Characteristics of traditional

Philippine music
1. Ethnic
 Percussion music using gong to express a five tone or a
seven-tone notation.
 A percussion instrument is a musical instrument that is
sounded by being struck or scraped by a beater including
attached or enclosed beaters or rattles struck, scraped or
rubbed by hand or struck against another similar
instrument.
2. Hispanic
 Examples for this are: Sarswela and the Rondalla
 Zarzuela is a Spanish lyric-dramatic genre that alternates
between spoken and sung scenes, the latter incorporating
operatic and popular songs, as well as dance. Zarzuela
spread to the Spanish colonies, and many Hispanic
countries – notably Cuba – developed their own traditions.
In the Philippines, where it is also known as
sarswela/sarsuela. Other regional and linguistic variants in
Spain include the Basque zartzuela and the Catalan
sarsuela.
 While, Rondalla is an ensemble of stringed instruments
played with the plectrum or pick and generally known as
plectrum instruments. It originated in Medieval Spain,
especially in Catalonia, Aragon, Murcia, and Valencia. The
tradition was later taken to Spanish America and the
Philippines.
3. Filipino
 Examples: Awit at Korido
 Awit is a kind of narrative poem composed of four verses
each, with each verse having a different syllable, and the
traditional end-to-end match.
 Korido, on the other hand, is a type of Philippine literature,
a type of poetry that we have gained from the Spanish
influence. It measures eight syllables per line and four lines
at one end. Korido is expressed or pronounced through the
poetic through of poetry.
4. Korido
 Corrido, Is a popular narrative song and poetry that forms a
ballad. The songs are often about oppression, history, daily
life for peasants, and other socially relevant topics. It is still a
popular form today in Mexico and was widely popular
during the Mexican Revolutions of the 20th century. The
corrido derives largely from the romance, and in its most
known form consists of a salutation from the singer and
prologue to the story, the story itself, and a moral and
farewell from the singer. Metrical Story sang with a guitar.
Examples are “Biag ni Lam-Ang” and “Florante at Laura”.
 CLASSIFICATIONS of Philippine Traditional
Instruments
 An aerophone is any musical instrument that produces
sound primarily by causing a body of air to vibrate, without
the use of strings or membranes, and without the vibration
of the instrument itself adding considerably to the sound.
 An idiophone is any musical instrument that creates sound
primarily by the instrument as a whole vibrating—without
the use of strings or membranes. It is the first of the four
main divisions in the original Hornbostel–Sachs scheme of
musical instrument classification.
 A chordophone is a musical instrument that makes sound
by way of a vibrating string or strings stretched between
two points. It is one of the four main divisions of instruments
in the original Hornbostel-Sachs scheme of musical
instrument classification.
Traditonal Composers:
FRANCISCO B. BUENCAMINO SR. (1883 – 1952)
 November 5, 1883 in Bulacan. Son of a musically inclined
couple. (Fortunato Buencamino, a church organist and
band master. Luisa Beltran, a noted singer.)
 Studied music composition and harmony at Liceo de
Manila. Unfortunately, he wasnot ableto finish.
 Hetaught at theAteneo deManila, and at Centro Escolar
deSeñoritaswhose Conservatory of Music hefounded.
 1930, created Buencamino Music Academy.
 Musical directing and scoring, and composing film music
for Sampaguita Pictures, LVN, and Excelsior.
Buencamino’s compositions:
- Harana, Pandanggo ni Neneng
- Collar deSampaguita, DulceslasHoras
- Mayon (Fantasia de Concierto)
- My Soul’s Lament, Larawan, Mazurka
- Boholana, Mi Bandera, Princesang 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’s young students, especially
Mayon, Larawan, and Maligayang Bati.
 He also wrote several zarzuelas and kundimans.
 He passed away on October 16, 1952 after which
aposthumous award honored him with thetitle “Outstanding
Composer.”

FRANCISCO SANTIAGO (1889 – 1947)

 “Father of theKundiman”
 “Triumvirate of Filipino Composers.”
 Music specialization: – American Conservatory of Music in
Chicago, Doctorate Degree in 1924.
 Music Style: – Romantic in style, incorporating Western
forms and techniques with folk materials.
 He composed such as: kundiman, symphonies, piano
concertos, and other music pieces for the piano, violin,
and voice.
 Musical director for films: Kundiman, Leron Leron Sinta,
Madaling Araw, Manileña, and the movie inspired by his
own composition “Pakiusap”
  First Filipino Director, UP Conservatory of Music.
 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 before
the Royal Court of Spain upon the request of King Alfonso II.

NICANOR ABELARDO (1893 – 1934)

 “Triumvirate of Filipino Composers”
 He studied music at the Chicago Music College and was
influenced by the musical styles of Schoenberg, Hindemith
and Stravinsky.
 Music Style: – European romanticism with chromaticism.
 His compositions contain – hazy tones, dissonance and
unusual chordal combinations found in such works as
Cinderella Overture, Panoramas, and a violin sonata.
 Considered a composer in the Romantic style.
 Compositions include: – Mutyang Pasig, Nasaan Ka Irog,
Cavatina for Violoncello, and Magbalik Ka Hirang.

ANTONIO J. MOLINA (1894 – 1980)

 National Artist for Music
 First National Artist for Music.
 “Triumvirate of Filipino Composers”
 He began his music career as an orchestral soloist at the
Manila Grand Opera House.
 1948 to 1970. Dean, Centro Escolar University Conservatory
of Music.
 Music Style: Product of both the Romantic and Impressionist
schools of thought. Dynamics and harmonies of Debussy.
Romantic style in his melody. Impressionist work – is his
piano work Malikmata (Transfiguration).
  The mysteriously exotic chords of this piece gradually lead
to a lyrical melody, with the traditional harmonies abruptly
returning to the initial mood.
 Molina wrote several compositions – piano, violin and –
Spanish-style opera form (zarzuela)
 Poignantly romantic serenade – 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
 chambermusic - String Quartet, Kung sa Iyong Gunita,
Pandangguhan
 vocal music - Amihan, Awit ni Maria Clara, and Larawan
Nitong Pilipinas.
 1973, National Artist for Music award.
 January 29, 1980. He passed away.

HILARION RUBIO Y FRANCISCO (1902 – 1985)

 October 21, 1902 in Bacoor, Cavite.
 A composer, music teacher, conductor, choirmaster
clarinetist.
 Conductor for opera, ballet, dancer ecitals, and movie
music.
 First interest in music, the“Bacoor Band.” At Age of 8,
member of the Bacoor Band as a clarinetist.
 First composition Unang Katas.
 First music lessons, with Fr. Amando Buencamino, so lfeggio
and some musical instruments.
 Member of the Lyric Theater Orchestra, Trozo Band in
Benavides Street, and the Band Moderna in Tondo.
  He co-founded the Anak Zapote Band. Became a band
leader and conductor of the ROTC Band of the
Conservatory of Music, University of the Philippines (UP) and
played the violin and timpani with the UP Junior Symphony
Orchestra.
 Vice President of the PASAMBAP (Pambansang Samahan
ng mgaBandasa Pilipinas), the National Band Association,
board and charter member of the League of Filipino
composers, and the first President of the Philippine Band
master’s Association.
 He was conductor of the National Opera Company for 23
yearsfrom 1937 to 1960.

Rubio’s compositions include:

– Bulaklaken
– Theme and Variations for
Band
– Dance of the Nymphs
Rondo
– Florante 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 Filipino Youth
– Nela
– National Heroes Day Hymn
– Salamisim

 He passed away on December 28, 1985.

COL. ANTONINO BUENAVENTURA (1904 – 1996)
National Artist for Music
• composer, conductor, and teacher.
• His father Lucio – chief musician of the Spanish artillery band in
Intramuros and founder of Banda Buenaventura
• Demonstrated a passion for music while learning the rudiments
of music and so lfeggio.
• proficient clarinet player.
• at age19, Conservatory of Music, University of the Philippines
(UP).
• Teacher’s Diploma in Science and Composition at UP.
• Nicanor Abelardo and Francisco Santiago were among his
famous mentors.
• led the UPROTC Band and established the UPJunior Orchestra
which was the first collegiate orchestra in the country.
• Institute of International Education in New York.
• study grant by the UNESCO in 1949.
• He was a delegate to the general assembly of the
International Society for Music held in Montreux, Switzerland in
1976.
• He represented the country at the general meetings of the
International Music Council (IMC) in Rome (1962) and Hamburg
(1964).
• Actively involved with the various military bands which
ultimately earned him his military rank of Colonel.
• He was a music instructor and band conductor of the
Philippine Military Academy (PMA).
• 1945, restored the Philippine Constabulary Band.
• Philippine Constabulary Band – “one of the best military bands
in the world.” renamed the (Philippine Army Band). He also
founded the San Pablo Music Academy in Laguna.
• Faculty member of the UP Conservatory of Music.
• 1961, Music director of the Conservatory of Music, UST
• 1964, School of Music and Arts, UE.
• composed the music and folk dance notationsfor
thedanceresearchesof Aquino.
• popular compositions, remains a favorite performance
repertoire of many folk dance companies.
• 1988, National Artist for Music.
• As a multi-awarded musician:
– Minuet
– Mindanao Sketches
– Divertimento for Piano
– Orchestra
– Variations and Fugue
– Greetings based on Philippine folk music.
– Pandanggo sa Ilaw

RODOLFO S. CORNEJO (1909 – 1991)

• May 15, 1909 in Singalong, Manila.
• at age 6, formal music lessons inspired by his mother.
• Organist of the Pasay Catholic Church.
• at age 10, started composing entitled Glissando Waltz, military
march entitled Salute.
• At age 14, 26 of Cornejo’s compositions were already listed by
the United Publishing Company Inc.
• Teacher’s Diploma in Pianoforte
• Teacher’s Diploma in Science and Composition at the
Conservatory of Music, University of the Philippines (UP) in 1930.
• 1932, BM degree major in piano and theory from the CMCRU,
USA
• 1933, MM degree major in composition and conducting at the
CMCRU, USA.
• 1954, Doctor of Music degree honoris causa.
• 1947, Doctor of Philosophy degree major in composition from
the Neotarian College of Philosophy in Kansas City, USA
• taught at the UP Conservatory of Music and became the
researcher and official composer of the Philippine government-
in-exile.
• was appointed by then President Manuel L. Quezon.
• He was commissioned to write a symphony and an opera and
compose the music for the documentary film on President
Quezon’s funeral.
• Pianist director of a USO concert unit that entertained the
Allied Forces at the E.T.O., the Marianas, and the Hawaiian
Islandsduring World War II.
• soloist of the Manila Symphony Orchestra, Filipinas Youth
Symphony Orchestra, and UP Symphony Orchestra.
• musical director of the Sampaguita and Vera-Perez Movie
Companies.
• Since1978, he held concerts in the United States.
• composer-conductor at the Seattle Opera House and the
Seattle Playhouse.
• He is listed in “The International Who’s Who in Music.”
• known for his extemporaneous thematic improvisations based
on the letters of people’s names.
• He passed away on August 11, 1991.

His compositional output includes:

– A la Juventud Filipina – Malakas at Maganda
– Bailes de Ayer – Overture
– Caprice on a Folk song – Okaka
– Cello Sonata – Oriental Fantasy, Piano
– Ibong Adarna Concerto Nos. 1,2,3, Ruby,
– Kandingan and Song of the Miners.
FELIPE PADILLA DELEON SR. (1912 – 1992)
• National Artist for Music
• May 1, 1912 in Barrio Papaya (now General Tinio) in
Penaranda, Nueva Ecija.
• He is the son of Juan de Leon and Natalia Padilla.
• Married pianist Iluminada Mendoza with six children.
• FELIPEPADILLA DELEON SR. Children:
–Bayani is a well-known composer
–Felipe Jr. is a writer and the chairman of the National
Commission for Culture and the Arts (NCCA).

• De Leon’s talent in painting and drawing.

• 1927, Fine Arts at the University of the Philippines.
• He played the trombone in dance orchestras which
performed in cabarets, circuses and bodabil (vaudeville).
• Assistant conductor of the Nueva Ecija High School Orchestra
(Ensemble)
• wrote music for the zarzuela.
• Conservatory of Music, University of the Philippines, where he
studied under National Artists Col. Antonio Buenaventura and
Antonio Molina.
• He wrote music columns for the Manila Times (then known as
Manila Tribune) and Taliba.
• 1939, graduated with a music teacher's diploma, major in
conducting.
• Advanced studies in composition under Vittorio Giannini of the
Julliard School of Music in New York, USA.
• Composer of the Year (1949)
• Manila Music Lovers Society
• Musician of the Year (1958)
• UP Conservatory of Music, and others.
• 1991, conferred an honorary degree, doctor of philosophy in
the humanities, UP.

De Leon wrote piano compositions: • hymns, • marches, • art

songs, • chamber music, • symphonic poems, • overtures, •
band music, • school songs, • orchestral works, • operas, •
kundiman, and • zarzuelas.

• known as a nationalist composer who expressed the

Philippines' cultural identity through his compositions.
• Two operas which are considered his masterpieces are the:
Noli Me Tangere(1957) and El Filibusterismo (1970).
• He also wrote a march during the Japanese regime entitled:
Tindig, Aking Inang Bayan, and another march Bagong Lipunan
during the martial law .
• He wrote the popular Christmas carols – Payapang Daigdig
(1946), NocheBuena, and Pasko Na Naman, both in 1965.
• 1997, post humous award as National Artist for Music.
• He died on December 5, 1992.

LUCIO SAN PEDRO (1913 – 2002)

• National Artist for Music.
• February 11, 1913 in Angono, Rizal.
• Since his elementary days, he started composing.
• He studied the banjo which inspired him to become a serious
musician.
• Music Degree, University of the Philippines and the Juilliard
School in New York, USA.
• known as a “romantic nationalist.”
• Music Style: – Philippine folk elements with Western forms and
harmony.
• His chords have a rich expressive tonality, as represented in 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 poetic aural description of his hometown Angono, and his
nationalistic symphonic poem Lahing Kayumanggi(1962).
• Other compositions include songs, pieces for violin, cello, and
chorus.
• the symphonic band, prolific and productive both as
composer and conductor.
• His musical prowess was internationally recognized when he
was invited to be a judge at the prestigious Van Cliburn
International Piano Competition in 1980.
• 1991, National Artist for Music.
• Passed away on March 31, 2002.

ROSENDO E. SANTOS JR. (1922 – 1994)

• September 3, 1922 in Cavite City.
• At age 11, he started composing band marches, instrumental,
and vocal scores, as well as music for Catholic masses.
• He studied in Cavite schools and later graduated from the UP
Conservatory of Music where he eventually became a faculty
member.
• He also pursued a Master of Music degree in theory and
composition from the Catholic University of America in
Washington, D.C.
• After which, he also served on its faculty as well as in West
Virginia University and Howard University.
• 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 joined the 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
in Pennsylvania, USA.
• He composed the background music for J. Arthur Rank Films
at Pinewood Studios in London, England, where he worked with
British composers Malcolm Arnold and Muir Mathieson.
• Among Santos’ teachers were famous composers Aaron
Copland, 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 200 marches.
He had also written 50 masses in Latin and 20 in English. He has
more than 1,000 musical compositions in the library of the
University of the Philippines. Santos’ last musical work and only
ballet composition, Melinda’s Masquerade,
• Melinda’s Masquerade, was performed in 1995, a year after
his death.
• Santos passed away on November 4, 1994 in Swoyersville,
Pennsylvania, USA.

ALFREDO BUENAVENTURA (1929)

• October 14, 1929 in Sta. Maria, Bulacan in Sta. Maria, Bulacan.
• composer, conductor and teacher.
• He grew up in a musical environment and became a band
member in his hometown at a young age.
• He was drawn by his fascination with trumpets and trombones
and became one of its arrangers and conductors.
• He was one of twenty boy sopranos of Tiples at Sto. Domingo
Church from where he received his first significant musical
training. At that time, he also wrote his first composition, Danza.
• A prolific composer, Buenaventura has composed over 50
major works including: five full-length operas, operettas, dance
dramas, cantatas, symphonies, concertos, ballets, overtures,
prelude, fugues, and chamber music.
• His compositions and other creative works have transcended
territorial, racial, and language barriers as these have been
performed abroad by international virtuosi and religious groups.
• Many of his compositions are based on Filipino heroes,
legends, and epics.
• He uses native songs, both tribal and folk, as themes of his
music compositions. A number of his compositions are
accompanied by Filipino indigenous instruments.

Some of his majorworks 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.
• symphonies such as Dakilang Lahi (1971), Gomburza(1981),
and Rizal, the Great Malayan Antagonist (1990).
Minor works, 50 cover. – religious songs and hymns for specific
celebrations such As:
• the Sixteenth Centenary of St. Augustine
• Mass for the 400th Year of the Augustinian Recollect
• the Philippine Music Festival.
• musical works have been commissioned by the Cultural
Center of the Philippines, Metropolitan Theater, and the
National Music Competitions for Young Artists (NAMCYA).
• compositional style: – contemporary and conventional
materials. – melodies simple and understandable but with
contemporary harmonies that enhance their complexity.
• in 1960, Official organist of the Manila Cathedral.
• Dean of the College of Music, Centro Escolar University.
• Member, League of Filipino Composers.
• An awardee of the – Republic Cultural Heritage Award – The
Outstanding Filipino Award (TOFIL) for Music in 1995.

CIPRIANO “RYAN” CAYABYAB

• May 4, 1954 in Manila (born)
• popular contemporary composer
• classical compositions: – Misa, Four Poems for Soprano and
Piano, and Te Deum
• compositional style: – syncopation, extended chords, and
chromatic harmony.
• Numerous compositions are the award-winning – Kay
Gandang Ating Musika(1978), as well as the – modern zarzuela
Alikabok (2003), – the opera Spoliarium with libretto by Fides
Cuyugan-Asensio, and – a variety of choral pieces and song
cycles. Produced a number of recordings, including the
memorable album One, where he personally sang the
unaccompanied songs on different tracks to produce 16 voices.
• Bachelor of Music degree at the University of the Philippines’
College of Music.
• faculty member for Composition at the same University
• Executive and Artistic Director of the San Miguel Foundation
for the Performing Arts. – operations and programming of the
San Miguel Philharmonic Orchestra and the San Miguel Master
Chorale.
• At present, he continues to be a much sought-after professor,
musical director, composer, arranger, and conductor in the
Philippine concert and recording scenes.

SUMMARY:
Contemporary music in the Philippines usually refers to
compositions that have adopted ideas and elements from
twentieth century art music in the West, as well as the latest
trends and musical styles in the entertainment industry.
Three main characteristics are exemplified by traditional ethnic
music. The first is the cantata form. A cantata is a vocal
composition with an instrumental accompaniment and often
contains more than one movement. In singing, the groups sing
in solo or by group and some songs were sung by
accompaniment, Hispanic and Filipino

Francisco Santiago is known as the “Father of the Kundiman”

and belongs to the “Triumvirate of Filipino Composers.” Nicanor
Abelardo developed a style that combined European
romanticism with chromaticism. He belongs to the “Triumvirate
of Filipino Composers” together with Francisco Santiago and
Antonio Molina.
OPERA IN THE PHILIPPINES

19th CENTURY
– Filipino opera emerged in the Philippines when foreign
performers, including instrumental virtuosi, as well as opera
singers and Spanish zarzuela performers came to the country to
perform for enthusiastic audiences.

OPERA
- Is an art and music form in which singers and musicians
perform a dramatic work combining text (called a libretto) and
a musical score.
- It is accompanied by an orchestra or smaller musical
ensemble.
- The dialogue is entirely sung and not spoken.

Local Theatres and Early Philippine Operas:

- Zorrilla Theater (1817-1893)
- Principe Alfonso Theater (1862-1876)
- Variedades Theater (1847)
- Quiapo Theater
- Tondo Theater (1841)
- Manila Grand Opera House (mid-19th)
- Metropolitan Theater (1931)

“SANDUGONG PANAGINIP”
- Composed by LADISLAO BONUS, “Father of Philippine Opera:
- Said to be the FIRST FILIPINO OPERA by PEDRO PATERNO, a
poet, novelist, musician, and government official. (La Alianza
Soñada)
- This was first presented at the Zorilla Theater on August 2,
1902.
- It was later translated by the Englishman M.W. Loving with the
title The Dreamed Alliance.

BONIFACIO ABDON
- First Filipino Opera Conductor

DR. RAMON JAVIER

- First Filipino Impresario who promoted local talents to
participate in foreign productions.

PATRICIO MARIANO
- Wrote the “Lakangbini” that was first staged at the
Metropolitan Theater in December 19, 1933

Popular Singers:
NELIA MANALO as Violetta in La Traviata
MERCEDES MATIAS-SANTIAGO as Lucia in Lucia di Lamemoor
JOVITA FUENTES as Mimi in La Boheme

CULTURAL CENTER OF THE PHILIPPINES

Established by then First Lady Imelda Romualdez-Marcos in 1969
paved the way for other Filipino operas to be staged at a
legitimate venue of international standard.

FELIPE PADILLA DE LEON

- Composed Noli Me Tangere and El Filibusterismo
- Presented at the CCP Main Theater in 1970 and 1975

Famous Filipino Operas:

“LA LOBA NEGRA”

- The Black She-Wolf
- A Three-act Filipino Opera
- The music was composed by Francisco Feliciano with libretto
by soprano Fides Cuyugan Asensio

“NOLI ME TANGERE”
- The three-act opera composed by National Artist Felipe Padilla
de Leon, with libretto by National Artist Guillermo Tolentino.
- It premiered in 1957 at the FEU Auditorium.

“EL FILIBUSTERISMO”
- It was written four years after the Noli Me Tangere
- It was in three acts and written in Tagalog (with Libretto by
Anthony Morli)
- It tells of the continuing struggle of the Filipinos to achieve
freedom and emancipation from Spanish colonial rule.

BALLET IN THE PHILIPPINES

- The Filipino ballet presents folktales based on local fables and
epics from neighbouring regions.
- A ballet adaptation of Severino Reyes’ folktales “Mga Kuwento
ni Lola Basyang”. It was meant to instill and rekindle the interest
of the Filipino youth in the beauty, richness, and heritage of
Philippine literature.

“LOLA BASYANG”
- translated as King Rama, is the Philippine adaptation of the
Indian epic Ramayana set to music, dance, and drama. “RAMA
HARI”
MUSICAL PLAYS IN THE PHILIPPINES
- In the Philippines, the musical play rely mostly on adaptations
from novels, literary works, or biographical sketches of famous
artists.

MUSICAL PLAY
- Lighter form than the opera
- Themes are usually contemporary
- Acting is less intense and dramatic

BROADWAY MUSICALS
- “Showboat” was the first broadway musical which featured
the popular mode of transport in the American frontier.

Interracial gang rivalry and romance in West Side Story Other

Themes:
- Siamese royalty in The King and I
- English aristocracy in My Fair Lady
- Austrian history in The Sound of Music
- Medieval English tragedy in Camelot

ANDRES BONIFACIO: ANG DAKILANG ANAK-PAWIS

- It is a five-act work commissioned by Alfonso Puyat in 1979,
depicting the life of revolutionary hero Andres Bonifacio.
- Music was by Jerry Dadap.

ATANG DELA RAMA. ATANG - DULANG MAY MUSIKAL

- It is a musical based on the life of the first superstar of the
Philippines.
- written by Floy Quintos and directed by Alexander Cortes, was
shown at UP Diliman in 2008 as part of the Zarzuela Festival
organized by the UP College of Arts and Letters.
- is about the life of bodabil star Katy dela Cruz.
- The music and musical arrangements were done by Nonong
Buencamino
- The play commissioned Ryan Cayabyab for the music, Jose
Javier Reyes for the lyrics, and starred Mitch Valdes in the title
role KATY!

FLORANTE AT LAURA
- It was presented in celebration of the 200th birth anniversary of
the author Francisco Balagtas- Baltazar.

DARAGANG MAGAYON
- It is based on a poem by MERLINDA C. BOBIS.
- It was produced by the CCP Women’s Desk and the
Coordinating Center for Dance to celebrate Women’s Month.

MAGSIMULA KA
- It is the story of young dreamers whose ambitions begin to
fade in life’s realities. They are part of the graduating class
filled with hope but end up compromising their idealism for
their own survival.
- MAGSIMULA KA by Gines Tan, staged at the CCP Main
Theater from April 7 to 24, 1988 one of the longest running
musicals at the CCP.