MUSIC 10

THIRD QUARTER
CONTEMPORARY MUSIC IN THE PHILIPPINES

What I Need To Know

At the end of the module, each student is expected to:

 Narrates the life of selected contemporary Filipino composer/s (MU10CM-IIIc-g-3)

According to National Artist Ramon Santos,

PhD, “contemporary music in the
Philippines refers to compositions that have
adopted ideas and elements from 20th
century art music in the west, as well as the
latest trends and musical styles in the
entertainment industry.”

The modern Filipino repertoire consists of

musical pieces that have been written in
20th century idioms that have evolved out of
such stylistic movements as
impressionism, expressionism, neo-
classicism, as well as avant-garde and new
music.

New music are compositions which are

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

With the European and American influences brought by our country’s colonizers, it was inevitable
that the musical style of 20th century Western composers found their way into Philippine
compositions. The works many notable Filipino composers are evidence of this.

An entire group of 20th Filipino song composers became popular for their musical compositions
used as background music or theme songs in movies and films.
 What I Know
Directions: Read very carefully each statement about the Contemporary Philippine Music. You will
be guided in determining whether the statement is TRUE or FALSE by putting a check (/) mark on
the appropriate column.
STATEMENT TRUE FALSE
20th century Filipino composers have managed to retain some traditional
1. elements in their assimilation of Western techniques.

Composers of experimental New Music in the Philippines retained the

2. Filipino spirit by incorporating traditional music forms as well as
indigenous rhythms and instruments in their compositions

With the American influences brought by our colonizers, it was inevitable

3. that the musical styles of 20th century Western composers found their way
into Philippine compositions.
Traditional Music became popular with their musical compositions used as
4.
musical background or theme songs in movies and films.

The 20th century Filipino Song composers/lyricists had produced a

5. memorable output of traditional Filipino love songs, music for the movies,
and materials for contemporary arrangements and concert repertoire.

What’s In
The previous quarter provided an overview of the Afro-latin American and Popular Music such as
Music of Africa, Latin America, Jazz Music, Popular Music, Classical Music Made Popular,
Philippine Popular Music and Filipino Classical Performers.
 What’s New
A. Have the students do any of the following and let them answer:

1. Recall concepts from the past lessons.

2. What did you learn about the Afro-latin American and Popular Music?
3. Do you know of any famous Filipino Contemporary Composers? If yes, name them.
4. How did you learn about these traditional composers, new music composers and song
composers?

What Is It

TRADITIONAL COMPOSERS

Filipino composers of the 20th century contributed their share in introducing innovative sounds.
With Spain and then America having colonized the Philippines from the early 1500s to the late
1800s, it was unavoidable that Western compositional techniques found their way into the works of
Filipino composers. Yet, even 20th century Filipino composers have managed to retain some
traditional elements in their assimilation of Western techniques.
In fact, they have become the strongest foundations of what we now know as Philippine music.
Among the major Philippine contemporary composers are Francisco Buencamino Sr., Francisco
Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col. Antonino Buenaventura,
Rodolfo Cornejo, Lucio San Pedro, Rosendo Santos Jr., Alfredo Buenaventura, and Ryan
Cayabyab.
 NICANOR ABELARDO (1893 – 1934)
Nicanor Abelardo is one of the “Triumvirate of Filipino Composers”
which includes Antonio Molina and Francisco Santiago. He studied
music at the Chicago Music College and was influenced by the
musical styles of Schoenberg, Hindemith and Stravinsky.

Abelardo developed a style that combined European romanticism with chromaticism. His
compositions contain hazy tones, dissonance and unusual chordal combinations. Although a 20th
century modern composer in style, he is also considered a composer in the Romantic style. His best-
known compositions include Mutya ng Pasig, Nasaan Ka Irog, Cavatina for Violoncello, and
Magbalik Ka Hiran.. As a composition major at the University of the Philippines, he also composed
the melody for the University’s official anthem, U.P. Naming Mahal. The main theater of the
Cultural Center of the Philippines (Tanghalang Nicanor Abelardo) and the building housing the
College of Music in UP Diliman are named in his honor. He died on March 21, 1934.

ANTONIO J. MOLINA (1894-1980)

He was the first National Artist for Music. He is considered one
of the “Triumvirate of Filipino Composers” which includes
Nicanor Abelardo and Francisco Santiago. He began his music
career as an orchestral soloist at the Manila Grand Opera
House.
He served as a Dean of the Centro Escolar University
Conservatory of Music from 1948 to 1970. He was also a
faculty member of the University of the Philippines’
Conservatory (now College) of Music.
Molina was a product of both the Romantic and Impressionist schools of thought. He was fascinated
by the dynamics and harmony of Debussy, but retained much of the Romantic Style in his melody.
A characteristically impressionist work is his piano work Malikmata (Transfiguration). The
mysteriously exotic chords of this piece gradually lea to a lyrical melody, with the traditional
harmonies abruptly returning to the initial mood. Molina wrote several compositions for piano,
violin, and voice as well as a Spanish-style opera form known as zarzuela.
 CIPRIANO “RYAN” CAYABYAB (1954 – present )

Ryan Cayabyab is a popular contemporary composer also has

classical compositions to his credit, such as Misa, Four Poems for
Soprano and Piano, and Te Deum.

Among his numerous compositions are the award-winning Kay Ganda ng 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.
Cayabyab was born on May 4, 1954 in Manila. He obtained his Bachelor of Music degree at the
University of the Philippines’ College of Music. After which, he became a faculty member for
Composition at the same University. He also served as the Executive and Artistic Director of the
San Miguel Foundation for the Performing Arts, which oversaw the 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.

He is a contemporary composer and conductor who spans both popular and classical worlds with his
pop music, ballads, operas, zarzuelas, orchestral arrangements, masses, psalms and choral
compositions.

Francisco Santiago (1889 – 1947)

Francisco Santiago is known as the “Father of the Kundiman” and
belongs to the “Triumvirate of Filipino Composers.” He finished his
music specialization at the American Conservatory of Music in
Chicago, where he obtained his Doctorate Degree in 1924.
Santiago’s music was Romantic in style, incorporating Western forms
and techniques with folk materials. He composed several works such as
kundiman, symphonies, piano concertos, and other music pieces for the
piano, violin, and voice.
Among his famous works are Pakiusap, Madaling Araw, Sakali
Man, Hibik ng Pilipinas, Ano Kaya ang Kapalaran, and Kundiman
(Anak Dalita). This piece was sung before the Royal Court of Spain
upon the request of King Alfonso II. He was also a musical director for films. Among the films
whose music he supervised are Kundiman, Leron Leron Sinta, Madaling Araw, Manileña, and the
movie inspired by his own composition Pakiusap.

NEW MUSIC COMPOSERS

Composers of experimental New Music in the Philippines include Jose Maceda,

Lucrecia Kasilag, Ramon Santos, Manuel Maramba, Jerry Dadap, Francisco Feliciano,
Josefino “Chino” Toledo, and Jonas Baes. They retained the Filipino spirit by incorporating
traditional music forms as well as indigenous rhythms and instruments in their compositions.

LUCRECIA R. KASILAG (1918 – 2008)

National Artist for Music

Lucrecia R. Kasilag was born in San Fernando, La Union on August 31, 1918. She went to Manila
to pursue a degree in Music at the Philippine Women’s University.She
thenobtainedherMaster’sdegree from the Eastman School of Music in New York, USA.

Her compositions were influenced by her professors Irving McHose and Wayne Barlow. Kasilag’s
compositions 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.

Among Kasilag’s many compositions are 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;
Divertissement and Concertante (1960), compositions for piano and orchestra combining Western
and Eastern forms, harmonies, and intervals; and Dularawan (1969), a musical drama combining a
dance solo with a chorus and an ethnic orchestra. Her other works include compositions for piano,
instrumental ensemble, and chorus.

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

She is credited for having written more than 200 musical works, ranging from folksongs to opera to
orchestral works, which she continued to compose for the rest of her life. For all these outstanding
achievements, she was conferred the title of National Artist for Music in 1989. She passed away in
Manila in August 2008.
 RAMON P. SANTOS (1941 – ) National Artist for
Music

Ramon P. Santos was born in Pasig on February 25, 1941. He completed his Bachelor of Music
degree at the College of Music, University of the Philippines. He finished his Master of Music
degree at Indiana University, USA. He received his
Doctor of Philosophy degree in Composition at the State University of New York, USA. He had
also pursued graduate studies in Ethnomusicology at the University of Illinois, USA. 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 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. present, he is the headof the UP Center of Ethnomusicologyand was appointed
Professor.
Santos held the position of Dean of the UP College of Music from 1978 to 1988. At
Emeritus of the same institution. He was conferred the title of National Artist for Music in 2014.

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

Music

Francisco F. Feliciano, avant garde composer and conductor for band and chorus, was born on
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. He started his music career in
the high school band where he had played the cymbals and the clarinet.

Feliciano obtained his Teacher’s Diploma in Composition and Conducting at the Conservatory of
Music, University of the Philippines (UP) in 1964, and a Bachelor of Music degree major in
Composition in 1967. Subsequent degrees include a Master in Music Composition from the
University of the Philippines, a Diploma in Music Composition from the Hochschule der Kunst in
Berlin, Germany, and a Master of Musical Arts and Doctorate in Music Composition from Yale
University School of Music, USA. He studied composition with Jacob Druckman, Isang Yun, H.W.
Zimmerman and Krystof Penderecki.

Feliciano composed more than 30 major works, including the musical dramas Sikhay sa Kabila ng
Paalam, Ashen Wings, and the monumental three-act opera La Loba Negra (1984). He also wrote
music for the orchestra such as Prelude and Toccata(1973),Fragments(1976), Life of Wartime
Filipino Hero Jose Abad Santos, and the ballet Yerma (1982).
Among his other large works are Transfiguration and Missa Mysterium for orchestra and large
chorus. He has composed several prize winning works such as Pokpok Alimpako, (a favorite piece
of choirs in international choral competitions), Salimbayan, Umiinog, and Walang Tinag
(Perpetuum I mobile) which was premiered at the ISCM Festival in New York City, USA.

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

SONG COMPOSERS

The 20th century Filipino song composers/lyricists include Levi Celerio, Constancio de Guzman,
Mike Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco, Angel Peña, Leopoldo Silos Sr.,
Santiago Suarez. Together, they had produced a memorable output of traditional Filipino love
songs, music for the movies, and materials for contemporary arrangements and concert repertoire.

Filipino composers of the 20th century contributed their share in introducing innovative sounds
different from the traditional folk song and kundiman melodies that we have been accustomed to.
Some espoused the impressionistic style, while others combined ethnic sounds and musical
elements with Western technqiues in their compositions. Some adopted the kundiman as their form
in composing their music.

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

Music

Prolific lyricist and composer Levi Celerio was named National Artist for Music and Literature in
1997. Also a violinist, he had written the lyrics for over 4,000 songs in his lifetime, including many
for film. A great number of kundimans and Filipino love songs have lyrics written by notable of
which are Dahil sa Iyo, Buhat, and Ang Pasko ay Sumapit. Celerio was known for creating music
with a mouth-blown leaf.
Celerio was born in Tondo on April 30, 1910. He studied at the Academy of Music in Manila under
a scholarship. Later, he went on to join the Manila Symphony Orchestra. Aside from writing his
own lyrics, he also translated and re-wrote the lyrics of folksongs to traditional melodies like
Maliwanag Na Buwan from Ilocos, Ako ay May Singsing from Pampanga, and Alibangbang from
the Visayas.
His achievements include a citation in the Guinness Book of World Records for being the only
person to make music with a mouth-blown leaf. He will forever be remembered through his lyrics
for songs such as Ang Pipit (music by Lucio D. San Pedro); Bagong Pagsilang (music by Felipe
Padilla de Leon); Sa Ugoy ng Duyan (music by Lucio D. San Pedro); Misa de Gallo (music by J.
Balita); Itik-itik (folk song); Tinikling (folk song), among others. Celerio passed away on April 2,
2002.

GEORGE CANSECO (1934 – 2004)

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

Canseco was considered as “a nationally acclaimed composer of numerous popular classics”. He

was commissioned by Former First Lady Imelda R. Marcos to compose a national tribute hymn
entitled Ako Ay Pilipino (I Am A Filipino). He winning motion picture of the same title, sung by
Amapola.

He wrote the classic Kapantay Ay Langit, a theme from the award- 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 Songs exclusively for Songs and Amapola under the Vicor Music Corporation Pioneer
Label.

One of his best-known compositions was Child, the English-language version of Freddie Aguilar’s
signature song Anák. He wrote songs for the country’s top popular singers such as Sharon Cuneta,
Basil Valdez, Regine Velasquez, Zsa Zsa Padilla, Pilita Corrales, Martin Nievera, and Kuh
Ledesma.
Canseco credited film producer and Vicor Music Corporation owner Vic del Rosario for giving him
his biggest break in the 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 a composer include approximately 120 song titles including Ikaw, Kailangan
Kita, Dito Ba, Hiram, Tubig at Langis, Hanggang sa Dulo ng Walang Hanggan,
Sinasamba Kita, Kastilyong Buhangin, Minsan Pa Nating Hagkan ang Nakaraan,
Ngayon at Kailanman, Saan Darating ang Umaga, Sana Bukas Pa ang Kahapon, Dear Heart,
Gaano Kadalas ang Minsan, Paano kita Mapapasalamatan, and Kahapon Lamang. He passed away
on November 19, 2004 in Manila.
ERNANI CUENCO
(1936 – 1988)
National Artist for Music

Ernani Joson Cuenco, composer, film scorer, musical director

and music teacher, was conferred the National Artist musicality that contain the classical sound of
the kundiman. Award for Music in 1999. His works embody a Filipino sense Cuenco was born on
May 10, 1936 in Malolos, Bulacan. As a boy, he was encouraged to learn the violin. He was
mentored by his mother, his godmother Doña Belen Aldaba Bautista, and his first
teacher, Jovita Tantoco. He earned his Bachelor’s Degree in Music, major in Piano at the UST
Conservatory of Music in 1956. A UST scholarship grant in the same year enabled him to study the
cello under Professor Modesto Marquiz, which he finished in 1965. In 1968, he completed his
Master of Music degree at the Sta. Isabel College.

From 1960 to 1968, Cuenco was a cellist at the Manila Symphony Orchestra under Dr. Hubert
Zipper. Likewise, he played for the Filipino Youth Symphony Orchestra and the Manila Chamber
Soloists from 1966 to 1970.
His career as a musical director began in 1960 when he was discovered by then actor Joseph Estrada
while he was playing as part of a band he had formed with friends at an exclusive restaurant in
Makati. In 1963, Cuenco was sent as a delegate to the International Music Conference in Tokyo,
Japan. Aside from being a composer and musical director, he was also a faculty member at the
UST Conservatory of Music until his death on July 11, 1988.
To this day, Cuenco’s compositions are popular and well-loved, especially Gaano Ko Ikaw
Kamahal and Bato sa Buhangin which he composed for films in honor of his wife. Aside from these
signature pieces, Cuenco’s other songs include Nahan, Kahit na Magtiis,
Diligin Mo ng Hamog ang Uhaw na Lupa, Pilipinas, Inang Bayan, Isang Dalangin, and Kalesa
PERFORMANCE TASK 1 MUSIC

Listen to the composition of Francisco Santiago’s “Pilipinas Kong Mahal” and feel the emotion that
it reveals. After listening to the composition, write an essay about your personal reaction or feelings
that you experienced while listening. You may relate what you heard to your life now as a student.
You may also discuss elements of music present in the composition. Your essay should be not less
than ten (10) sentences. Write your essay in English. Use the format below for this Performance
Task. Plagiarism will automatically lead to failing grade in Music. To be submitted on or before
March 31, 2022.

PERFORMANCE TASK 1 MUSIC

NAME: ______________________________ SUBJECT: _____________________________

GRADE/SECTION:_________________ TEACHER: _________________________

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RUBRICS:
Very
Good Good Fair Poor
Criteria (10 Pts) (8 Pts) (6 Pts) (5 Pts)
Relevance to the topic        
 Word usage/Poetry Techniques        
Grammar, punctuations, and spelling        
Neatness and penmanship        
Timeliness        

PERFORMANCE TASK 2 MUSIC

Choose among these musical composition “Kay ganda ng ating musika” by Ryan Cayabyab,
“Nasaan ka irog” by Nicanor Abelardo, “Pilipinas kong Mahal” by Francisco Santiago, or “Ang
pipit” by Levi Celerio. Perform the composition by singing or playing a musical instrument (can be
improvised) to the tune of it. Take a video of your performance then send it through messenger. Your
performance should not be less than thirty (30) seconds. The video should show your face to confirm
your identity and instrument if you are going to play an instrument. Provide captions for the song
title and composer in your video. To be submitted on or before March 31, 2022.

RUBRICS:

Very
Good Good Fair Poor
Criteria (10 Pts) (8 Pts) (6 Pts) (5 Pts)
Over-all quality of the video        
Tonal quality/Instrument’s quality of sound        
Clarity of the song        
Fosters a positive attitude towards the activity        
Effort/Timeliness