music 10 learners material quarter 3

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MUSIC  Quarter III
88
Quarter III: CONTEMPORARY
PHILIPPINE MUSIC
CONTENT STANDARDS
The learner demonstrates understanding of...
1. Characteristic features of contemporary music.
PERFORMANCE STANDARDS
The learner...
1. Sings contemporary songs.
LEARNING COMPETENCIES
The learner...
1. Listens perceptively to excerpts of major contemporary works.
2. Describes characteristics of traditional and new music.
3. Gives a brief biography of selected contemporary Philippine
composers.
4. Sings selections of contemporary music with appropriate pitch,
rhythm, style, and expression.
5. Explores ways of creating sounds on a variety of sources.
6. Improvises simple vocal/instrumental accompaniments to selected
songs.
7. Creates a musical on the life of a selected contemporary Philippine
composer.
8. Evaluates musicand music performances usingknowledgeof musical
elements and style.
From the Department of Education curriculum for MUSIC Grade 10 (2014)
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.

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Contemporary Philippine Music
89
CONTEMPORARY
PHILIPPINE MUSIC
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.
20th CENTURY
TRADITIONAL COMPOSERS
With Spain and thenAmerica having colonized the Philippines from the early 1500s
to the late 1800s, it was unavoidable that Western compositional techniques found
their wayinto the works of Filipino composers.Yet, even 20th centuryFilipino 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.

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FRANCISCO B. BUENCAMINO SR.
(1883 – 1952)
Francisco Beltran Buencamino Sr. was born on November
5, 1883 in Bulacan. He was the son of a musically inclined
couple. His father was Fortunato Buencamino, a church
organist and band master. His mother was Luisa Beltran, a
noted singer. He studied music composition and harmony at
Liceo de Manila. Unfortunately, he was not able to finish.
He taught at the Ateneo de Manila, and at Centro Escolar de
Señoritas whose Conservatory of Music he founded. He also
created the Buencamino Music Academy in 1930 where
Nicanor Abelardo was one of his students. Expanding his
career, he ventured into musical directing and scoring, and composing film music for
Sampaguita Pictures, LVN, and Excelsior.
Buencamino’s compositions include Harana, Pandanggo ni Neneng, Collar de
Sampaguita, Dulces las Horas, Mayon (Fantasia de Concierto), My Soul’s Lament,
Larawan, Mazurka, Boholana, Mi Bandera, Princesa ng 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 a posthumous
award honored him with the title “Outstanding Composer.”
LARAWAN
Francisco Buencamino Sr.

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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 theAmerican 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. He became the first Filipino Director of the UP Conservatory of Music.
PILIPINAS KONG MAHAL
Francisco Santiago

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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 found in such
works as Cinderella Overture, Panoramas, and a violin sonata.
Although a 20th century modern composer in style, he is also
considered a composer in the Romanticstyle. His best-known compositions includeMutya
ng Pasig, Nasaan Ka Irog, Cavatina for Violoncello, and Magbalik Ka Hirang.
ANTONIO J. MOLINA
(1894 – 1980)
National Artist for Music
Antonio Molina, the first National Artist for Music, is
considered one of the “Triumvirate of Filipino Composers”
which includes NicanorAbelardo and Francisco Santiago. He
began his music career as an orchestral soloist at the Manila
Grand Opera House.
He served as 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 harmonies of Debussy, but retained much of the
Romantic style in his melody. A characteristically impressionist work is his piano work
Malikmata (Transfiguration). The mysteriouslyexotic chords of this piece gradually lead
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 the zarzuela.

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MUTYA NG PASIG
Music and Lyrics by Nicanor Abelardo
He is best known for his poignantly romantic serenade for 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; chamber music - String Quartet, Kung sa Iyong
Gunita, Pandangguhan; and vocal music - Amihan, Awit ni Maria Clara, and Larawan
Nitong Pilipinas. He received the National Artist for Music award in 1973. He passed
away on January 29, 1980.

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HATINGGABI (Excerpt)
Antonio J. Molina (Music) / Levi Celerio (Lyrics)
PANDANGGO SA ILAW (Excerpt)
Antonino Buenaventura (Music) / Levi Celerio (Lyrics)
SA UGOY NG DUYAN (Excerpt)
Lucio San Pedro (Music) / Levi Celerio (Lyrics)

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HILARION RUBIO Y FRANCISCO
(1902 – 1985)
Hilarion Rubio was born on October 21, 1902 in Bacoor, Cavite. A composer, music
teacher, conductor, and clarinetist, he created substantial works for the orchestra. He
served as conductor for opera, ballet, dance recitals, and movie music.
His early interest in music came from the influence of his uncle who was then playing
with the Bacoor Band. His first music lessons in music theory and clarinet were with Fr.
Amando Buencamino who taught him solfeggio and some musical instruments. When he
was eight years old, he was accepted as a member of the Bacoor Band as a clarinetist. At
that time, he made his first composition Unang Katas for his concert with the band.In his
high school years at the North High School (nowArellano High School), Rubio became
a member of several orchestras. He performed with various movie house bands and
orchestras. He was also a member ofthe LyricTheater Orchestra,Trozo Band in Benavides
Street, and the Band Moderna in Tondo. After he graduated from high school in 1930,
he co-founded the Anak Zapote Band. He later became a bandleader 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.
After his student years, Rubio became a conductor of opera at the Manila Music School
in 1936. He became the choirmaster and choral conductor of the Choir Islanders. Also,
he assumed the position of instructor at the Conservatory of Music, University of the
Philippines. He was also a lecturer at the Buencamino Music Academy, La Concordia
College, College of the HolySpirit, Santa Isabel College, Laperal MusicAcademy, Manila
Music School, St. Theresa’s College, and the Valencia Academy of Music. He became
full professor of the UP Conservatory of Music from 1936-1937. He was appointed
director of the Conservatory of Music, Centro Escolar University in 1944-1945.
During the SecondWorld War, Rubio composed and arranged many works and conducted
many military and civilian brass bands. After the war, he was appointed conductor of
the Manila Municipal SymphonyOrchestra. He held various positions, including as Vice
President of the PASAMBAP (Pambansang Samahan ng mga Banda sa Pilipinas), the
National BandAssociation, board and chartermember of theLeagueof Filipino composers,
and the first President of the Philippine Bandmaster’s Association. He was conductor of
the National Opera Company for 23 years from 1937 to 1960.
Rubio’s compositions include: Bulaklaken, Theme and Variations for Band, Dance of
the Nymphs Rondo, Florente 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, and Salamisim. He passed away on December
28, 1985.

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COL. ANTONINO BUENAVENTURA
(1904 – 1996)
Col. Antonino Ramirez Buenaventura was a renowned
composer, conductor, and teacher. His father Lucio was the
chief musician of the Spanish artillery band in Intramuros and
founder of Banda Buenaventura. As a young boy, he had
already demonstrated a passion for music while learning the
rudiments of music and solfeggio and becoming a proficient
clarinet player.
Col. Buenaventura further developed his musical abilities at
the Conservatoryof Music, Universityof the Philippines (UP)
at the age of 19. He received a Teacher’s Diploma in Science
and Composition at UP. Nicanor Abelardo and Francisco
Santiago were among his famous mentors. At the University, Buenaventura led the UP
ROTC Band and established the UP Junior Orchestra which was the first collegiate
orchestra in the country. He pursued further studies at the Institute of International
Education in New York. He was also awarded a study grant by the UNESCO in 1949.
He was a delegate to the general assemblyof the International Societyfor Music Education
held in Montreux, Switzerland in 1976. He represented the countryat the general meetings
of the International Music Council (IMC) in Rome (1962) and Hamburg (1964).
Buenaventura was 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 MilitaryAcademy(PMA). Later, he restored the Philippine Constabulary
Band in 1945, which was reputedly likened to a symphony orchestra. It was considered
as “one of the best military bands in the world.” It would later be renamed the Philippine
Army Band. He also founded the San Pablo Music Academy in Laguna.
Buenaventura was a faculty member of the UP Conservatory of Music. Later, he became
the music director of the Conservatory of Music, University of Santo Tomas (UST) in
1961. After retiring from the military, he became the music director at the School of
Music and Arts, University of the East (UE) in 1964. He promoted Philippine music
through his extensive use of folk materials which he had recorded around the country
with Ramon Tolentino and National Artist for Dance Francisca Reyes Aquino.
Buenaventura composed the music and folk dance notations for the dance researches of
Aquino. As a multi-awarded musician, he composed Minuet, Mindanao Sketches,
Divertimento for Piano and Orchestra, Variations and Fugue, and Greetings based on
Philippine folk music. Pandanggo sa Ilaw, one of his most popular compositions, remains
a favoriteperformance repertoire of manyfolk dance companies. Hewas declared National
Artist for Music in 1988 and passed away in 1996.

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RODOLFO S. CORNEJO
(1909 – 1991)
R o d o l f o S . C o r n e j o was born on May 15, 1909 in Singalong,
Manila. Inspired by his mother’s genuine support, the young
Cornejo started formal music lessons at the age of six. He
performed on stageafter onlytwo years ofmusic studies. During
this time, he was also invited as organist of the Pasay Catholic
Church. His first composition at age 10 was a piano piece
entitled Glissando Waltz. It was followed three years later by a
military march entitled Salute. At the age of 14, 26 of Cornejo’s
compositions were already listed by the United Publishing
Company Inc.
Cornejo graduated with a Teacher’s Diploma in Pianoforte and a Teacher’s Diploma in
Science and Composition at the Conservatory of Music, University of the Philippines
(UP) in 1930. He received his Bachelor of Music degree major in piano and theory from
the Chicago Musical College of Roosevelt University, USAin 1932. He received a Master
of Music degree major in composition and conducting at the Chicago Musical College of
Roosevelt University, USAin 1933. He was conferred a Doctor of Music degree honoris
causa in 1954. He received his Doctor of Philosophy degree major in composition from
the Neotarian College of Philosophy in Kansas City, USA in 1947.
Cornejo taught at the UP Conservatory of Music and became the researcher and official
composer of the Philippine government-in-exile. He was appointed by then President
Manuel L. Quezon. He was commissioned to write asymphonyand an operaand compose
the music for the documentary film on President Quezon’s funeral. 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 during World War II.
Cornejo was the soloist of the Manila Symphony Orchestra, Filipinas Youth Symphony
Orchestra, and UP Symphony Orchestra. Later on, he became the musical director of the
Sampaguita andVera-Perez Movie Companies. Since 1978, he held concerts in the United
States. He appeared as composer-conductor at the Seattle Opera House and the Seattle
Playhouse. He is listed in “The International Who’s Who in Music.”
Cornejo was also known for his extemporaneous thematic improvisations based on the
letters of people’s names. His compositional output includes A la Juventud Filipina,
Bailes deAyer, Caprice on a Folksong, Cello Sonata, IbongAdarna, Kandingan, Malakas
at Maganda, Overture, Okaka, Oriental Fantasy, Ibong Adarna, Piano Concerto Nos.
1,2,3, Ruby, and Song of the Miners. He passed away on August 11, 1991.

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Felipe Padilla de Leon was born on May1, 1912 in Barrio Papaya
(now General Tinio) in Penaranda, Nueva Ecija. He is the son of
Juan de Leon and Natalia Padilla. Felipe de Leon married pianist
Iluminada Mendoza with whom he had six children. Bayani and
Felipe Jr., are two of his children. Bayani is awell-known composer,
and 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 was discovered during
his school days and admired by his uncle, peers. People asked him
to make illustrations and sketches and was paid for them. When he
was studying at the Nueva Ecija High School, he went on trips with his hometown band
and wrote short pieces for them. He took up FineArts at the Universityof the Philippines
in 1927, but he had to stop schooling in order to make a living. He played the trombone
in dance orchestras which performed in cabarets, circuses and bodabil (vaudeville). Then,
he worked as an assistant conductor of the Nueva Ecija High School Orchestra where he
started doing musical arrangements. Later on, he wrote music for the zarzuela.
He decided to study formally and enrolled at the Conservatory of Music, University of
the Philippines, where he studied under NationalArtists Col.Antonio Buenaventura and
Antonio Molina. He contributed articles to the school paper and vernacular magazines.
Later, he wrote music columns for the Manila Times (then known as Manila Tribune)
and Taliba. He graduated with a music teacher's diploma, major in conducting in 1939.
Much later, he took advanced studies in composition under Vittorio Giannini of the
Julliard School of Music in New York, USA. De Leon received many awards, such as
Composer of theYear (1949), Manila Music Lovers Society, Musician of theYear (1958),
UP Conservatory of Music, and others. He was conferred an honorary degree, doctor of
philosophy in the humanities, by the University of the Philippines in 1991.
De Leon wrotepiano compositions, hymns, marches, art songs, chambermusic, symphonic
poems, overtures, band muic, school songs, orchestral works, operas, kundiman, and
zarzuelas. Hewas known as anationalist 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). These two operas have
been staged in the Philippines and abroad. 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), Noche
Buena, and Pasko Na Naman, both in 1965. Felipe de Leon received a posthumous
award as National Artist for Music in 1997. He died on December 5, 1992.
FELIPE PADILLA DE LEON SR.
(1912 – 1992)

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LUCIO SAN PEDRO
(1913 – 2002)
Lucio San Pedro was born on February 11, 1913 inAngono,
Rizal. Since his elementary days, he started composing. He
studied the banjo which inspired him to become a serious
musician. He later pursued his music degree at the University
of the Philippines and the Juilliard School in NewYork, USA.
Upon returning to the Philippines, he became a professor of
theory and composition at the University of the Philippines’
College of Music.
San Pedro is known as a “romantic nationalist.” He
incorporated Philippine folk elements in his compositions
withWestern forms and harmony. His chords have a rich expressivetonality, 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 hometownAngono, and his nationalistic symphonic poem Lahing
Kayumanggi (1962). Other compositions include songs, pieces for violin, cello, and chorus.
His works for the symphonic band was where he was most 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. He was declared
National Artist for Music in 1991 and passed away on March 31, 2002.
ROSENDO E. SANTOS JR.
(1922 – 1994)
R o s e n d o E . S a n t o s J r . was born on 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 ofAmerica in
Washington, D.C. After which, he also served on its faculty
as well as in West Virginia Universityand Howard University.

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ALFREDO BUENAVENTURA
(1929 – )
Dr.Alfredo Santos Buenaventura, composer, conductor and
teacher, was born in Sta. Maria, Bulacan on October 14, 1929.
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 byinternational virtuosi and religious groups. Manyof his compositions
are based on Filipino heroes, legends, and epics. He uses native songs, both tribal and
folk, as themes of his music compositions. Anumber of his compositions are accompanied
by Filipino indigenous instruments.
Some of his major works include the operas Maria Makiling (1961), Diego Silang
(1966), Prinsesa Urduha (1969), cantatas AngAting Watawat (1965), Pasko ng Barangay
(1964), three piano concertos subtitled Celebration, Determination, and Exultation, and
As a UNESCO scholar, Santos was awarded the “Philippine Composer of the Century”
after receiving the “Composer of theYearAward” in Manila in 1956 and 1957. He joined
the facultyat 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, was performed
in 1995, a year after his death. Santos passed awayon November 4, 1994 in Swoyersville,
Pennsylvania, USA.

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CIPRIANO “RYAN” CAYABYAB
(1954 – )
Ryan Cayabyab is a popular contemporary composer who
also has classical compositions to his credit, such as Misa,
Four Poems for Soprano and Piano, and Te Deum. His
compositional style makes much use of syncopation, extended
chords, and chromatic harmony.
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. He also produced a number of recordings,
including the memorable album One, where he personally sang the unaccompanied songs
on different tracks to produce 16 voices.
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 PerformingArts, 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 conductorin the Philippine concert and recording
scenes.
symphonies such as Dakilang Lahi (1971), Gomburza (1981), and Rizal, the Great
Malayan Antagonist (1990). His minor works numbering more than 50 cover mostly
religious songs and hymns for specific celebrations such as the Sixteenth Centenary of
St. Augustine, Mass for the 400th Year of theAugustinian Recollect, and the Philippine
Music Festival. His other creative musical works have been commissioned bythe Cultural
Center of the Philippines, Metropolitan Theater, and the National Music Competitions
for Young Artists (NAMCYA).
Buenaventura’s compositional style rests mainlyon his own set of musical ideas, wherein
he creates a combination of contemporary and conventional materials. He keeps his
melodies simple and understandable but with contemporary harmonies that enhance their
complexity. He became an official organist of the Manila Cathedral in 1960. He became
the Dean of the College of Music, Centro Escolar University. He is a member of the
League of Filipino Composers. He received a number of awards in the music industry.
He was twicean awardee of theRepublic Cultural HeritageAward and theThe Outstanding
Filipino Award (TOFIL) for Music in 1995.

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SUMMARY
With the European andAmerican influences brought by our colonizers, it was inevitable
that the musical styles of 20th centuryWestern composers found their way into Philippine
compositions.
Francisco Buencamino founded the Centro Escolar de Señoritas, Conservatoryof Music.
He also created the Buencamino MusicAcademy in 1930. NicanorAbelardo was one of
his students. Expanding his career, Buencamino also ventured into musical direction and
scoring, composing music for Sampaguita Pictures, LVN, and Excelsior. He also wrote
several zarzuelas and kundiman. 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. The Tanghalang Nicanor Abelardo (Main
Theater) of the Cultural Center of the Philippines and theAbelardo Hall of the College of
Music, University of the Philippines are named after him. Antonio Molina came to be
known as the “Father of Philippine Impressionist Music,” while composer Lucio San
Pedro integrated indigenous musical forms, conventions, and instruments in his works in
the modern nationalistic style.
Hilarion Rubio was a Filipino composer, music teacher, conductor, and clarinetist. His
name was closely identified with his works for the orchestra, conductor for opera, ballet,
dance recitals, and music for movies. Col.Antonino Buenaventura promoted Philippine
music by extensivelyusing folk materials in his works. He recorded folk and dance music
around the country with Ramon Tolentino and NationalArtist for Dance Francisca Reyes
Aquino. Buenaventura composed the music and did the notations for the folk dances as
researched byAquino.
Rodolfo S. Cornejo was considered “the first Filipino composer who received an honory
degree from a government recognized music school in the United States.” He was known
for his “pianistic and compositional talent” by extemporizing a piano composition at the
spur of the moment. Felipe P. de Leon wrote piano compositions, hymns, marches, art
songs, chamber music, symphonic poems, overtures, band muic, school songs, orchestral
works, operas, kundimans and zarsuelas. He was known as a nationalist composer who
expressed the Philippines' cultural identity through his compositions.
Lucio San Pedro is known as a “romantic nationalist.” He incorporated Philippine folk
elements in his compositions 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. Rosendo Santos Jr. is listed in the “New Groves Dictionary of
Music and Musicians.” A prolific composer, his works include concerti, sonatas,
symphonies, symphonic poems,fiveoperas in Philippinedialect, numerous band overtures,

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and more than 200 marches. He wrote 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.
Alfredo Buenaventura is among the few composers in the Philippines who composed
five full-length operas. He has his own set of ideas about music and composition. He
created a combination of contemporary and conventional, kept his melodies simple and
understandable, but he used contemporary harmonies to suit the intellectuals.
Contemporarycomposer and conductor Ryan Cayabyab spans both popular and classical
worlds with his pop, ballads, operas, zarzuela, orchestral, and choral compositions.
WHAT TO KNOW
1. Discuss the lives and musical contributions of the following 20th century Filipino
composers:
a. Francisco Buencamino Sr. g. Rodolfo Cornejo
b. Francisco Santiago h. Felipe Padilla de Leon Sr.
c. NicanorAbelardo i. Lucio San Pedro
d. Antonio Molina j. Rosendo Santos Jr.
e. Hilarion Rubio k. Alfredo Buenaventura
f. Col. Antonino Buenaventura l. Ryan Cayabyab
2. Point out the characteristics of the musical style of the above-mentioned Filipino
composers.
Composer Characteristics of the Musical Style
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________

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WHAT TO PROCESS
A. Listening Activity
1. Your teacher will play excerpts of recordings of any (one composition) of
the following works by Filipino song composers:
a. Antonio Molina - Hatinggabi, Misa Antoniana, Grand Festival
Mass, Ang Batingaw, Kundiman- Kundangan;
String Quartet, Kung sa Iyong Gunita,
Pandangguhan, Amihan, Awit ni Maria Clara,
Larawan Nitong Pilipina
b. Lucio San Pedro - Sa Ugoy ng Duyan, Suite Pastorale, Lahing
Kayumanggi
c. Ryan Cayabyab - Misa, Four Poems for Soprano and Piano, Te
Deum, Kay Ganda ng Ating Musika, Limang
Dipang Tao, Da Coconut Nut, Alikabok,
Spoliarium, Kumukuti-kutitap
d. Col. Antonino
Buenaventura - Minuet, Mindanao Sketches, Divertimento for
Piano and Orchestra, Variations and Fugue,
and Greetings, Pandanggo sa Ilaw, Princesa
ng Kumintang, Pandanggo ni Neneng
e. Alfredo
Buenaventura - Maria Makiling (1961), Diego Silang(1966),
Prinsesa Urduha (1969); Ang Ating Watawat
(1965), Pasko ng Barangay (1964); Dakilang
Lahi (1971), Gomburza (1981), and Rizal, the
Great Malayan Antagonist (1990.
f. Rodolfo Cornejo - A la Juventud Filipina, Bailes deAyer, Caprice
on a Folksong, Cello Sonata, Cello Sonata,
Ibong Adarna, Kandingan, Malakas at
Maganda Overture, Okaka, Oriental Fantasy,
Ibong Adarna, Piano Concerto Nos. 1,2,3,
Ruby, Song of the Miners,
g. Hilarion Rubio - Bulaklaken, Dance of the Nymphs Rondo,
Florente at Laura, Halik, Danza, Ang
Konsyerto (ballet), Ang Magsasaka, Bukang
Liwayway, Concertino in C (Marimba and
piano), Filipinas Kong Mahal, Hatulan Mo
Ako, Ginintuang Araw, In a Tropcal Sea,
Filipino Youth, Nela, Light, Narra, Mutya ng
Silangan

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2. Listen carefully to each excerpt and recognize the different musical styles
of the composers.
3. Analyze the music. Take note of the elements of music present: rhythm,
melody, tempo, dynamics, texture, harmony, form, and timbre.
4. Choose a composition that you like. Write a short reaction paper on it in
relation to its musical elements.
B. Evaluation of Listening Activity
“Name the Composer, Title of the Music, Musical Style, and Description”
1. After theaboveListeningActivity, your teacher will prepare selected excerpts
of compositions by Lucio San Pedro, Antonino Buenaventura, Alfredo
Buenaventura,Antonio Molina, Rodolfo Cornejo, Francisco Buencamino,
Hilarion Rubio, Rosendo Santos Jr, Francisco Santiago, NicanorAbelardo,
Felipe Padilla de leon Sr., and Ryan Cyabyab.
2. The class will be divided into four teams, with each team forming a line.
3. As your teacher plays a few measures of the first excerpt, the first student
in each line goes to the board and writes the name of the composer. The
second student will write the title of the music. The third student will write
the musical style. Then, the fourth student will write a description of the
music in one phrase.
4. The team that writes the correct answers first, scores four (4) points.
h. Rosendo Santos Jr. Melinda’s Masquerade
i. NicanorAbelardo - Nasaan Ka Irog?, Bituing Marikit, Mutya ng
Pasig, Paskong Anong Saya, Cavatina,
Kundiman ng Luha, Magbalik Ka Hirang
j. Francisco Santiago- Kundiman (Anak Dalita), Himutok, Pakiusap,
Madaling Araw, Sakali Man, Pilipinas Kong
Mahal, Ano Kaya ang Kapalaran?
k. Felipe de Leon Sr. - Bulaklak Alitaptap, Bagong Lipunan,
Payapang Daigdig, Pasko na Naman, Noche
Buena, Kay Tamis ng Buhay, Sapagkat Mahal
Kita
l. Francisco Buencamino - Harana, Pandanggo ni Neneng, Collar de
Sampaguita, Dulces las Horas, Mayon
(Fantasia de Concierto), My Soul’s Lament,
Larawan, Mazurka, Boholana, Mi Bandera,
Princesa ng Kumintang, Maligayang Bati,
Ang Bukang Liwayway, Pandanggo ni Neneng,
Ang Bagong Balitaw, Himig ng Nayon,
Damdamin (Romance), and Pizzicato Caprice.

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WHAT TO UNDERSTAND: SOLO, DUET, TRIO, QUARTET, QUINTET
1. Compose a simple song. Write the lyrics and the music.
2. You may adapt a certain melody from the compositions of the traditional
composers that you like. Write the new lyrics to fit the music.
3. You mayincludean accompaniment such as guitar, flute, recorder, keyboard,
drums, tambourine, maracas or improvise musical instruments from the
environment.
4. You maysing it a capella (without accompaniment) or with accompaniment.
Perform your composition or your song adaptation in class.
5. What motivated you to compose or adapt the music of that song?
WHAT TO PERFORM
A. Singing Activity
Individual or in groups: Sing any of the compositions of Lucio San Pedro, Col.
Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, Rodolfo
Cornejo, Francisco Buencamino Sr., Hilarion Rubio, Rosendo Santos Jr., Nicanor
Abelardo, Francisco Santiago, Felipe Padilla de Leon, and Ryan Cayabyab.
If individual activity, choose one composition that you will perform.
If group activity, do the following procedure:
1. Your teacher will divide the class into four groups.
2. Your group will choose any traditional composer. Research further on his
compositions, if needed.
3. Select one composition that you like best or you are familiar with, or you
may learn a new song. Choose your group’s musical director.
4. Sing the song in class with your groupmates interpreting the music with
appropriate pitch, rhythm, style, timbre, dynamics, melody, texture, harmony,
and expression.
5. You may add instrumental accompaniment like guitar, flute, recorder,
maracas, tambourine, or keyboard.
5. The same procedure goes on until all the students in the line have had their
turn.
6. One student will be assigned as the scorer. The team with the highest score
is the winner. In case of a tie, the first team to finish is the winner.
7. The scorer will announce the winners and then asks them this question:
What was the most significant thing that you have learned from this activity?

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Evaluation of Singing Activity
Rating Scale: 5 - Very Good 2 - Poor
4 - Good 1 - Needs Follow up
3 - Fair
Rating the other performers (if individual activity):
1. How well did the performers express the message
of the songs? __________
2. How well did the performers pronounce
the lyrics of the songs? __________
3. How well did the performers sing based on musical
elements and style:
a. pitch __________
b. rhythm __________
c. style __________
d. expression __________
e. dynamics __________
f. melody __________
g. timbre __________
h. texture __________
i. harmony __________
Rating the group members (if group activity):
1. How well did the group members express the
message of the songs? __________
2. How well did the group members sing? __________
3. How well did the group members participate? __________
6. You may bring a minus one music in CD, or from your mobile phone or on
USB.
7. You may improvise simple vocal or instrumental accompaniment/s to the
songs you have chosen.
8. You may explore ways of creating sounds as instrumental accompaniment
to the song from a variety of sources or from the environment.
9. Your teacher will choose the “Best Singing Group” based on musicianship
(musical elements) 60%, presentation impact and showmanship 20%,
ensemble coordination and organization 20%.
10. All students will evaluate by rating each other’s performance and their own
performance.

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B. Creating and Performing Activities: Musical
1. Your teacher will divide the class into four groups. Each group choose a
traditional composer that was discussed in class. Research further on his
life and works.
2. Create a contemporary musical on the life of your chosen composer.
Incorporate some of his compositions (melodic fragments) in the musical
and story.
3. Improvise simple vocal or instrumental accompaniments (example: guitar,
keyboard, percussion) for the songs that you have chosen.
4. Explore ways of creating sounds as accompaniment on a variety of sources
or from the environment for the creation of the musical.
5. Perform the musical in class. Your teacher will choose the “Best Group
Musical Performance” based on musicianship (musical elements) 50%,
audience impact and showmanship 20%, ensemble coordination and
organization 20%, stage discipline or deportment 10%.
Evaluation of Creating and Performing Activities: Musical
3 - Fair
Rating the other performers / groups:
1. How well did the performers express the
message of the musical? __________
2. How well did the performers act in the musical
based on the following:
a. voice quality __________
b. expression __________
c. stage presence __________
d. audience impact __________
e. mastery of the musical __________
g. musical elements (rhythm, melody, dynamics) __________
h. technique __________
i. showmanship __________

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Rating your own group members:
1. How well did your group members express the
2. How well did your group members perform? __________
3. How well did your group members coordinate with
each other during the performance in the ensemble? __________
4. How well did your group organize yourselves in
the ensemble? __________
Rating myself:
1. How well did I express the message of the musical? __________
2. How well did I perform with my group? __________
3. How well did I coordinate with the other members
during the performance in the ensemble? __________
4. How well did I cooperate in the ensemble? __________

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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.
JOSE MACEDA
(1917 – 2004)
Jose Maceda was born in Manila on January 17, 1917. He
started his music studies at the Academy of Music in Manila.
Later, he went to Paris to study with Alfred Cortot. He
eventuallypursued advanced studies in the USA with E. Robert
Schmitz and earned a Doctorate Degree in Ethnomusicology
from UCLA.
Maceda’s musical style changed when he encountered the music
of the indigenous tribes of Mindoro in 1953. He then embarked
on his life’s work, dedicated to the understanding and
preservation of Filipino traditional music. His extensiveresearch
and fieldwork resulted in an immense collection of recorded
music taken from the remote mountain villages and far-flung inland communities in the
Philippines. Although his compositional approach tended to be Western in style, Maceda
combined sounds of the environment with ethnic instruments. His compositions were
usually for large groups of musicians.Among his works are Ugma-Ugma (1963), a work
for voice and ethnic instruments; Agungan (1975), apiece for six gong families; Pagsamba
(1968), a musical ritual for a circular auditorium using several ethnic percussion
instruments; Cassettes 100 (1971), a composition for 100 cassette tape recorders; and
Ugnayan (1974), an ethnic piece played at the same time over several radio stations.
Considered as the first Filipino avant garde composer, he also worked at a recording
studio in Paris in 1958 which specialized in musique concrète. During this period, he met
Pierre Boulez, Karlheinz Stockhausen, and Iannis Xenakis, considered the musical giants
of this musical genre.Maceda served as Professor of Piano and Musicologyat the College
of Music, University of the Philippines from 1952 to 1990. He was appointed Executive
Director of its Center for Ethnomusicology in 1997. In the same year, he was conferred
the honor of National Artist for Music. He passed away in Manila on May 5, 2004.

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UDLOT-UDLOT (Excerpt)
Jose Maceda
LUCRECIA R. KASILAG
(1918 – 2008)
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. Shethen obtained her Master’s degree 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. Sheis particularlyknown for incorporating
indigenous Filipino instruments into orchestral
productions.

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DIVERTISSEMENT (Excerpt)
Lucrecia R. Kasilag
Edited
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
FineArts, 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.

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RAMON P. SANTOS
(1941 – )
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, musicseria, 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.
Santos held the position of Dean of the UP College of Music from 1978 to 1988. At
present, he is the head of the UP Center of Ethnomusicology and was appointed Professor
Emeritus of the same institution. He was conferred the title of National Artist for Music
in 2014.
L’BAD
Ramon P. Santos

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FR. MANUEL MARAMBA, OSB
(1936 – )
Fr. Manuel Perez Maramba, OSB is one of the most
accomplished musiciansand liturgists in thePhilippines emerging
during the second half of the 20th century. He was born on July
4, 1936 in Pangasinan.
When he was 11 years old, he gave his first public performance
at the Bamboo Organ in Las Piñas. He became the official
accompanist of the Las Piñas Boys Choir at 14 years old. He
was the youngest finalist to participate in the National Music
Competitions forYoungArtists (NAMCYA) piano competition
in 1978. Immediately after high school, he was sent on full scholarship to the University
for Music and Performing Arts in Graz, Austria. There, he earned with distinction the
degree of Master of Arts in Church Music. He also received a Teacher’s Certificate in
Organ. His musical career led him to the United States, where he performed at Carnegie
Hall at the age of 19.
After finishing his Bachelor of Music degree major in Piano at the Conservatoryof Music,
University of Sto. Tomas (UST), Fr. Maramba pursued his studies abroad where he
received his Master of Music degree, Artist Diploma, Bachelor of Music degree in
Composition, and Teacher’s Certificate in Theory from the Peabody Conservatory of
Johns Hopkins University, USA. He received a Master’s degree of Musical Arts in
Performance fromYale University’s School of Music, USA. He also studied sacred music
at the Kirchenmusikschule in Regensburg, Germany. He took further lessons in piano,
organ, and the harpsichord at the Hochschule fur Musik in Vienna, Austria.
Fr Maramba is a monk at Our Lady of Montserrat Abbey in Manila. He was the former
director of the Paul VI Institute of Liturgy in Malaybalay, Bukidnon during which he
composed the music for the papal mass. A prominent canon lawyer, he served on the
National Appellate Matrimonial Tribunal. He was also a faculty member at the UST
Conservatory of Music, St. Scholatica’s College, and Sta. Isabel College.
He has composed operas like Aba!, Sto. Nino, La Naval, and Lord Takayama Ukon. His
other major compositions are the music for Awakening which was commissioned by
Ballet Philippines and music forPhilippine Ballet Theater’s production of Seven Mansions;
three masses – Papal Mass for World Youth Day, 1995; Mass in Honor of St. Lorenzo
Ruiz, and the Mass in Honor of the Sto. Nino; three cantatas – St. Lorenzo Ruiz, St.
Benedict, and St. Scholastica; Three Psalms; A hymn in honor of St. Lorenzo Ruiz, and
the official hymn of the 1996 National Eucharistic Congress; a zarzuela entitled Ang
Sarswela sa San Salvador, and three orchestral works – Pugad Lawin, The Virgin of
Naval, and Transfiguration.

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JERRY DADAP
(1935 – )
Jerry Dadap, the first Filipino composer to conduct his own
works at the Carnegie Recital Hall in NewYork City, was born
on November 5, 1935 in Hinunangan, Southern Leyte. He
earned his Bachelor’s Degree in Music, major in Composition
at the Conservatory of Music, University of the Philippines
(UP) in 1964.
In 1968, he went to the USA on a study-observation grant
from theMusic Promotion Foundation ofthe Philippines.While
there, he received a full scholarship grant from the United
Presbyterian Church of USA from 1969 to 1971. During that
time, he obtained his Postgraduate Diploma in Composition at the Mannes College of
Music in New York, USA. Upon his return to the Philippines in 1971, he taught
composition, ear training, and orchestration at the Sta. Isabel College of Music in Manila.
Dadap started composing when he was still studying at Silliman Universityin the southern
city of Dumaguete.Among his numerous compositions are The Passionate and the Wild
(1960), Mangamuyo I (1976) and Mangamuyo II (1977), The Redemption (1974), Five
Little Fingers (1975), Tubig ng Buhay (1986), Dakilang Pagpapatawad (1986), Andres
Bonifacio, Ang Dakilang Anak Pawis, Ang Pag-ibig ng Diyos, Balitaw Nos. 1-7, Lam-
ang Epic, Lorenzo Ruiz, Chorale Symphonic Ode Nos. 1 and 2, Aniway at Tomaneg,
Song Cycle, Nos. 1-4, Choral Cycle Nos. 1-3, and Diyos Ama ay Purihin. His major
works as composer-conductor were performed at the concert “LAHI” that featured works
by local major composers.
FRANCISCO F. FELICIANO
(1942 – 2014)
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

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JOSEFINO TOLEDO
(1959 – )
Josefino “Chino” Toledo is a recognized figure in the Asian
contemporary art music scene. He received his Master of Music
degree from the Cleveland Institute of Music, USA. Among his
awards are the following: “Ten Outstanding Young Men”
(TOYM); “InternationalAward for theArts”; “Civitella Ranieri
Fellowship in Italy”; and the “ChancellorAwards for Outstanding
Musical Works,” University of the Philippines.
major in Composition in 1967. Subsequent degrees includea Masterin 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, IsangYun, H.W. Zimmerman and Krystof Penderecki.
Feliciano became the choir conductor and instructor in music fundamentals at St.Andrews
Seminary in Quezon City. He became an instructor at the UP Conservatory of Music and
conducted the UP Symphony Orchestra. He was the musical director of the movie Ang
Bukas ay Atin and provided orchestration for a number of musical productions including
My Fair Lady and various Philippine productions. 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. Hehas composed several prize winning works such as PokpokAlimpako,
(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
NewYork City, USA. His latest choral works,Pamugúnand Restless, havebeen performed
by Filipino choirs in various choral festivals in Europe. In 1977, he was given a John D.
Rockefeller IIIAward in Music Composition.
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.

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Toledo served at the Pangkat Kawayan (a bamboo orchestra) from 1966 to 1979 and the
PhilippineYouth Orchestra (PYO) in 1977-1978.Aprincipal percussionist of the Manila
SymphonyOrchestrain 1980-1983, he laterbecame music director and principal conductor
in 1985. He attended the 1984 International Computer Music Conference in France. He
was the country’s representative to the 1980Young Composers Conference in HongKong,
the ASEAN Composers Forum on Traditional Music in 1989 (Philippines) and 1993
(Singapore), the 1995 ASEAN Composers Workshop (Indonesia), and the 1996
International Composers Workshop (Gaudeamus, Amsterdam). He was also a fellow at
the 1990 Pacific Music Festival and Pacific Composers Conference (Japan).
Toledo is a Music Professor at the College of Music, University of the Philippines (UP).
He is the founding music director of the Metro Manila Community Orchestra, the UP
Festival Orchestra, and the Crosswave Symphony Orchestra. He is noted for conducting
the premiere performances of the works of Filipino composers as well as other Asian
composers. His own music, including works for chorus, orchestra, chamber ensemble,
solo instrument, and music theater have been performed by well-known international
artists and ensembles.
AUIT
(Excerpt)
Josefino Toledo

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JONAS BAES
(1961 – )
Jonas Baes was born in Los Baños, Laguna in 1961. He
enrolled at the College of Music, Universityof the Philippines
(UP) in 1977 as a student of Ramon P. Santos.While at UP,
he encountered the works of Jose Macedaand attended several
seminar-workshops of visiting lecturers. He researched on
the music of the Iraya-Mangyan people of Mindoro, which
later became the inspiration for his compositions. From 1992-
1994, he studied with Mathias Spahlinger in Freiburg,
Germany.
Baes is known for writing music utilizing unorthodox musical instruments such as bean-
pod rattles, leaves, iron-nail chimes, and various Asian instruments such as bamboo
scrapers, bamboo flutes, and vocal music usingAsian vocal techniques. His early works
in the 1980s were influenced by Maceda in the use of large numbers of performers.
In the 1990s, he experimented with various methods by which the audience became
integral in the performance. It was also typical for social theory to influence the work of
Baes who has made a mark on contemporary music and cultural politics in the Asian
region.
Some of Baes’ musical compositions include: Imagined Community, after Benedict
Anderson for four bamboo scrapers, bamui trail caller, sarunai for oboe, khaen for
mouth organ, and about a hundred iron nail chimes distributed among the audience;
1997/2001; WALA (Nothingness) for seven or hundreds of men’s voices 1997/2001;
DALUY (Flow)interval music for five animator-percussionists and about a hundred bird
whistles distributed among the audience, 1994; IBO-IBON (birdwoman)for dancer
wearing small bells, two large wind chimes passed around the audience, four animator-
callers, and iron nail chimes played by the audience (1996); SALAYSAY, for solo voice,
three percussionists, and pairs of pebbles distributed among the audience; PATANGIS-
BUWAYA (and the crocodile weeps) for four sub-contrabass recorders or any blown
instruments 2003; PANTAWAG (music for calling people) for 15 bamboo scrapers, 15
palm leaves, and 20 muffled “forest” voices 1981; and BASBASAN (blessing) for 20
bean-pod rattles and 20 muffled men’s voices 1983.
Baes received the Gawad Chancellor para sa Pinakamakusay na Mananaliksik (Hall of
Fame, 2003) from the University of the Philippines. He is currentlyanAssociate Professor
in Composition and Theory at the UP College of Music as well as an ethnomusicologist,
cultural activist, and writer.

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SUMMARY
Jose Maceda’s musical style shifted when he encountered the music of the indigenous
tribes of Mindoro in 1953. He then embarked on his life’s work, dedicated to the
understanding and preservation of Filipino traditional music. His extensive research and
fieldwork resulted in an immense collection of recorded music taken from the remote
mountain villages and far-flung inland communities in the Philippines.
Lucrecia Kasilag’s compositional style 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.
Ramon Santos’ compositional style features chromaticism, music seria, and electronic
components, combined with indigenous Philippine music elements.
Fr. Manuel Maramba OSB, one of the most accomplished musicians in the Philippines,
is best known as a liturgical composer whose body of works lean towards religious
figures and events. His versatility as a pianist, composer, arranger, theorist, and teacher
is widely recognized in the local musical scene.
Jerry Dadap, the first Filipino composer to conduct his own works at the Carnegie
Recital Hall in New York City,
Francisco Feliciano is one ofAsia’s leading figures in liturgical music, having composed
hundreds of liturgical pieces, mass settings, hymns, and songs for worship. At theAsian
Institute for Liturgy and Music, a school for church musicians which he founded, he
supervised the publication of a new Asian hymnal containing mostly works of Asian
composers.
JosefinoToledo is the founding music directorof the Metro ManilaCommunityOrchestra,
the UP Festival Orchestra, and the Crosswave Symphony Orchestra. He is noted for
conducting the premiere performances of the works of Filipino composers as well as
otherAsian composers. His own music has been performed bywell-known international
artists and ensembles.
Jonas Baes,Associate Professor in Composition and Theory, ethnomusicologist, cultural
activist, and writer, has explored innovative territories and unusual musical treatments in
his works.

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WHAT TO KNOW
1. Research and describe the characteristics of New Music.
2. Discuss the lives and works of following 20th century Filipino composers and
performers:
a. Jose Maceda e. Jerry Dadap
b. Lucrecia Kasilag f. Francisco Feliciano
c. Ramon Santos g. Josefino Toledo
d. Fr. Manuel Maramba, OSB h. Jonas Baes
3. Point out the characteristics of the musical style of the above-mentioned Filipino
composers.
Composer Characteristics of the Musical Style
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
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WHAT TO PROCESS
1. Your teacher will play excerpts of recordings of any (one composition) of
the following works by Filipino new music composers:
a. Jose Maceda - Ugma-Ugma; Agungan ; Pagsamba; Ugnayan; Udlot
Udlot
b. Lucrecia Kasilag - Toccata for Percucssion and Winds; The Legend
of the Sarimanok; Divertissement and Concertante; Dularawan
c. Josefino Toledo - 2nd
Og-og;Abe; Ako ang Daigdig;Alitaptap; Aliw-
iw; Awiting Bayan; Barasyon; Asia; Kah-non; Humigit Kumulang;
Lima; Mi-sa; Missa de gallo; Oyog-Oyog; Musika para sa; Pasyon
at Buhay; Pompyang; Pintigan; Pilipino Komiks; Sigaw; Tatluhan;
Auit, Ub-og; Ug-nay; Tula-li
d. Francisco Feliciano - Sikhay sa Kabila ng Paalam; Ashen Wings;
La Loba Negra; Prelude and Toccata ; Fragments; Yerma; The life
of wartime Filipino hero, Jose Abad Santos; Transfiguration; Missa
Mysterium; Pokpok Alimpako; Salimbayan; Umiinog, Walang Tinag;
Pamugún and Restless
e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I) and
Mangamuyo II; The Redemption; Five Little Fingers; Tubig ng
Buhay; Dakilang Pagpapatawad; Andres Bonifacio, Ang Dakilang
Anak Pawis; Ang Pag-ibig ng Diyos; Balitaw Nos. 1-7; Lam-ang
Epic; Lorenzo Ruiz; Chorale Symphonic Ode Nos. 1 and 2; Aniway
at Tomaneg; Song Cycle, Nos. 1-4; Choral Cycle Nos. 1-3; Diyos
Ama ay Purihin; Lam-ang Epic; Mangamuyo I and II; Five Little
Fingers; Tubig ng Buhay; The Redemption.
f. Fr. Manuel Maramba - Aba!, Sto. Nino; La Naval; Lord Takayama
Ukon; Awakening ; Seven Mansions; Papal Mass for World Youth
Day, 1995; Mass in Honor of St. Lorenzo Ruiz; Mass in Honor of the
Sto. Nino; cantatas St. Lorenzo Ruiz, St. Benedict, and St. Scholastica;
Three Psalms—A hymn in honor of St. Lorenzo Ruiz, and the official
hymn of the 1996 National Eucharistic Congress; Ang Sarswela sa
San Salvador; Pugad Lawin; The Virgin of Naval; and
Transfiguration.

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g. Ramon Santos - Ding Ding ng a Di ya wa ; Nab as ag n a B an ga
a t Ib a’t i ba p an g P in ag - ug po ng -u g po ng n a Pananalita
sa Wikang Pilipino para sa labing anim na tinig, and L’BAD
h. Jonas Baes - WALA (Nothingness); DALUY (flow); IBO-
IBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA ; PANTAWAG ;
BASBASAN (Blessing).
2. Listen carefullyto each excerpt and be able to recognize the different musical
elements and styles of the composers.
3. Analyze the music focusingon the elements ofmusic present, such as rhythm,
melody, tempo and dynamics, texture and harmony, form, and timbre.
4. Choose a composition that you like. Write a reaction paper on it
1. After the above ListeningActivity, yourteacher will prepareselected excerpts
of compositions by the following: Josefino Toledo, Ramon Santos, Jose
Maceda, Fr. Manuel Maramba, Lucrecia Kasilag, Francisco Feliciano, Jerry
Dadap, and Jonas Baes.
turn.

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1. Your teacher will divide you into groups.
2. Compose a simple song incorporating indigenous music and folksongs or
you may adapt a certain melody from the compositions of the New Music
3. You may include an accompaniment or improvised musical instruments.
4. Sing it a capella (without accompaniment) or with accompaniment.
5. Perform your composition or song adaptation in class.
6. Choreograph dance movements by interpreting the music of the new
composer that you have chosen, if needed.
7. Perform in class.
8. Write a reaction papaer on “How did you feel in our incorporating our
indigenous music to your compositions or song adaptations.” Submit it in
class next meeting.
WHAT TO PERFORM
Creating and Performing Activities: Musical
traditional composer that was discussed in class. Research further on his
life and works.
and story.
keyboard, percussion) to the songs that you have chosen.

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3 - Fair
2. How well did the performers sing and act in
the musical based on the following:
f. pitch __________
g. rhythm __________
h. style __________
i. acting __________
3. How well did your group members participate? __________
Rating myself:
3. How well did I coordinate with the other members during the performance
in the ensemble? __________

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SONGCOMPOSERS
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.
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
him, most 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 byLucio 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.

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CONSTANCIO DE GUZMAN
(1903 – 1982)
Constancio Canseco de Guzman was born on November 11,
1903 in Guiguinto, Bulacan. He grew up in Manila where he
studied piano and composition under NicanorAbelardo.At the
prodding of his father, he went to law school but switched to
pursue and finish a BS Commerce degree at Jose Rizal College
in 1928. He passed the certified public accountants (CPA) board
examinations in 1932. After he took the CPA board exam, he
started working for the movies.
Acknowledged as the “Dean of Filipino Movie Composers and
Musical Directors,” De Guzman became the music director of
movie production companies like Sampaguita, LVN, Royal,
Excelsior, Lea, and Tagalog Ilang-Ilang Productions. His “unexpected” hit music,
Panaginip, paved the way for him to record hundreds of songs, principally under Villar
and Columbia Records.
In 1948, his song Ang Bayan Ko and Kung Kita’y Kapiling won the gold medal at the
Paris International Fair. Bayan Ko was later adopted as the symbolic song of the People
Power Movement of 1986. The same song won for him theAwitAward for Best Filipino
Lyricist. Some of De Guzman’s notable compositions include Babalik Ka Rin, Ang Tangi
Kong Pag-ibig, Birheng Walang Dambana, Maalaala Mo Kaya, and Sa Piling Mo. De
Guzman passed away on August 16, 1982.
MIGUEL “MIKE” VELARDE JR.
(1913 – 1986)
Miguel “Mike” Guison Velarde Jr, composer, conductor, movie actor, and musical
director was born in Manila on October 23, 1913 as the second of two children of Dr.
Miguel Velarde, Sr. and Dolores Guison. His family moved to Zamboanga when he was
onlyoneyear old and wherehe spent the succeeding eighteen years of his life. His exposure
to theunaffected and unpretentious environment of Basilan and Zamboangahad influenced
his creative imagination, mainlynurtured byhis mother who became his first music teacher
in piano and violin when he was six years old.
Velarde studied at the Zamboanga Normal School, where he became a member of the
school orchestra and graduated as valedictorian. He then went to Manila to pursue
medicine at the University of the Philippines, but later realized that it was music that he
truly loved. He learned the basics of harmony and composition from Antonio Molina
and Ariston Avelino as he further deepened his musical knowledge through self-study.

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Later, when his father however objected to his plans to pursue a music career, he went on
to support himself as a bus conductor to realize his dream. He later got a job at a radio
station where he was featured as singer and jazz composer in its morning and evening
programs. He also opened a jazz school and became song editor for the Philippines Free
Press.
Velarde eventually went into writing Tagalog songs, composing the song Ugoy-Ugoy
Blues which opened opportunities for him in the movies. He had a jazz band known as
“Mike Velarde’s Jazztocrats.” He became editor of the Literary Song Movie Magazine.
Velarde composed musical scores for Sampaguita Films’movie productions and managed
its advertising department. Among his most important works were Luksang Tagumpay,
which received the FAMAS (Filipino Movie Arts and Sciences) Award for Best Picture
(1960) and for which he wrote its story and screenplay, and Alaala Kita for Best Director
(1961). He attributes substantive influence from American composer and songwriters
Irving Berlin and Cole Porter.
In subsequent years, Velarde created his own style as he composed highly melodious and
romantic songs such as Ikaw, Lahat ng Araw, Habang Buhay, Minamahal Kita , Ikaw ay
Akin, and Dahil Sa Iyo. In 1970, he won theBest Conductor award at the First International
Popular Song Contest in Japan with his composition As Long as Forever. He received
the Cultural Achievement Award in Popular Music from the Philippine Government
Cultural Association in 1975 and the Gawad CCP Para Sa Sining in 1986. His other
compositions include Buhat, Ikaw, Bituing Marikit, Minamahal Kita, Dating Sumpaan,
Dalisay, Eternally Yours, and Gabi at Araw. Velarde passed away in 1986.
SANTIAGO SUAREZ
(1901 – 1964)
Santiago Suarez was born in Sampaloc, Manila. He learned how to play the piano from
his grandmother who was also a competent harpist, while his grandfather played the
flute. He attended the Conservatoryof Music, Universityof the Philippines and theAteneo
de Manila in Intramuros. He took private music lessons from Caetano Jacobe, Pedro
Floriaga, and Nicanor Abelardo.
Suarez’s compositions are a mixture of the soulful kundiman style and the lively strains
of the countryside. The melodies are tonal and catchy, while the rhythms follow the
regular meter with minimal tempo changes. His harmonies follow the traditional classical
progression, making his compositions easy to understand without the complexities of
form and structure. Some of his works are quite popular and heard even with today’s
classical singers, pop singers, and choral groups. They include the following: Ligaya Ko,
Pandanggo ni Neneng, Dungawin mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libis
ng Nayon, Harana, Kataka-taka, Labandera Ko, Lakambini, Kamia, Ikaw ang Buhay

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Ko!, Kay Lungkot nitong Hating-Gabi, and Mutya Niyaring Puso. Suarez passed away
in 1964.
RESTITUTO “RESTIE” UMALI
(1916 – 1998)
RestitutoAquino Umali was born in Paco, Manila on June 16, 1916. His early exposure
to music was due to the influence of his father who taught him violin as well as his
exposure to the regular family rondalla. He was also taught solfeggio and score reading
at the Mapa High School where he became an active member of the school glee club and
orchestra.
Umali played the E-flat horn, trombone, and tuba when he was part of the UST (University
of Santo Tomas) Band. He also taught choral arranging and orchestration at the UST
Conservatory of Music. He majored in Composition and Conducting at the Conservatory
of Music, University of the Philippines (UP) and Commerce at the Jose Rizal College.
He even passed an electrician’s course at the Philippine School ofArts and Trades before
embarking on a rewarding career as musical scorer for movies.
DuringWorld War II, Umali took lessons in harmonyfrom Felipe Padilla de Leon. Shortly
after the war, he performed with the Manila Symphony Orchestra. He continued his
studies in composition and conducting even while teaching at the UP Conservatory of
Music. He was under the tutelage of noted composers such as Lucrecia Kasilag,Antonio
Buenaventura, and Ramon Tapales.
Umali arranged the Philippine national anthem and the local classic Kataka-taka for the
Boston Pops Orchestra when it performed for the Philippine Independence Night in
Boston in 1972. He composed approximately 120 movie theme songs and more than
250 scores for movies. His musical scoring career was capped by a Universal Pictures’
production of No Man Is An Island starred by Jeffrey Hunter and Barbara Perez. His
musical scores for the movies Sa Bawat Pintig ng Puso (1964), Pinagbuklod ng Langit
(1969), Mga Anghel na Walang Langit (1970), and Ang Alamat (1972) won for him
“Best Musical Score” honors at the Filipino Academy of Movies Arts and Sciences
(FAMAS Awards). He also garnered the “Best Music Awards” for Bitter-Sweet at the
1969 Manila Film Festival and AngAgila at Ang Araw at the 1973 Olongapo Film Festival.
Among Umali’s most popular songs are Saan Ka Man Naroroon, Alaala ng Lumipas,
Ang Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di Ka Nag-iisa, and Paano Kita Lilimutin.
He had arranged the performance of Maestro Federico Elizalde’s Manila Little Symphony
aired on radio stations DZRH and DZPI, apart from his stint as musical director fof
Sampaguita Pictures.

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BAYAN KO (Excerpt)
Constancio de Guzman, music / Corazon de Jesus, lyrics
DAHIL SA IYO (Excerpt)
Mike Velarde Jr., music / Dominador Santiago, lyrics
/
BAKYA MO NENENG (Excerpt)
Santiago Suarez
SAAN KA MAN NAROROON (Excerpt)
Restie Umali, music / Levi Celerio, lyrics

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ANGEL PEÑA
(1921 – 2014)
A n g e l M a t i a s P e ñ a is a classical and jazz composer,
arranger, and bass player. He is widely considered by
modern Filipino jazz musicians as “one of the founders of
traditional jazz in the Philippines.”
He was born was born onApril 22, 1921 to a musical family.
Peña learned solfeggio from his mother Rosario Velarde
Matias. His mother was a schoolteacher who studied voice
at the University of the Philippines. His father, Gregorio
Cid Peña, played theviolin. His grandfatherwas a respected
guitar player. He grew up in Malabon which was then famous for its musicians and
marching bands. At the age of 11 when his mother passed away, he was discouraged by
his father to continue his musical pursuits. But, the boy persisted and proceeded to study
music theory and composition.
Peña wrote his first original jazz composition just before World War II erupted. He also
wrote kundimans for the young women he would be courting. After the war, he became
one of the most sought-after musical arrangers in Manila. He had also switched from
guitar to bass. This switch led him to write orchestral background music for various
musical ensembles.
He also wrote musical scores for film companies, most notably LVN Pictures. As his
interest in classical composition grew more intense, he formed a big band in 1956 for the
Upsilon Sigma Phi’s traditional concert at the University of the Philippines. During that
time, he composed Bagbagtulambing, a landmark in Philippine music.
In 1959, the University of Santo Tomas launched a national symphonic composition
contest open to Filipino composers. Peña’s entry Igorot Rhapsody won first prize the
following year. Since then, he moved effortlessly between the jazz and classical idioms.
In the mid-1960s during his 3-year stint in Hongkong, he earned a Licentiate with the
Royal School of Music in London.
Peña auditioned for the Honolulu Symphony Orchestra. He was immediately accepted
as bassist and later as arranger in 1969. He would spend the next 28 years in Hawaii,
where he continued to write his own music. As farewell homage, the Manila Symphony
Orchestra performed his Concerto for Double Bass and Orchestra. In 1981 on the occasion
of the 75th anniversaryof Filipino presence in Hawaii, the Honolulu Symphonypremiered
his Concerto for Jazz Quartet and Orchestra with an all-star Filipino jazz quartet.
The following year, the Cultural Center of the Philippines performed a concert of his
classical works in his honor. Despite of his absence from Manila, local jazz groups

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continued to play his compositions. The seeds that he had sown began to bear fruit. Now,
a new generation of Filipino musicians are starting to discover the composer. When he
finally came back to the Philippines, he started teaching scholars in Double Bass as an
adjunct faculty member of the UP College of Music. He started collaborating with the
UP Jazz Ensemble on a number of concerts.
In 1998, a House Resolution from the State of Hawaii’s House of Representatives was
passed to honor Peña for his contributions in the field of music as a world renowned jazz
musician, musical arranger, and Hawaii’s own living classical composer. The Jazz Society
of the Philippines-USA further gave him a Lifetime Achievement Award at the Third
Annual Fil-Am Jazz Festival in Hollywood. Pena passed away on December 22, 2014.
ERNANI CUENCO
(1936 – 1988)
Ernani Joson Cuenco, composer, film scorer, musical
director and music teacher, was conferred the NationalArtist
Award for Music in 1999. His works embodya Filipino sense
of musicalitythat contain the classical sound of the kundiman.
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.

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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 theAssociated 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
wrote the classic KapantayAy Langit, a theme from the award-
winning motion picture of the same title, sung byAmapola. Its
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
YearAward” 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 legacyas a composer include approximately120 songtitles includingIkaw, 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.
To this day, Cuneco’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.

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GAANO KO IKAW KAMAHAL (Excerpt)
Ernani Cuenco, music / Levi Celerio, lyrics
DAHIL SA ISANG BULAKLAK (Excerpt)
Leopoldo Silos Sr., music / Levi Celerio, lyrics

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SUMMARY
Song composers became popular with their musical compositions used as musical
background or theme songs in movies and films.
Levi Celerio made it to the Guinness Book of World Records for being the only person
to make music with a leaf. He received numerous awards for his musical achievements in
film.
Constancio de Guzman was acknowledged as the “Dean of Filipino movie composers
and musical directors.” He is the composer of the nationalistic song Bayan Ko.
Mike Velarde Jr. was a composer, conductor, and musical director. He composed the
popular song Dahil Sa Iyo in 1938. In 1975 the Philippine Government Cultural
Association awarded him the CulturalAchievementAward in Popular Music. He received
the Gawad CCP Para Sa Sining in 1986.
LEOPOLDO SILOS Sr.
(1925 – 2015)
Leopoldo Silos Sr. was born on March 6, 1925.
He was a composer, singer, and arranger. He
composed and recorded a number of romantic
songs, the most famous of which were two of
his well known hits, Dahil Sa Isang Bulaklak
(Because Of One Flower) and Hindi Kita
Malimot (I Can’t Forget You). He was also the
award-winning musical director of the long-
running television musical program, Aawitan
Kita, which starred Armida Siguion-Reyna.
Accordingly, the music of Silos touches the sentiment quite deeply. His lyrical melodies
are complemented byexotic harmonies. His melodies were made more appealing through
their extended chords, diminished intervals, and secondarydominants. Thus, that enriched
the otherwise basic chordal patterns accompanying a tonal melody.Although not as widely
performed as other mainstream love songs and kundimans, his music always impresses
the listener with its melodic sincerity and elegantly crafted accompaniments. The other
notable compositions of Silos include Aling Kutsero, Ay Anong Saklap, Basta’t Mahal
Kita, Diyos Lamang ang Nakakaalam, Hindi Ko Malilimutan, Lagi kitang Naaalala,
Langit sa Lupa, Halina Halina, Lihim na Pag-ibig, and Mundo Ma’y Mawala. He died
on March 10, 2015.

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WHAT TO KNOW
1. Discuss the lives and musical contributions of the following 20th century
Filipino song composers
a. Levi Celerio f. George Canseco
b. Constancio de Guzman g. Angel Peña
c. Mike Velarde Jr. h. Leopoldo Silos Sr.
d. Ernani Cuenco i. Santiago Suarez
e. Restie Umali
2. For each of the composers named above, give the title of any of his
compositions.
Ernani Cuenco was a composer, film scorer, musical director, and music teacher. He
was hailed as a NationalArtist in Music in 1999. His works embody the Filipino sense of
musicality. The classical sound of the kundiman is evident in some of his ballads. Up to
this day, his compositions are popular and well-loved.
Restie Umali was a composer, teacher, and musical arranger. He arranged the Philippine
national anthem and the local classic Kataka-taka for the Boston Pops Orchestra when it
performed for the Philippine Independence Night in Boston in 1972. He wrote a total of
more or less120 movie theme songs. He composed more than 250 scores for movies
which was capped by a Universal Pictures production of No Man Is An Island starred by
Jeffrey Hunter and Barbara Perez.
George Canseco was considered “a nationallyacclaimed composer of numerous popular
Filipino classics.” He composed songs for Filipino singers and movie stars.
Angel Peña is a classical and jazz composer, musical arranger, and bass player. He is
widelyconsidered bymodern Filipino jazz musicians as “one of the founders of traditional
jazz in the Philippines.”
Leopoldo Silos Sr. was a composer, singer, and musical arranger. He composed and
recorded romantically soulful songs. He was the award winning musical director of the
television musical Aawitan Kita.
Santiago Suarez was an accomplished composer of traditional Filipino love songs. His
popular works include Dungawin Mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libis
ng Nayon, and Kataka-taka.

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Composer Title of Any Composition
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
WHAT TO PROCESS
1. Your teacher will play excerpts of recordings of any of the following works
by Filipino song composers:
a. Levi Celerio - Ang Pipit; Sa Ugoy ng Duyan; Misa de Gallo;
Itik-itik (folk song); Tinikling (folk song); and Ang
Pasko ay Sumapit.
b. Constancio
de Guzman - Bayan Ko, Babalik Ka Rin, Ang Tangi Kong Pag-
ibig, Birheng Walang Dambana, Maalaala Mo
Kaya, Sa Piling Mo, Ang Langit ko’y Ikaw
c. Mike Velarde Jr. - Buhat, Ikaw, Bituing Marikit, Minamahal Kita,
Dating Sumpaan, Dalisay, Eternally Yours, Gabi
at Araw, Dahil sa Iyo

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d. Ernani Cuenco - Nahan, Kahit na Magtiis, Diligin Mo ng Hamog
ang Uhaw na Lupa, Pilipinas, Inang Bayan, Isang
Dalangin, Kalesa, Gaano Ko Ikaw Kamahal, Bato
sa Buhangin
e. Restie Umali - Saan Ka Man Naroroon, Alaala ng Lumipas, Ang
Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di Ka
Nag-iisa, Paano Kita Lilimutin
f. George Canseco - Ikaw, Kailangan Kita, Dito Ba, Hiram, Langis at
Tubig, 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
g. Angel Peña - Bagbagtulambing, Igorot Rhapsody, Concerto for
Double Bass and Orchestra, Concerto for Jazz
Quartet and Orchestra
h. Leopoldo Silos Sr. Dahil sa Isang Bulaklak, Hindi Kita Malimot,
Aling Kutsero, Ay Anong Saklap, Basta’t Mahal
Kita, Diyos lamang ang nakakaalam, Hindi ko
Malilimutan, Lagi kitang Naaalala, Langit at
Lupa, Halina Halina, Lihim na Pag-ibig, Mundo
Ma’y Mawala
i. Santiago Suarez - Ligaya Ko, Pandanggo ni Neneng, Dungawin Mo
Hirang, Bakya Mo Neneng, Caprichosa, Sa Libis
ng Nayon, Harana, Kataka-taka, Labandera Ko,
Lakambini, Kamia, Ikaw ang Buhay Ko!, Kay
Lungkot Nitong Hating-Gabi, Mutya Niyaring
Puso
2. Listen carefullyto each excerpt and be able to recognize the different musical
styles of the composers.

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3. Analyze the music and take note of the elements of music present, such as
rhythm, melody, tempo and dynamics, texture and harmony, form, and
timbre.
4. Choose a composition that you like. Write a reaction paper on it.
1. After theaboveListeningActivity, your teacher will prepare selected excerpts
of compositions by the following: Celerio, De Guzman, Velarde, Cuenco,
Umali, Canseco, Peña, Silos, and Suarez.
turn.
1. Compose a simple song. Write the lyrics and the music.
2. You may adapt a certain melody from the compositions of the song
3. You mayincludean accompaniment such as guitar, flute, recorder, keyboard,
drums, tambourine, maracas or improvise musical instruments from the
environment.
4. You maysing it a capella (without accompaniment)or with accompaniment.
5. Do some dance movements of the music.
6. Perform your composition or your song adaptation and the dance
movements.
7. What motivated you to compose or adapt the music of that song?
8.. How did you feel about this activity?

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WHAT TO PERFORM
A. Singing Activity: Song Medley
I n d i v i d u a l o r i n g r o u p s : Sing any of the compositions of Celerio, De Guzman,
Velarde, Cuenco, Umali, Canseco, Peña, Silos, and Suarez.
For group work, do the following:
1. Your group will choose any song composers. You research further on his
compositions, if needed.
2. Select three compositions that you like best or you are familiar with or you
may learn a new song. Choose your musical director.
3. Sing the three (3) minutes medleyin class with your groupmates interpreting
the music with appropriate pitch, rhythm, style, timbre, dynamics, melody,
texture, harmony, and expression.
4. You may bring an instrumental accompaniment like guitar, flute, recorder,
maracas, tambourine, or keyboard.
5. You may bring a minus one music in CD, or from your mobile phone, or
USB.
6. You may improvise simple vocal or instrumental accompaniment/s to the
songs you have chosen.
7. You may explore ways of creating sounds as instrumental accompaniment
to the song from a variety of sources or from the environment.
8. Your teacher will choose the “Best Singing Group” based on musicianship
(musical elements) 60%, presentation impact and showmanship 20%,
ensemble coordination and organization 20%.
9. All students will evaluate by rating each other’s performance and their own
performance.
B. Creating and Performing Activities: Musical
song composer that was discussed in class. Research further on his life and
works.
and story.
keyboard, percussion) to the songs that you have chosen.

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3 - Fair
2. How well did the performers sing and act in the musical
based on the following:
g. musical elements (rhythm, melody, dynamics) __________
h. technique __________
i. showmanship __________
j. acting __________
3. How well did your group members coordinate with
each other during the performance in the ensemble? __________
4. How well did your group organize yourselves in
the ensemble? __________
Rating myself:
3. How well did I coordinate with the other members
during the performance in the ensemble? __________

music 10 learners material quarter 3

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music 10 learners material quarter 3