2. (b. January 31, 1917, Manila – d. May 5,
2004, Quezon City). Philippine composer
of interdisciplinary works that have been
performed throughout the world; he is
also active as an ethnomusicologist.
He study piano,composition and music
analysis in Academy Of Music in Manila
and also in École Normale de Musique de
Paris .
3. After he became a professional pianist He studied
again in many different school in USA.
-He studied musicology at Queen College and
Columbia University from 1950-52
-Then He studied anthropology at the University Of
Chicago and enthnomusicology at Indiana University
in 1957-58 and University Of California at Los Angeles
from 1961-63, where he earned his PhD.
-He also worked with the Groupe de Recherches
Musicales in Paris in 1958.
4. Ugma-ugma – Structures (text by the composer), mixed chorus, rattle, tagutok
(scraper), carabao horn, whistle, shō (Japanese mouth organ), cowbells/other small
bells, clapper, pakkung (buzzer), tongatong (stamping tubes), kubing (mouth
harp)/aroding (mouth harp), Chinese pai-pan clappers, bamboo sticks, gabbang
(xylophone), kulintang (gongs in a row), gender (Indonesian metallophone),
suspended agung (gongs with stopped sounds), suspended gandingan (gongs with
freely-vibrating sounds), 1963
Kubing (text by the composer), 5 male voices, 7 pairs of tongatong, 3 batiwtiw
(bamboo zithers), 3 tagutok, 7 pakkung, 7 kubing, 1966
Pagsamba – Worship (ritual music for a circular auditorium, text from the Mass
[Tagalog translation]), 100 mixed voices, 25 male voices, 8 suspended agung, 8
suspended gandingan, 100 players (100 balingbing [bamboo buzzers], 100 palakpak
[bamboo clappers], 100 bangibang [yoke-shaped wooden bars; played with beaters],
100 ongiyong [whistle flutes]), 1968
Udlot-udlot – Hesitations (open-air ritual, text by the composer), vocal group (100s of
voices; moving around every 10 minutes), bangibang group (100s of players; circling
around with formal steps), instrumental group (100s of players; balingbing,
tongatong, flutes) (sitting inside a circle), 1975 (also theatre version [VII (1)])
5. Ading (text by the composer), 100 mixed voices, 100
players (100 pakkung, 100 bangibang, 100 batiwtiw,
100 tagutok), audience ad libitum, 1978
Music for Indonesian
Gongs, Metallophones, Bamboos, Flute, Contrabass
oon, and Voices (text by the composer), 8 female
voices, 8 male voices, piccolo, contrabassoon,
pakkung (+ clapper, tagutok, 2 sticks, 2 tongatong,
shaker, whistle), ketuk (Indonesian gong) (+ kempul
[Indonesian gong], suwukan [Indonesian gong], 4
saron [Indonesian metallophones], 4 gender), 1997
6. (1) Agungan – A Play of Gongs, 3 high suling
(bamboo flutes)/other flute-type instruments, 5
small suspended Tiruray agung, 4 kulintang, 6
gangsa (flat gongs; played with the hands), 6 gangsa
(played with sticks), 3 large suspended agung, 2
suspended gandingan, 4 sulibao (conical drums) (1
player), 1965
7. (1) Aroding (text from a Palawan
song), 7 male voices, 3 pispis (tiny
flutes), 40 aroding, 1983
11. Two Pianos and Four Winds, clarinet, bassoon,
French horn, trombone, 2 pianos, 1996
Exchanges, Music for a Chamber Orchestra, 1997
Colors without Rhythm, harp, piano, harpsichord,
celesta, vibraphone, xylophone, marimba, 10
percussion groups (10 total players), large orchestra,
1998
12. Music for Two Pianos and Four Percussion Groups,
2 pianos, 4 percussion, 2000
Sujeichon – Korean Court Music for Four Pianos,
2002
Banter and Profundity, small orchestra (19 players),
2003
13. Udlot-udlot (music theatre work, text by the
composer), voice, 4 flutes (all + balingbing,
tongatong), bangibang, 1997 (version of open-air
ritual work [I (4)])
