ASIAN MUSIC AND PHILIPPINE MUSIC

A. JAPAN

Traditional Music

Shomyo – is called Buddhist chanting. This history of Buddhist chanting in Japan began with the
introduction of Buddhism from China around 552. The chants are based on sacred texts and hymns.
They are sung acapella and are monophonic in texture.

Gagaku – means “elegant and refined music”. It is the oldest surviving music in Japan. It is also
considered to be the rarest and oldest orchestral music in the world. Consists of an instrumental
ensemble with a dance. It is called Kangen if it is an instrumental performance and Bugaku if it
accompanies a dance.

Three Musical Styles of Gagaku

1. Togaku or court music – the highest musical style.

2. Komagaku – a musical style of Korean origin and of native composition associated with rituals of
the Shinto religion.
3. Saibara – small number of regional Japanese folksongs.

Theater and Dance

Noh – first Japan’s theater form and its music became one of the most important genres of Japanese
traditional music. It is make use of theatrical arts such as music, dance, poetry, design and costumes.
The drama consists of singing known generally as yokyoku or utai.

Kabuki – traditionally an all-male theater with a combination of melodrama and colorful dancing. It
means “to act in an unusual manner wearing unusual costumes”. It was first written with three
Chinese characters which meant “song-dance theater”.

Bunraku – is a puppet theater. Its performance is sustained by three main elements: the art of the
puppeteer himself, the own words of the narrator or the singer, and the music of the shamisen player.
The puppet is manipulated by three puppeteers.

Basic scales of Japanese music.

1. Male scale called Yo-sen

2. Female scale called In-sen

Japanese traditional music is based on the five tone scale or the pentatonic scale.
Instruments

Aerophones of Wind Instruments

SHO – a mouth organ that is made from bamboo or wood.

SHAKUHACHI – a bamboo flute with four holes.
FU’YE – a sophisticated side-blown flute with seven finger holes.
HICHIRIKI – an instrument similar to an oboe.

Chordophones or String Instruments

KOTO – a famous Japanese zither, with 13 silk strings, that is laid horizontally on the floor.
SHAMISEN – a flat-backed lute that has skin covered bellies and three strings.
BIWA – a Japanese version of the pi’pa that has four strings with frets on the belly and slim lateral tuning
pegs.

Membranophone or Percussion Instruments(with membrane)

KAKKO – a gagaku instrument that is made up of deer skin.

DA-DAIKO – a huge gagaku drum suspended on an artistic frame and its struck with heavy lacquered
beaters.

Idiophone or Percussion Instrument

SHOKO – hanging gong.

Biwa Hichiriki Koto Sho

Shamisen Shakuhachi

B. CHINA

Four Stages or Period

Formative Period – music was used in folk festivals that are meant to give honor to the ancestors. Clay
ocarinas and stone chimes were some of the instruments used to accompany these celebrations.

International Period – there was an overflow of musical ideas brought about by Western contacts and
Asian trade.

National Period – showed signs of stability and affluence to China.

World Music Period – a new kind of music was born from the tradition of Western instruments and forms.

Chinese traditional music is based on the five tone scale or the pentatonic scale. It is written in
duple meter in a single melodic line or in strophic form. In the northern Chinese folk music, the seven tone
scale or the heptatonic scale is often used as a basis for compositions. Some Chinese compositions are
written on the twelve tone (12) pitch scale called LU and the 60 pentatonic and eighty-four (84) heptatonic
modes are called TIAO. Ideograms or symbols were used to notate Chinese Music.

Instruments

Aerophone – Wind Instruments

HSIAO – an end blown flute made from a smooth bamboo.

TI – a transverse bamboo flute tipped with ivory or bone at the end.
SHENG – a mouth organ with 17 pipes.

Chordophone – String Instruments

CH’IN – a seven stringed zither.

P’IPA – a four stringed loquat-shaped lute.
YUEH-CH’IN – a four stringed moon shaped lute used to accompany songs used in Peking Opera.
CHENG – a long zither with 13-23 strings.
ERH-HU – a two stringed fiddle played with a bowstring.
SAN-HSIEN – a three stringed banjo.
Idiophone – Percussion Instruments

YUN-LO – Hanging flat gongs.

PA – cymbals

Pipa Ch’in Sheng Er-hu

Peking Opera

Peking Opera – is a musical art form, combines singing, heightened speech, mime, dancing, literature,
theater and acrobatics. This opera traces its roots from the ancient ritual dance, the Yuan and the Ming
Romance. It is recognize and considered as a national art form. The basic characteristics of the Peking
Opera is its simplicity, symbolism and synchronization. Most operas derive their plots from folklore,
popular novel and historical events. This kind of opera upholds the Chinese traditional values which help
educate the youth. The four dramatic elements are: recitation dialogue, song, theatrical adaptation of
traditional Chinese martial arts combined with acrobatics and Pantomime.

C. INDIA

India, one the countries in South Asia, was colonized by the British but were able to retain their
culture. For them, music is a sacred form of art. The study of Indian music begins with the religious chants
called the Veda, composed by a tribe of nomadic shepherds. These hymns are sung without
accompaniment. The art of Indian music has been called guided improvisation, which means that at all
times, the musician must be guided simultaneously by the raga and the tala. There are two kinds of
Indian music: Hindustani which belongs to the north and has a Moslem influence, and Karnatak which
belongs to the south and is basically Hindu.

1. Tala – is the rhythmic cycle of India. The tempo is called laya. The laya may vary from fast (druta)
to medium (maghya) or slow (vilmabita). In Hindustani music, the unit of time is called matra and
in Karnatak music, it is called akshara. The tala is divided into rhythmic groups called angas.
Drone is an important element in their music.

X – represents the accented beat O – represents an open or empty beat

2. Raga – is a combination of a scale and a melody. Each raga has its own mood such as
happiness, sorrow, or peace. There are two principal tones of the raga: vadi and samvadi.
3. Shruti – is the smallest interval tone in Indian music. In Western music, it is called microtones.
4. Gamaka – ornamentation in Indian music.
 Tonal System of India

SA RI GA MA PA DHA NI SA
D E F G A+ B C D

Instruments

Membranophone – Percussion Instruments (with membrane)

TABLA – (Hindustani) is the name for a pair of drums. The larger drum called the bhaya, has a metal
body while the smaller one, the tabla has a wooden body.
MRIDANGAM – (Karnatak) a two headed drum. It is laid across the lap of the performer.

Aerophone – Woodwind Instruments

BANSURI – a side blown cane flute is a melodic instrument of the North.

SHAHNAI – an oboe type instrument.
NAGASVARAM or NAGASVARA – a large double reed oboe type instrument of the South.

Chordophone – String Instruments

India has a variety of chordophones. In these instruments, three kinds of strings may be found:
melodic strings, drone strings and symphatetic vibrators.

TAMBURA – unfretted lute, used as a drone; used by both South and North.
SITAR – the most popular instrument in Northern India; in addition to four strings and three drones, the
sitar may have as many as 13 strings.
VINA – instrument of the South; with four melody strings and three drone strings.
SARANGI – bowed fiddle melodic instrument; a Hindustani instrument.

Hindustani Instruments Karnatak Instrumental Ensemble

1. Bansuri – melody 1. Vina - melody
2. Tabla – tala 2. Violin - melody
3. Tambura – drone 3. Mridangam – tala/rhythm
4. Tambura - drone

Mridangam Sarangi Shahnai Sitar Mridangam Vina Tambura

D. INDONESIA

Indonesia shows varied cultural influences. Foremost of the influences still existing today are
those of India and China which reached Indonesia in 300 B.C. Hinduism and Buddhism have greatly
influenced Indonesian culture. Music, dance and drama are very important to the Indonesians.

Wayang Kulit – (shadow puppetry) music and dance using puppets made of animal skin and painted with
colorful designs.

Gamelan – is the one of the most important musical ensembles in Indonesia. A Gamelan consists of 40
instruments. The arrangement of the instruments is important. The Gamelan is played in the courts. It
plays an important part in spiritual life. It is used for religious ceremonies and important events. It is also a
part of entertainment like the puppet show.
Slendro - is known as the “male” tonal system. It consists of five tones without half steps. It is also known
as the pentatonic scale.

Pathets – is the modes in music used to determine the highness and lowness of pitch. These are the
slendro pathet nem - lowest pitch, slendro pathet sanga – medium high and slendro pathet manyura –
highest pitch.

Pelog – is considered the “female” tonal system. Consists of seven tone scale, involving half steps. The
three modes are the pelog pathet lima – lowest, pelog pathet nem – medium high and pelog pathet
barang – highest pitch.

The Gamelan Instruments

SARON – plays the skeletal part of the gamelan composition, which consists of metal bars placed on top
of box resonator. A wooden mallet is used to strike the bars.
REBAB – is similar to the mandolin. It has two strings played with an arc.
CHELEMPUNG – has twenty-six strings, one pair of which is set to one tone. This way, only tones are
heard.
SULING – is bamboo flute.
PEKING – is a small xylophone with thick metal bars.
GENDER – is made up of thin bronze plates suspended over resonating tubes. It has loud and brilliant
tones.
BONANG – is a set of bronze metal kettles which plays the melodic and rhythmic variations of a
composition. Two long sticks are used to strike the gongs.
GONG AGENG – is the most sacred and the most honored instrument of the gamelan. It is played with a
soft, padded wooden stick to mark large musical phrases.
GAMBANG – is wooden xylophone. It doubles or anticipates the principal melody.
KEMPUL – is a small gong that plays in syncopation with the kenong. It punctuates short musical
phrases.

Saron Rebab Suling Gender Bonang

Gong Ageng Kempul Gambang Chelempung

E. KOREA

Korean music may be described as elegant and very ritual like the Chinese music. There is music
for both the nobility and common people. Korean music is built on the pentatonic scale and on the
heptatonic scale. Both scales are used in the Aak court music and during informal celebrations.
Traditional Music

1. Sog –ak – is the music of the common people that is usually live. It portrays the life of ordinary
people. It is folk music of Korea.
2. Chong – ak – is the Korean Court music. The court music of the nobility is elegant, refined,
delicate and formal. It is extremely slow and solemn, has subtle dynamics and possesses a
sense of majesty.

Three kinds of Korean Court Music

a. Aak – an imported form of Chinese ritual music.

b. Hyangak – a pure Korean music.
c. Tangak – a combination of Chinese and Korean influences.

Vocal Music

1. Kasa – a long narrative song.

2. Kagok – a long lyrical song.
3. Sijo – a short lyrical song.
4. Nong-ak – song of the farmers.
5. P’ansori – song for the stage and drama.
6. San-jo – song for solo instrument.
7. Minjo – a folk song sung in triple meter with one basic rhythmic pattern.

Instruments

Aerophones
1. P’IRI – is cylindrical bamboo similar to an oboe blown through a double reed mouthpiece.
2. TANSO – is a small notched vertical bamboo flute with five fingerholes.
3. CHOTTDAE – is a long flute made of bamboo with six holes.
Chordophones
1. KAYAGUM – is a twelve-stringed zither similar to the Koto of Japan and Ch’in of China. It is
supported by twelve movable bridges.
2. KOMUNGO – is a six-stringed zither that plays as the principal instrument for a small group of
players. It is regarded for expressing the noble spirit of a learned man.
3. HAEGUM – is a two-stringed fiddle made of bamboo that is plucked. It is used for dance
performances.
Idiophones
1. KWAENGGWARI– is the smallest gong struck with a wooden mallet.
2. PAK – is a clapper shaped like a folded fan. It consists of six pieces of wood loosely held together
at the upper end by chord made from deer skin.
3. CHING – is a huge gong played with a padded mallet. This is used in military and Shaman music.
Membranophone
1. CHANGGO – is an hour glass shaped drum played by striking either of both ends. The thick
leather head produces a low sound while the thin leather gives a brighter tone sound.

Kayagum Komungo Changgo Haegum

F. THAILAND
The music of Thailand has been part of an oral culture and developed no traditional system of
notation. Traditional Thai music is classified into: folk music, which is extensively used by people in the
villages, and classical music, which evolved in many royal households and was used both for ceremonies
and the entertainment of the ruling class.

Periods
Sukothai Period (1257-1378) - introduced instruments such as drums, trumpets, bells and other string
and percussion instruments for entertainment.
Ayuthaya Period (1350-1767) – Thais enjoyed creating and performing music. It was during this time that
the instrumental group first emerged. (pi phat, khruang saay, mahori)
Krungthep Period (1782-1900) – proved that the art was accorded high status with the patronage of the
king. King Rama I invented new instruments which gave rise to the development of music and dance.

Three Types of Orchestra and Instruments

1. Pi Phat – this plays for court ceremonies and theatrical presentations. Composed of woodwind
and percussion instruments.
a. PINAI – woodwind instrument and it plays the melody.
b. RANAT-EK – xylophone
c. KHONG-WONG – gong instrument and the reference of tuning of all instruments
d. CHING – cymbal instrument and the time keeper

2. Khruang Saay – performing in popular village affairs, combine strings and wind instruments.
a. RANAT – xylophone
b. KHONG-WONG – gong
c. CHAKEE – zither
d. SAO-SAAM-SAAY – fiddle
e. SAO DUANG – fiddle
f. THON – drum

3. Mahori – accompanying solo and choral singing, mixes strings, percussions and wind
instruments.
a. CHAKEE – zither
b. SAO-SAAM-SAAY – fiddle
c. SAO-DUANG – fiddle
d. KLU-PIANG – flute

Taphon Ranat ek Khong- wong Pinai

G. LATIN AMERICA

Latin America covers the whole Central and South America. It is called Latin because much of it
was conquered and colonized by Spain and Portugal, whose languages are based on Latin and are still
spoken everywhere. The music of Latin America is a fascinating mix of the influences of the Spanish,
Portuguese, British and French music, and by an influx of black African slave music. “Cuba is the largest
island in the West Indies, better known as the Caribbean.

The Latin Beat

1. Tonadas (tunes or airs) are South American love songs in Spanish.

2. Habanera – is perhaps the most stately and aristocratic Latin American rhythm which comes from
Cuba, being named after its capital city of Havana.
 3. Rumba and Mambo – are much faster and clearly indicated by the spirit of African dance.
4. Tango – probably originating in Argentina has a similar skipped beat.
5. Zamba and bossa nova – of Brazil are more relaxed, evoking images of white sand, blue sea,
and gently waving palms.

Latin American music joined hands with jazz to revolutionize the world of popular songs and
dances.

Instruments

MARACAS – were created and first used by the native Indians of Puerto Rico. A pair of these is used to
create the unique sound so common in Latin American and Puerto Rican music.
GUIRO – a notched hollowed out gourd, which was adapted from a pre-Columbian instrument.
PALITOS – a pair of sticks that are banged together to provide percussion rhythm.
CONGA – this drum was adapted from Africa where it began as a solid, hollowed out log with a nailed-on
skin. It took various shapes and sizes to vary its sound.
BONGOS – are integral part of Latin percussion, particularly as a solo instrument.

Maracas Guiro Palitos Conga Bongos

H. AFRICAN MUSIC

In African traditions, music has been and still is an integral part of daily life, and is closely
interlinked with the society in which and for which it is produced. It has social, ritual, ceremonial and at
times recreational functions. Dancing is often an important part of the rituals and spiritual aspirations of
music.
Traditional art forms, including music, are rooted in mythology and folklores, usually associated
with gods, ancestors and legendary heroes. Musical activities are ritualized and intended to link the
visible world with the invisible. Music is highly functional in ethnic life, accompanying birth, marriage,
hunting and even political activities.
The Western scale patterns that relate most closely to African music are tetratonic, pentatonic,
hexatonic or heptatonic arrangements.

Instruments

Drums are among the more popular instruments and are made in a variety of shapes and sizes.
Materials such as wood, gourds and clay are used to construct drum bodies. Drum membranes are made
from the skins of reptiles, cows, goats and other animals.

Rattle Mbira Talking drum Yoruba gong

I. PHILIPPINES

Geographically, the Philippines belongs to the East, it has absorbed considerable cultural
influences from West due primarily to 333 years of Spanish rule and 45 years of American domination. Its
oriental background still remains in highland and lowland barrios were indigenous cultures thrive with little
Western influence. In the urban areas, Spanish and American influences are highly evident in the social,
economic and political aspects of life. Shaped by cross-cultural contacts with Western and Non-Western
traditions, Philippine music of today consists of several streams: Indigenous, Spanish influenced and
American influenced.

Ethnic Traditions

The indigenous and Islamic influenced traditions are practiced by about 10% of the entire
population. Eight percent of this minority is represented by more than 100 language groups living in the
mountains of Northern Luzon and in the island of Mindanao, Palawan and Mindoro in Southern and
Western Philippines.
Indigenous music may be instrumental or vocal. Among the indigenous common musical
instruments are the following:
a) Saggeypo – small pipes of different pitches (kalinga)
b) Kollitong – poly chordal zither (kalinga)
c) Patatag – xylophone blades (isneg)
d) Tongatong – stamping tube (kalinga)
e) Bangibang – yoke beam (ifugao)
f) Bungkaka – bamboo buzzers (isneg)
g) Lantoy – bamboo flute (manobo)
h) Gangsa Pattung – with stick (kalinga)
i) Gangsa Toppaya – bare palms (kalinga)
j) Kubing – jaws harp (tiruray)
k) Palendag – long flute (tiruray)
l) Suling – short ring flute (tiruray)
m) Gandingan – set of four narrow rimmed gongs (maguindanao)
n) Dabakan – drum (maguindanao)
o) Babandil – narrow rimmed gong with shallow boss (maguindanao)
p) Kutyapi – stringed lute (maguindanao)
q) Kulintang – a set of graduated gongs (mindanao)

Agong Gangsa Diwdiwas Dabakan Gandingan Kulintang

Spanish Tradition

In 1521, the accidental discovery of the Philippines by Ferdinand Magellan brought about
Spanish colonization and Christianization that also planted seeds of European harmonic music, totally
unknown to Asia at that time. In 300 years, these seeds took shape and produced religious music both
connected to and outside the liturgy of the Catholic Church, secular music from Europe and European
type of music adapted by Filipinos, folksongs and music of string and brass ensemble. Among the
common music and practices are:
a) Pabasa – lenten season
b) Pasyon – chanting
c) Flores de mayo – procession in honor of the Blessed Virgin
d) Panunuluyan – sung dialogue on the streets
e) Sinulog – dance ritual
 Numerous instrumental groups performed actively, particularly in the second half of the 19 th
century. These included orchestras, bands and rondalla.

American and Contemporary Traditions

The three centuries of Spanish musical influence gave way to changing more introduced by the
American regime from 1901 to 1946. Through the new system of public education, American teachers
introduced the singing of Philippine songs in Western style as other hymns and simple tunes from Europe
and America.
The three types of music: 1. the classical music – which includes both Western classical music
and the art music composed by Filipinos in the Western classical or modern idiom. 2. the semiclassical
music – which encompasses stylized folk songs, sarswela music, hymns and marches, band and rondalla
music. 3. the popular music – which includes music created by Filipinos using Western pop forms and/or
local music traditions.

Classification of Songs
1. Art Song – is one that meets the requirements of the musical and poetic arts.
2. Folk Song – is a song of the people and consists of simple melodic, harmonic, and metric
fundamentals.
3. National Song – is one that belongs to the nation. The national anthem or hymn, with a martial
theme, is a national song.
4. Popular Song – is a song of trivial musical and poetic value, usually written by laymen for popular
mass appeal. It is a song of the people.
5. Strophic Song – is a folk or art song consisting of two or more stanzas, each of them set to an
identical tune. A strophic song falls under the mood song category.
6. Non-strophic Song – a non-strophic song is one in which the melody changes according to the
thought of each verse.
7. Ballad – is a class of song particularly common in England and is derived from ballata, a song
with dance.
8. Plain Song – is a piece of unisonous vocal music popularly used in Christian church rituals.

Traditional Melodies of the Filipinos

1. Hila-hila – a dramatic song, sung when paddling a banca.
2. Oyayi – a kind of cradle song, sung to make babies go to sleep.
3. Tagumpay – a victory song to commemorate a battle won or to honor the victors.
4. Tagulaylay – a monotonous melody portraying grief over someone’s death.
5. Kumintang – an ancient native dance and melody of the Christian Pilipinos is an authentic
example of pre-Spanish music in the Tagalog areas. Originally a war song, it was later adapted
into a love song and still later into a song of repose.
6. Kundiman – a passionate lyrical song with a theme professing true love.
7. Balitaw – is song and dance common among Tagalogs and Visayans.

Composers
1. Nicanor Abelardo – Father of Kundiman (Nasaan Ka Irog, Mutya ng Pasig, Bituing Marikit,
Himutok, Kung Hindi Man)
2. Julian Felipe – Composer of National Anthem (Jose Palma – lyricist)
3. Antonio Molina – Hatinggabi – violin solo – impressionistic style
4. Dolores Paterno – Composer of La Flor De Manila 1897 (Sampaguita)
5. Lucio San Pedro – 1991 National Artist (Sa Ugoy ng Duyan, Sa Mahal Kong Bayan, Sa Lupang
Sarili)
6. Francisco Santiago – Composer of Pilipinas Kong Mahal, Kundiman (Ako’y Anak ng Dalita),
Madaling Araw, Pakiusap, Ano Kaya ang Kapalaran, The Dignity of Labor