on March 31, 2002

Rosendo E. Santo (1922-1994)

 was born on September 3, 1992 in Cavite, City

 at the age of 11, he started composing band marches, instrumentals, vocal scores, as well as music for Catholic masses.
 As a UNESCO Scholar, he was awarded as the “Philippine Composer of the Century” after receiving the “Composer of the
Year Award” in Manila in 1956 and 1957
 More than 200 marches.
 50 masses in latin and 20 in english.
 he had more than 1000 musical composition in the library of University of the Philippines.
 His last musical work and only ballet composition “Merlinda's Masquerade” was performed in1995.
 He passed away on November 4, 1994 in Pennsylvania USA

Alfredo Buenaventura (1929- )

 Buenaventura has composed over 50 major works.

 Many of his compositions are based on filipino heroes, legends and epics.
uses native songs, both trival and folk as themes of his music compositions.

 “Maria Makiling” 1961.

 Minor works number more than 50 cover mostly religious songs and hymns.
 He was twice an awardee of the Republic Cultural Heritage award and the Outstanding Filipino award. (TOFIL) for music
in 1995.

Cipriano “Ryan” Cayabyab (1954- )

 Was born on May 4, 1954 in Manila.

 He obtained his bachelor of music degree in the University of the Philippines College of Music.
 Also serves as the executive and artistic director of the San Miguel Corp. for the Performing arts.
 His compositional style makes much use of Syncopation, extended chords and chromatic harmony.
 One of his famous composition “Kay ganda ng ating Musika”.
-Patricia Almirez

Contemporary Philippine Music

New Music
 is embedded in modernity through a number of aesthetic forms.
 does not necessarily emerge from classical European traditions only.
Jose Maceda

 Born in Manila  on January 17, 1917

 He started his music studies at the Academy of Music in Manila.
 Maceda’s musical style changed when he encountered the music of the indigenous tribes of Mindoro in 1953.

 Maceda combined sounds of the environment with ethnic instruments.

 His compositions were usually for large groups of musicians.
 Among his works are Ugma-Ugma (1963)
 Agungan (1975)
 Cassettes 100 (1971), a composition for 100 cassette tape recorders.

Lucrecia Kasilag
 was born in San Fernando, La Union on August 31, 1918.
 compositional style demonstrated a fusion of Eastern and Western styles in using instruments, melody, harmony, and
rhythm.
 She is particularly known for incorporating indigenous Filipino instruments into orchestral productions.

 She went to Manila to pursue a degree in Music at the Philippine Women’s University.
 Toccata for Percussion and Winds (1959), composed for indigenous Muslim instruments and Western instruments.
 The Legend of the Sarimanok (1963), composed for chamber orchestra and Philippine ethnic instruments.

Ramon P. Santos
 born in Pasig on February 25, 1941.
 He completed his Bachelor of Music degree at the College of Music, University of the Philippines.
 Santos compositional style features chromaticism, music seria, and electronic components, combined with indigenous
Philippine music elements.
 His works include Ding Ding Nga Diyawa, Nabasag na Banga at Iba’t iba pang Pinag-ugpong-ugpong na Pananalita
sa Wikang Pilipino para sa Labing Anim na Tinig, and L’BAD.
 He was conferred the title of National Artist for Music in 2014.
 He had done extensive research 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.

Fr. Manuel Perez Maramba, OSB

 OSB is one of the most accomplished musicians and liturgists in the Philippines emerging during the second half of
the 20th century.
 Born: July 4, 1936 in Pangasinan.

 His versatility as a pianist, composer, arranger, theorist, and teacher is widely recognized in the local musical scene.
 He has composed operas like Aba!, Sto. Nino, La Naval, and Lord Takayama Ukon.
 A hymn in honor of St. Lorenzo Ruiz, and the official hymn of the 1996 National Eucharistic Congress.

Jerry Dadap
 November 5, 1935 in Hinunangan, Southern Leyte.
 The first Filipino composer to conduct his own works at the Carnegie Recital Hall in New York City.
 He earned his Bachelor’s Degree in Music, major in Composition at the Conservatory of Music, University of the
Philippines (UP) in 1964.
 The Passionate and the Wild (1960)
 Mangamuyo I (1976) anD Mangamuyo II (1977)
 Andres Bonifacio, Ang Dakilang Anak Pawis, Ang Pag-ibig ng Diyos
 His major works as composer-conductor were performed at the concert “LAHI” that featured works by local major
composers.

Francisco F. Feliciano
 National Artist for Music
 Avant- grande composer and conductor for band and chorus.
 February 19, 1942 in Morong, Rizal
 His first exposure to music was with the Morriz Band, a brass ensemble established and owned by his father,
Maximiano Feliciano.
 His first exposure to music was with the Morriz Band, a brass ensemble established and owned by his father,
Maximiano Feliciano
 He started his music career in the high school band where he had played the cymbals and the clarinet.
 Feliciano composed hundreds of liturgical pieces, mass settings, hymns, and songs for worship.
Josefino Toledo
 is a recognized figure in the Asian contemporary art music scene.
 He received his Master of Music degree from the Cleveland Institute of Music, USA.
 Toledo is a Music Professor at the College of Music, University of the Philippines (UP).
 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.
 He also wrote music for the orchestra such as Prelude and Toccata (1973), Fragments (1976), Life of Wartime Filipino
Hero Jose Abad Santos, and the ballet Yerma (1982).

Jonas Baes
 born in Los Baños, Laguna in 1961
 He enrolled at the College of Music, Universityof the Philippines (UP) in 1977 as a student of Ramon P. Santos.While
at UP
 He researched on the music of the Iraya-Mangyan people of Mindoro.
 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 bamboo scrapers, bamboo flutes, and vocal music usingAsian vocal
techniques.
 IBO-IBON (birdwoman)
 SALAYSAY, for solo voice

-Alyssa Marie Pialago

CONTEMPORARY PHILIPINE MUSIC

SONG COMPOSERS

LEVI CELERIO (1910 – 2002)

 National Artist for Literature and Music

 CELERIO WAS KNOWN FOR CREATING MUSIC WITH A MOUTH-BLOWN LEAF
 He was born on April 30, 1910 in Tondo
 He Died on April 02, 2002
 He studied at Academy of Music
 He went to join the Manila Symphony Orchestra
 He translated and re-wrote of folksong to traditional melodies like:
 MALIWANAG NA BUWAN from Ilocos, AKO AY MAY SINGSING from Pampanga, and ALIBANGBANG from the
Visayas.
 Prolific lyricist and composer
 Was named natural artist for music and literature in 1997
 Violinist
 4,000 songs most are kundimans and for films
o Dahil sa Iyo, Buhat and Ang Pasko ay Sumapit
o Lyrics - Music
o Ang Pipit – Lucio D. San Pedro
o Bagong Pagsilang – Felipe Padilla de Leon
o Sa Ugoy ng Duyan – Lucio D. San Pedro
o Misa de Gallo – J. Balita
o Itik-Itik – Folksong
o Tinikling - Folksong

CONSTANCIO DE GUZMAN (19O3-1982)

 “DEAN OF FILIPINO COMPOSERS AND MOVIE DIRECTORS”

 “CONSTANCIO CANCENCO DE GUZMAN”
 Born on November 11, 1903 in Guiguinto, Bulacan
 August 16, 1982 (Died)
 Piano and composition under Nicanor Abelardo
 BS Commerce at Jose Rizal College in 1928
 1932 he passed CPA Board Examination
 HE WAS A MOVIE DIRECTOR OF MOVIE PRODUCTION COMPANIES LIKE:
o SAMPAGUITA
o LVN
o ROYAL
o EXELSIOR
o LEA
o ILANG-ILANG PRODUCTIONS
 o VILLAR AND COLUMBIA RECORDS
 1948- His song Ang Bayan ko at Kung kita’y Kapiling won the gold medal at Paris International Fair
 Bayan ko was adopted as the symbolic song of the People Power movement of 1986 also won as Awit Award for Best Filipino
lyricist.
 Some of his notable compositions are:
 Babalik ka rin, Ang Tangi kong Pag-ibig, Birheng walang Dambana, Maalaala mo kaya and Sa Piling mo.

MIGUEL “MIKE” VILLARDE Jr. (1913-1986)

 Composer, Conductor, Movie Actor and Musical Director

 MIGUEL “MIKE” GUISON VELARDE Jr.
 Born on October 23, 1913 in Manila
 Father: Miguel Villarde Sr.
 Mother: Dolores Guison
 He studied at Zamboanga Normal School
Studied medicine at University of the Philippines
 He composed Tagalog song Ugoy-Ugoy Blues
 He had a band jazz known Mike villarde’s jazztocrats
 Irving berlin and Cole Porter – American composer who influence mike to write songs
 He became editor of the Literary Song Movie Magazine
 Luksang Tagumpay – received the FAMAS award for Best Picture 1960
 Alala Kita – Best Director 1961
 He Composed Romantic Songs like:
o Ikaw
o Lahat ng Araw
o Habang Buhay
o Minamahal kita
o Ikaw ay Akin
o Dahil sa Iyo
 He won the Best conductor award at the First International Popular Song Contest in Japan with his composition AS LONG
AS FOREVER
 He received a Cultural Achievement Award in popular Music from the Philippine Government Cultural Association in 1975
and the Gawad CCP para sa Sining in 1986.
 His other compositions include:
 Buhat, Ikaw, Bituing Marikit, Minamahal Kita, Sumpaan, Dalisay, eternally Yours and Gabi at Araw.

SANTIAGO SUAREZ (1901 – 1964)

 “ A MIXTURE OF THE SOULFUL KUNDIMAN STYLE AND THE LIVELY STRAINS OF THE COUNTRYSIDE”
 Was born in Sampalok, Manila
 He attended the Conservatory of Music at University of the Philippines and Ateneo de Manila at Intramuros
 He took private music lessons from Caetano Jacobe, Pedro Floriaga ans Nicanor Abelardo
 Some of his works are the ff:
 Ligaya ko, Pandanggo ni Neneng, Dungawin mo Hirang, Bakya mo Neneng, Caprichosa, Sa Libis ng Nayon, kataka-taka,,
Labandera ko, Lakambini, Kamia, Ikaw ang Buhay ko, Kay lungkot nitong Hatinggabi and Mutya niyaring Puso.`

RESTITUTO “ RESTIE” UMALI (1916 – 1998)

 “MUSICAL DIRECTOR OF SAMPAGUITA PICTURES”

 RESTITUTO AQUINO UMALI
 Born at Paco, Manila on June 16, 1916
 Mapa Highschool member of glee club and orchestra
 He can play E-flat horn, trombone and tuba (UST Band)
 He also taught choral arranging and orchestration at UST of Conservatory of Music
 He majored in Composition and Conducting at the Conservatory of Music (UP)
 Commerce at Jose Rizal College
 Electrician’s course at the Philippine School of Arts and Trades
 Felipe Padilla de Leon – gave lessons to him in harmony during World War II
 After the war he performed with the Manila Symphony Orchestra.
 Umali arranged dthe National Anthem and the local classic kataka-taka for the Boston Pop Orchestra when it was performed
for the Philippine Independence Night in Boston in 1972.
 He composed Approximately 120 movie theme songs and more than 250 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.
 o His musical 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. (FAMAS)
o “Ang Agila at ang Araw” – at the 1973 Olongapo Film Festival
o “Bitter – Sweet” – at the 1969 Manila Film Festival
 He had arranged the performance of Maestro Federico Elizalde’s Manila Little Symphony aired on radio stations DZRH and
DZPI
 Umali’s most popular songs are:
o Saan ka Man Naroroon, Alaala ng Lumipas, Ang Pangarap ko’y Ikaw, Sa Libis ng Barrio, Di ka Nag-iisa and Paano
kita Lilimutin.

ANGEL PENA (1921 – 2014)

 “ONE OF THE FOUNDERS OF TRADITIONAL JAZZ IN THE PHILIPPINES”

 He wrote musical scores for film companies, most notably LVN Pictures.
 1956 - he formed a big band for the Upsilon Sigma Phi’s traditional concert at the University of the Philippines
 1959 – the University of Santo Tomas launched a National Symphonic Composition contest open to Filipino composer Pena
entry’s Igorot Rhapsody won the first price the following year.
 He composed a Bagbagtulambing, a landmark in the Philippine music
 In the mid-1960s during his 3-year stint in Hongkong, he earned licentiate with the Royal School of music in London.
 1969 – pena auditioned for the Honolulu Symphony Orchestra, he was immidiately accepted as bassist and later as arranger.
 He started collaborating with the UP Jass Ensemble on a number of concerts.
 1981 – on the occasssion of the 75th anniversary of Filipino presence in Hawaii. The honolulu Symphony premired his
CONCERTO FOR JAZZ QUARTET and ORCHESTRA with an all-star Filipino jazz quartet.
 When he came back to the Philippine he started teaching scholars in Double Bass as an adjunct faculty member of the UP
College of Music
 He passed away December 22, 2014
 1998 – a House Resolution from the State of Hawaii ‘s House of Representative was passed to honor Pena for his
contribution in the field of music as a world renowned jazz musician, muscal arranger, and Hawaii’s living composer.
 The jazz society of the Philippines-USA further gave him a lifetime Achievement Award at The Third Annual Fil-Am Jazz
Festival in Hollywood.

ERNANI CUENCO (1936-1988)

 “NATIONAL ARTIST FOR MUSIC”

 Ernani “Joson” Cuenco
 Composer, Film Scorer, Musical Director and Musical Teacher
 Was conferred National Artist Award for Music in 1999
 His work embody a Filipino sense of Musicality that contain the claassical sound of the KUNDIMAN.
 He was born on May 10, 1936
Jovita Tantoco - his first teacher in Violin
 He earned his Bachelor Degree in Music, Major in Piano at the UST Conservatory of Music in 1956.
 Professor Modesto Marquiz – his professor in cello as a scholar at the UST and graduated on 1965
 1968 – he completed his Master of Music Degree at Sta. Isabel College
 1960-1968- Cuenco was a cellist at the Manila Symphomy Orchestra under Dr. Hubert Zipper.
 1966-1970- he played for the Filipino Youth Symphony Orchestra and the Manila Chamber Soloist.
 Cuenco was sent as a Delegate to the International Music Conference in Tokyo, Japan.
 His career as Musical Director began in 1960 when he was discovered by the Actor JOSEPH ESTRADA while he was
playing as part of a band he had formed with friends at an exclusive restaurant in MAKATI.
 Aside from being a composer and musical Director he was also a faculty member at the UST Conservatory of music until his
death on July, 11 1988.
 Songs in honor of his wife:
 Gaano Ko Ikaw kamahal
 Bato sa Buhangin
 Cuenco’s Popular and well-love songs are:
 Nahan, Kahit na Magtiis, Diligin mo ng Hamog Ang Uhaw na Lupa, Pilipinas, Inang Bayan and Kalesa.

GEORGE CANCECO (1934-2004)

 “NATIONALLY ACCLAIMED COMPOSER OF NUMEROUS POPULAR CLASSICS”

 GEORGE “MASANGKAY” CANCECO
 Born on April 23, 1934 in Naic, Cavite
 He graduated with a Liberal Arts Degree at the University of the East
 He worked for the Philippine Herald and the Associated Press as a journalist.
 He also worked as “free-lance scriptwriter for hire” in Manila.
 He was commissioned by Former First Lady Imelda R. Marcos to compose a national tribute hymn entitled AKO AY
PILIPINO
 He wrote the classic KAPANTAY AY LANGIT, a theme from the award winning motion of the same title , sung by
AMAPOLA
  Its english version entitled “You’re all I love” containing some tagalog lyrics was sung by American singer Vic Dana
 The song won the Manila Film Festival “Best Song of the Year Award “ in 1972
 He followed it with an English song entitled “Song” exclusively for Song and Amapola under the Vicor Music Corporation
Pioneer Label.
 Vic del Rosario – owner of Vicor Music Corporation and film producer who gave him biggest break in Music Industry.
 He was elected President of the Filipino Society of Composers, Authors and Publishers, Inc. (FILSCAP) in 1973
 He was also elected as councilor for the First District of Quezon City in 1988.
 His Legacy as composer include approximately 120 song titles including:
 Ikaw, Kilangan Kita, Dito Ba, Hiram, Tubig at Langis, Hanggang sa Dulo ng Walang Hanggan, Sinasamba Kita, Kastilyong
Buhangin,
 He passed away November 19, 2004 in Manila
 Minsan pa nating Hagkan ang Nakaraan, Ngayon at Kailanman, Sana Bukas pa ang Kahapon, Dear Heart, Gaano Kadalas
ang Minsan, Paano Kita Mapapasalamatan and Kahapon Lamang.

LEOPOLDO SILOS Sr. (1925 – 2015)

 “COMPOSER, SINGER AND ARRANGER”

 Was born on March 6, 1925
 His two well-known hits are: Dahil sa Isang Bulaklak (Because of One Flower) and Hindi kita Malimot (I Can’t Forget You)
 He was also the award-winning Musical Director of the long running Television Musical Program. AAWITAN KITA, which
starred Armida Siguion-Reyna.
 Other Notable composition of Silos are:
 Aling Kutsero, Ay anong Saklap, Basta’t Mahal Kita, Diyos lamang ang Nakakaalam, Hindi ko Malilimutan, Lagi kitang
Naaalala, Langit sa Lupa, Halina Halina, Lihim na Pg-ibig and Mundo mo’y Mawala.
 He Died on March 10, 2015

-Jelly Ann Sollano