Learning module
Music 10
Quarter 3
CONTEMPORARY PHILIPPINE MUSIC
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This quarter is an overview on contemporary Philippine music. As you go along each
topic, you will discover the socio-cultural influences and traditional Filipino composers, new
music composers, and song composers. You will also get to know about the traditional
instruments, instrumental pieces. Folksongs, and ritual music of the country.
A group performance inspired by examples of traditional, new music, and song
composers’ works will culminate your educational experience.
CONTENT STANDARD
Demonstrate an understanding of characteristic features of contemporary music.
Perform/sing contemporary songs
WHAT YOU WILL LEARN
Listen perceptively to excerpts of major Contemporary works.
Describe the characteristics of traditional and new music.
Give a brief biography of selected Contemporary Philippine composer/s.
Sing selections of Contemporary music with appropriate pitch, rhythm, style, expression.
Explore ways of creating sounds on a variety of sources.
Improvise simple vocal/instrumental accompaniment to selected songs.
Create a musical on the life of selected contemporary Philippine Composer.
Evaluate music and music performances using knowledge of music al elements and style.
CONTEMPORARY PHILIPPINE MUSIC
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Contemporary music in the Philippines is usually refers to compositions that have
adopted ideas and elements from 20th century art music in the West. There was a turn back to
expressionism, functionalism, and objectivity. Contemporary music does not bear any specific
style although there is a wide range of musical styles present. Most of the composers drew away
from traditional forms and developed new ones which are freer.
MODERN FILIPINO MUSIC
ORIGINAL FILIPINO MUSIC, now more commonly termed Original Pinoy Music,
Original Philippine Music, or OPM for short, originally referred only to Philippine pop songs,
particularly ballads, such as those popular after the collapse of its predecessor, the Manila Sound
of the late 1970s. in the 1970s, popular OPM artists include Nora Aunor, Pilita Corrales, Eddie
Peregrina, Victor Wood, and Asin, amon others. The more major commercial Philippine pop
music artists were Claire dela Fuente, Didith Reyes, Rico J. pUno, Ryan Caybyab, Basil Valdez,
Celeste Legazpi, Hajji Alejandro, Rey Valera, Freddie Aguila, Imelda Papin, Eva Eugenio,
Nonoy Zuniga, and many others.
Between the 1980s and 1990s, OPM was led by artist such as Regine Velasquez, Sharon
Cuneta, APO Hiking Society, Jose Mari Chan, Dingdong Avanzado, Rodel Naval, Janno Gibbs,
Ogie Alcasid, Joey Albert, Lilet, Martin Nievera, Manilyn Reyes, Lea Salonga, Vina Morales,
Raymond Lauchengco, JO Anne Lorenzana, Francis Magalona, and Gary Valenciano, among
many others .
In the 1990s, famous artists included Eraseheads, Smokey Mountain, Donna Cruz, Jessa
Zaragoza, Ariel Rivera, South Border, After Image, Andrew E.., Jaya, Lani MIsalucha,
Rivermaya, Ella May Saison, and Roselle Nava, among many others.
From its origin, OPM has been centered in Manila, where Tagalog and English are the
dominant languages. Other ethnolinguistic groups such as Visayan, Bikol, and Kapampangan,
despite making music in their native languages, have not been recognized as OPM, except in
unusual cases like the Bisrock (Visayan rock music) song, Charing by Davao band, 1017.
Multiculturalism advocates the federalist often associate this discrepancy to the Tagalog-centric
cultural hegemony of the capital city of Manila.
Despite the growing clamor for non-Tagalog and non-English music and greater
representation of other Philippine languages, the local Philippine music industry, which is
centered in Manila, is unforthcoming in venturing investments to other locations. Some of their
major reasons include the language barrier, small market size, and socio-cultural emphasis away
from regionalism in the Philippines.
Up until 1970s, popular rock musicians began writing and producing in English. In the
early 1970s, rock music began to be written using local languages, with bands like the Juan Dela
Cruz being among the first popular bands to do so. Mixing Tagalog and English lyrics were also
popularly used within the same song, in songs like Ang Miss Iniverse ng Buhay Ko (The Miss
Universe of My Life) by the band Hotdog which helped innovate the Manila Sound. The mixing
of the two languages (known as “Taglish”), while common in casual speech in the Philippines,
was seen as bold move, but the success of Taglish in popular songs, including Sharon Cuneta’s
first hit, Mr, DJ, broke barrier forevermore.
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Philippine rock musicians added folk music and other influences, helping to lead to the
1978 breakthrough success of Freddie Aguilar. Aguilar’s Anak (Child), his debut recordings, is
the most commercially successful Filipino Recording, and was popular throughout Asia and
Europe, and has been translated into numerous languages by singers worldwide. Asin also broke
into the music scene in the same period, and were popular.
Folk rock the Philippine protest music of the 1980s, and Aguilar’s Bayan Ko (My
Country) became popular as an anthem during the 1986 EDSA Revolution. At the same time, a
counterculture rejected the rise of politically focused lyrics. In Manila, a punk rock scene
developed, led by bands like Betrayed, The Jerks, Urban Bandits, and Contras. The influence of
new wave was also felt during these years, spearheaded by The Dawn.
The first Philippine songwriting competition – Metro manila Popular Music Festival, was
first established in 1977 and launched by the Popular Music Foundation of the Philippines. The
event featured many prominent singers and songwriters during its time. It was held annually for
seven years until its discontinuation on 1985. It was later revived in 1996 as the “Metropop Song
Festival”, running for another seven years before being discontinued in 2003 due to the decline
called the “Himig Handog” contest which began in 2000, operated by ABS-CBN Corporation
and its subsidiary music label Star Records. Five competitions have been held so far starting in
2000 to 2003 and was eventually revived in 2013. Unlike its predecessors, the contest has
different themes which reflect the type of song entries chose as finalist each year. In 2012, the
Philippine Popular Music Festival was launched and is said to be inspired by the first
songwriting competition.
OPM pop has been regularly showcased in the live band scene. Groups such as
NeoColours, Side A, Introvoys, The Teeth, Yano, True Faith, Passage, and Freestyle popularized
songs that clearly reflect the sentimental character of OPM pop.
The 1990s saw the emergence of Eraserheads, considered by many Philippine nationals
as the number one group in the Philippine recording scene. In the wake of their success was the
emergence of a string of influential Filipino rock bands such as Yano, Siakol, Parokya ni Edgar,
and Rivermaya, each of which mixes the influence of a variety of rock subgenres into their style.
Filipino rock has also developed to include some hard rock, heavy metal and alternative
rock such as Razorback, Wolfgang, Greyhoundz, Slapshock, Queso, Bamboo, Franco, Urbandub,
and the progressive bands Paradigm, Fuseboxx, Earthmover, and Eternal Now.
The neo-traditional genre in Filipino music is also gaining popularity, with artists such as
Joey Ayala, Grace Nono, Bayang Barrios, Cocojam, and Pinikpikan reaping relative commercial
success while utilizing the traditional musical sounds of many indigenous tribes in the
Philippines.
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TRADITIONAL COMPOSERS
Lucio D. San Pedro
Lucio was born on February 11, 1913 in Angono, Rizal, the son of Elpidio San Pedro and
Soledad Diestro. At a young age, he composed various hymns and became the local church
organist, succeeding his late grandfather.
San Pedro graduated from the University of the Philippines (UP) College of Music with a double
major in Composition and Conducting. While at UP, San Pedro wrote a symphonic work called
“Suite Pastorale.” In 1943, he wanted to write lyrics for one of its movements to submit to a
competition sponsored by the Japanese government during its occupation of the Philippines. He
did not join the competition. San Pedro took further studies at the Juilliard School of Music in
1947. On a ship upon his return home, San Pedro met Levi Celerio who wrote the lyrics for this
movement, what would become the iconic “Sa Ugoy ng Duyan”, a lullaby and ode to a mother’s
love.
San Pedro excelled as a teacher, conductor, and composer. He eventually became Professor
Emeritus at his alma mater, UP. He also taught in many other universities. San Pedro conducted
the Banda Angono Numero Uno, Manila Symphony Orchestra, Musical Philippines
Philharmonic Orchestra, Peng Kong Grand Mason Concert Band, and the San Pedro Band of
Angono. He was a prolific composer whose works included band music, concertos, choral
works, cantatas, chamber music, and songs for solo voice. Among his famous compositions are
“Simbang Gabi”, “Lahing Kayumanggi”, and “Sa Mahal Kong Bayan”, which touch on Filipino
culture.
San Pedro was dubbed a “creative nationalist” for his artistic way of showing love for his
country. He won countless awards, the most prominent being his conferment as National Artist
of the Philippines for Music in 1991.
Angono, Rizal has been recognized as the “Arts Capital of the Philippines” largely because of its
being the home town and inspiration for San Pedro and his cousin, town-mate and fellow
National Artist, Carlos “Botong” Francisco. Francisco was a skilled muralist who was
posthumously named National Artist for Visual Arts (Painting) in 1973.
Levi Celerio, who would collaborate with San Pedro again after “Sa Ugoy ng Duyan”, was also
named National Artist for Music and Literature in 1997.
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San Pedro died on March 31, 2002, at the age of 89.
National Artist for Music (1988)
(May 4, 1904 – January 25, 1996)
Antonino R. Buenaventura vigorously pursued a musical career that spanned seven decades of
unwavering commitment to advancing the frontiers of Philippine music. In 1935, Buenaventura
joined Francisca Reyes-Aquino to conduct research on folksongs and dances that led to its
popularization. Buenaventura composed songs, compositions, for solo instruments as well as
symphonic and orchestral works based on the folksongs of various Philippine ethnic groups. He
was also a conductor and restored the Philippine Army Band to its former prestige as one of the
finest military bands in the world making it “the only band that can sound like a symphony
orchestra”.
This once sickly boy who played the clarinet proficiently has written several marches such as the
“Triumphal March,” “Echoes of the Past,” “History Fantasy,” Second Symphony in E-flat,
“Echoes from the Philippines,” “Ode to Freedom.” His orchestral music compositions include
Concert Overture, Prelude and Fugue in G Minor, Philippines Triumphant, Mindanao Sketches,
Symphony in C Major, among others.
Buenaventura's music was influenced by different ethnic Philippine folksongs. In 1935, he
joined Francisca Reyes-Aquino in researching Philippine folksongs and dances. In 1936 he
composed the accompaniment to the folk dance "Pandanggo sa Ilaw" and incorporated ethnic
melodies and instruments to some of his compositions
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ANTONIO MOLINA
National Artist for Music (1973)
(December 26, 1894 – January 29, 1980)
Antonio J. Molina, versatile musician, composer, music educator was the last of the musical
triumvirate, two of whom were Nicanor Abelardo and Francisco Santiago, who elevated music
beyond the realm of folk music. At an early age, he took to playing the violoncello and played it
so well it did not take long before he was playing as orchestra soloist for the Manila Grand Opera
House. Molina is credited with introducing such innovations as the whole tone scale, pentatonic
scale, exuberance of dominant ninths and eleventh cords, and linear counterpoints. As a member
of the faculty of the UP Conservatory, he had taught many of the country’s leading musical
personalities and educators like Lucresia Kasilag and Felipe de Leon.
Molina’s most familiar composition is Hatinggabi, a serenade for solo violin and piano
accompaniment. Other works are (orchestral music) Misa Antoniana Grand Festival
Mass, Ang Batingaw, Kundiman- Kundangan; (chamber music) Hating Gabi, String
Quartet, Kung sa Iyong Gunita, Pandangguhan; (vocal music) Amihan, Awit ni Maria
Clara, Larawan Nitong Pilipinas, among others.
ALFREDO BUENAVENTURA
(b 1938 )
Alfredo Santos Buenaventura was born in Santa Maria, Bulacan in 1929 and studied music at
the University of Santo Tomas, the Centro Escolar University and the Gregorian Institute. His
career brought him teaching appointments at the Philippine Women’s University, St.
Scholastica’s College and at the Centro Escolar University, where he became Dean of Music at
the conservatory. He was formerly organist at the Metropolitan Cathedral in Manila and, among
many other honours, received the Republican Cultural Heritage Awards in 1964 and 1972 and
the Bonifacio Centennial Awards.
The compositions of Alfredo Buenaventura include a number of operas, symphonic poems,
vocal works and chamber music.
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Dr. Rodolfo Soldevilla Cornejo -- The Composer of the Baguio Colleges March and Hymn
September 30, 2018
BC-BCF-UC Founder Benjamin R. Salvosa and Rodolfo S. Cornejo were contemporary students
at the University of the Philippines. Before Cornejo became famous, he was commissioned by
the Founder to compose the music for then Baguio Colleges. The lyrics well reflect the Founders'
vision for the first institution of higher education in Baguio City, in the Cordillera highlands, as
relevant today as it was in 1946.
Rodolfo S. Cornejo, a composer, pianist and conductor, was born on the 15th of May, 1909, in
Manila. His parents are Miguel Cornejo, Sr. and Crisanta Soldevilla. In 1949, he married Nieves
Guerrero, a lyric soprano. The couple had five children.
Rodolfo S. Cornejo started piano lessons with Gelacio Reyes at age six. At age eight, he had his
first recital, and he became the organist of the Pasay Catholic Church. He wrote his first
composition, Glissando Waltz, at age 10. He also wrote and published a military march, Salute,
at age 13. At 16, twenty-six of his works had been listed by the United Publishing Co.. While he
was finishing his high school, he was already enrolled at the University of the Philippines (UP)
Conservatory of Music.
At the UP Conservatory, he studied under Dr. Francisco Santiago, Nicanor Abelardo and
Alexander Lippay. Barely three years after completing his high school, he obtained his teacher's
diplomas in piano, science and composition. He taught for a year at UP, then left for the United
States. He acquired a bachelor's degree in piano and theory at the Chicago Musical College of
Roosevelt University in 1932. He won the Wesley Le Violette scholarship in composition, went
on to complete his master's degree in 1933. He studied with Rudolf Ganz and Glenn Dillard
Gunn.
In 1934, he returned to the Philippines, founded and directed the Manila Conservatory of Music.
He again left for the US in 1939 to pursue doctorate studies in composition. He earned his
doctorate degree in 1947 at the Neotarian College in Kansas City, USA. In his US sojourns,
Cornejo was a soloist with various orchestras, such as the New York City Symphony Orchestra,
National Orchestra Association, and many others. During World War II, he played at concerts
for the Allied Armed Forces. In 1941, he became researcher and official composer of the
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Philippine government-in-exile. In 1945, the Chicago Musical College awarded him an honorary
doctorate in music.
In the Philippines, he became director of the Cosmpolitan Colleges Conservatory of Music from
1948 to 1949. He also concertized. He wrote scores for twenty-seven films during his 10 years as
musical director of Sampaguita Pictures. He is founding member of the League of Filipino
Composers.
He wrote over 300 compositions. These ranged from classical to pop. His major works include
The Season - Song Cycle (1932), A La Juventud Filipina (1935), Philippine Symphony No. 1
(1939), No.2 (1942), and No. 3 (1947) all for piano solo; Oriental Fantasy (1944) and Philippine
Fantasy with Marimba Solo (1962). He wrote music for the ballets Ibong Adarna (1970) and
Baile de Ayer (1974). His cantata Christ the Redeemer for soloists, narrator, mixed chorus and
orchestra, premiered at the Philamlife Auditorium in 1977. He also wrote a musical A Glimpse
of Philippine Life and Culture, which premiered at the Seattle Opera House in 1978. He is listed
in the International Who's Who in Music.
Rodolfo S. Cornejo died in Manila on the 11th of August, 1991.
The Philippine composer Cornejo received his Teacher's Diploma in piano (1930) and Teacher's
Diploma in science and composition (1930) from the Conservatory of Music, University of the
Philippines.
He received his Bachelor of Music major in piano and theory (1932) from the Chicago Musical
College of the Roosevelt University, Master of Music major in composition-conducting (1933),
and Doctor of Music (honoris causa, 1954).
He received his Doctor of Philosophy major in composition from the Neotarian College of
Philosophy in Kansas City (1947).
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He served as pianist-director of a USO concert unit that entertained the Allied Forces at the
E.T.O., the Marianas, and the Hawaiian Islands in World War II.
Since 1978 he held concerts in the United States and appeared as composer-conductor at the
Seattle Opera House and the Seattle Playhouse.
BERNARDINO F. CUSTODIO
Bernardino Feliciano Custodio was born in Manila on May 26, 1991 to Antonio Custodio
and Eulalia Feliciano. He earned his degree in pianoforte from the University of the Philippines
in 1930, and master’s degree from the University of Santo Tomas. He was Fulbright scholar in
1947.
He served as associate conductor of the Manila Symphony Orchestra from 1940 to the
1960s. he was conductor from the inauguration of the first president of the Philippine Republic –
Manuel A. Roxas, in 1946.
Bernadino Custodio wrote piano solos like Pauli-uli (Repetition) in 1947, Sarimanok in
1976, Prelude in 1977, Ritual Dance in 1978, Vision in 1981, and The Juggler in 1982. He also
composed orchestral music like the Malayan Suite in 1931, and chamber music like Serenade for
Violin , Cello, and Piano in 1932.
FRANCISCO B. BUENCAMINO
Francisco Beltran Buencamino was born on November 05, 1883 in San Miguel de
Mayumo, Bulacan. He is the sixth of ten children of Fortunato Buencamino and Luisa Beltran.
His father was a church organist and band master, and his mother, a singer. Francisco was
married to Pilar Lucenno and they had two children, both of whom also took up music.
Francisco first learnt music from his father. At the age 12, he could play the organ. At 14,
he was sent to study at the Liceo de Manila. There, he took up courses in composition and
harmony under Marcelo Adonay. He also took up pianoforte courses under a Spanish music
teacher. He did not finish his education as he became interested in the sarsuwela.
In the early 19900s, Francisco Buencamino taught music at the Ateneo de Manila and at
the Centro Escolar De Senoritas. At the latter, he founded the Conservatory of Music and was its
head until 1938. At the same time, he also handled music lessons at the Liceo de Manila. He
founded the Buencamino Music Academy in 1930. It was authorized by the Department of
Public Instruction to grant music degrees. In the 1940s, he started working as a musical director.
He also composed music for films produced by Sampaguita Pictures, LVN and Excelsior. For a
time, Francisco Buencamino frequently acted on stage.n he also collaborated on the plays written
and produced by Aurelio Tolentino. The Philippine Music Publishers, which Buencamino
established, undertook the printing of his more important compositions, but it was not a
successful venture.
Some of the sarsuwelas he wrote are: Marcela (1940), Si Teo Celo (1904), and Yayang
(1905). In 1908, the popularity of the sarsuwelas started to wane because of American repression
and the entry of silent movies. Francisco Buencamino then turned to composing kundimans.
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One of his earliest compositions was En el bello Oriente (1909), which used Jose Rizal’s
lyrics. Ang Una Kong Pag-ibig, a popular kundiman, was inspired by his wife. In 1938, he
composed an epic poem which won a prize from the Far Eastern University during one of the
annual carnivals. His Mayon Concerto is considered his magnum opus. Begun in 1943 and
finished in 1948, “Mayon Concerto ” has its full rendition in February 1950 at the graduation
recital of Rosario Buencamino at the Holy Ghost College. Ang Larawan (1943), also one of his
most acclaimed works, was a composition based on Balitaw tune. The orchestral piece, Pizzicato
Caprice (1948) was a version of this composition. Many of his other compositions were lost
during the Japanese Occupation, when he had to evacuate his family to Novaliches, Rizal.
As a musical director, he was involved in a number of movies such as Mabangong
Bulaklak, Ang Ibong Adarna, Mutya ng Pasig, and Alitaptap.
Francisco Buencamino died on October 16, 1952. In the same year, he was given a
posthumous Outstanding Composer Award by the Manila Music Lovers Society.
HILARION F. RUBIO
Hilarion F. Rubio was born at Bacoor, Cavite on October 21, 1902 to parents Crispino
Rubio and Faustina Francisco. He had four children by his first wife Saturnina Lina, and a son by
second wife, Angela Legaspi. He first got music lessons from Amando Buencamino – an
Aglipayan chaplain and a Philippine Constabulary officer. He was a clarinettist for the Bacoor
band at the age of 8, and composed his first musical piece. He earned his teacher’s diploma in
science and composition from the University of the Philippines Conservatory of Music in 1933.
From 1937 ton 1960, rubio served as conductor for the National Opera Company. He conducted
nine operas, was involved in two ballet productions, and served as choral conductor for different
schools two Banda sa Pilipinas.
Some of his major works include: To The Filipino Youth, a cantata in 1963; Symphony
for Greatness in 1966; and Pananim, a concerto for cello in 1970. He also wrote music for
movies like the Kundiman, Palboy ng Diyos, and Kaban ng Tipan in 1939.
ROSENDO E. SANTOS
Rosendo Ejercito Santos was born on September 3, 1922 in Cavite City. He is married to
Harriet Clandinin, pianist, with whom he has three sons. He got his bachelor’s degree in music
from the University of the Philippines in 1950 and master’s degree in theory and composition,
from the ctholic University of America in 1963. He earned his doctorate degree at the West
Virginia University.
Santos was conductor of the Philippine Symphony Orchestra, the Philippine Ballet
Company on its European tour, and the Guildhall School of Music Symphony Orchestra in
London. He was the official timpanist and percussion principal of the Northeastern Pennsylvania
Philharmonic Society, Sinfonia de Camara College Misericordia, Wyoming Oratorio Society,
Wyoming Valley Symphony Orchestra, Steigmayer Concert Band, and Venceil Symphony
Orchestra.
Some of his work are: Piano Concerto in G No. 1 in 1948, Tatlong Hiyas ng Nayon in
1959, Mapulang Biyuin in 1960, Mindoro Sketches in 1961, Lapu-lapu Symphonic Poem in
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1962, Fantasy in 1968, Fantasie Laeterum for Tympani and Orchestra in 1970, and Birth of a
Nation in 1976.
RYAN P. CAYABYAB
Ryan Cayabyab was born as Raymundo Cipriano Pujante Cayabyab on May 4, 1954 in
Quezon City. He is acomposer, conductor, musical director, and teacher. Ryan is the son of
Alberto Cayabyab and Celerina Pujante, a soprano, solo performer, and instructor at the UP
College of Music. He has two children by his wife Emelina Punsalan.
He earned his bachelor of music major in composition at the UP College of Music in
1983. His friends, arrangers/composers Jose Mari Chan and Nonong pedero introduced him to
Cocoy Laurel, a pop singer who hired his services as a director/accompanist for his stage TV
performances. This began his 1971 to 1978 career as director and established groups and solo
performers. His successful career as musical director for pop singers/performers like Pilita
Corrales, Kuh Ladesma, Celeste Legaspi, Basil Valdez was followed at venues abroad such as
the Carnegie Hall, Main Hall in New York, Avery Fisher Hall of London Center, New York,
Kennedy Center, in Washington DC, Shrine at Los Angeles, and Circus Maximus of Caesar
Palace in Las Vegas.
He put up the Ryan Cayabyab Music Studios as alternative to music education. He
formed and managed groups like the Smokey Mountain and 14 K.
Cayabyab presented his composition, Misa, which was premiered by the UP Concert
Chorus as graduation requirement. This was when he introduced hi rearrangement of Nicanor
Abelardo’s Mutya ng Pasig, a kundiman in Kuh Ladesma’s concert, then recorded by Celeste
Legaspi. His controversial arrangements caused mixed reactions from pop music and serious
music sectors. He wrote a series of two-piano pieces starting with Pahilaga, based on folk songs
of northern folks, which were performed by Raul Sunico and Rene Dalandan in their tours of the
US. Te Deum for balimbing, choir, kulintang, and piano is his most recent serious music
contribution.
In 1988, Ryan also wrote the score of the hit musical “Katy!” with libretto by Jose Javier
Reyes. Another musical hit was El Filibusterismo with libretto by Paul Dumol and Jovy Mirol in
1991. For ballets, he wrote Rama, Hari with libretto by Bienvenido Lumbera and choreography
by Alice Reyes, Kapinangan, and Misa Filipina.
He is responsible for many award-winning scores for the movies. Some of these movies
are Karnal, Hihintayin Kita sa Langit, Ikaw Pa Lang ang Minahal, Ophelia at Paris, Magandang
Gabi sa Inyong Lahat, Paraisong Parisukat, Kailangan Kita, and Saan Ka Man Naroroon.
Ryan Cayabyab is recognized by many sectors for being able to bridge the gap between
classic music Filipino pop. He received three Catholic Mass Media Awards, two Gawad CCP
para sa Telebisyon for his “Ryan, Ryan Musikahan”-a TV show. He got the grand prize for his
Kay Ganda ng Ating Musika in the First Metro Manila Pop Music Festival, and n the Seoul
International Song Festival which was held in Korea. In the 1990 Awit Awards, he was
acclaimed Best Composer, Best Record Producer, and Best Arranger. Geneve Cruz interpreted
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his song Mama which won the Best Song award in the Kajijstan Song of Asia Festival held in the
USSR. Ryan won the grand prize for his Paraiso which was interpreted by the group Smokey
Mountain in the 1992 Tokyo Pop Music Festival. In 1978, Ryan Cayabyab received the Ten
Outstanding Young Men award.
LEVELING-UP ACTIVITIES
ACTIVITY 1
Remembering What You Learned
Give one popular composition of each traditional composer in the table.
COMPOSERS COMPOSITIONS
1. Lucio San Pedro
2. Antonio Buenaventura
3. Antonio Molina
4. Alfredo Buenaventura
5. Rodolfo Cornejo
6. Bernardino Custodio
7. Francisco Buencamino
8. Hilarion Rubio
9. Rosendo Santos
10. Ryan Caybyab
ACTIVITY 2
Thinking What You Learned
What important contributions of Ryan Cayabyab encouraged new composers and singers
to try their talent in music?
ACTIVITY 3
Applying What you Learned
Write a song adaptation or new arrangement for any traditional music/song of your
choice.
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