The document summarizes the transition and development of music in the Philippines from indigenous ethnic music to modern Philippine music. It discusses pre-colonial indigenous instruments like idiophones, aerophones, chordophones, and membranophones. It also describes the influence of Hispanic music like banda, rondalla, and sarswela during colonial times. Additionally, it outlines the development of kundiman, awit, corrido, and uyayi folk music genres as well as the modernization of Philippine music with genres like OPM, chorale music, and the filipinization of Western pop songs. It highlights famous Filipino musicians like Pilita Corrales and Ryan Cayaby

1. Philippine Music A recap of the transition of music by the Filipinos Monyna Lopez MeryllParnaso Pauline Reyes

2. Music is regarded as the most universal in its appeal and acceptance. Each country has its own kind of music that embodies the total experience, the collective consciousness of its people. Music, therefore, is the collective expression of the musical genius of a particular people. A people gifted with a strong sense of musicality, the Filipinos turn to music to express their innermost feelings. – Antonio Hila

3. Indigenous Music Largely functional before colonial era Instrumental, vocal or combination Activities of the natives Music for all occasions

4. Philippine Ethnic Music Understanding of Philippine ethnic music is the foundation of the appreciation of indigenous instruments Used in the various ritual and secular activities Generally grouped into the aerophones, chordophones, idiophones and membranophones

5. INSTRUMENTS - IDIOPHONES Instruments that are struck, scraped, plucked, shaken, or rubbed. There are metal or wooden (bamboo) idiophones in the Philippines.

6. AGUNG KULINTANG

7. GABBANG (Bamboo Xylophone)

8. Instruments - Aerophones Made out of bamboo Flute, pan pipes, reed pipes KALALENG (Nose Flute)

9. KUBING PALENDAG

10. Instruments - Chordophones Bamboo or wood stringed instrument Struck, plucked or bowed KOLITONG

11. Kudyapi Duwagey

12. Instruments – Membranophones Single and double headed drums Conical, cylindrical, goblet shaped, barrel shaped Animal skins (snake, deer, or goat) is used as head/heads of the drum May be beaten with sticks or by the palm portion of bare hands Often used with other instruments

13. DABAKAN GANDANG

14. Vocal Music Like the instruments, it expresses and transmits in a concrete and vivid manner a great variety of the thoughts, beliefs, customs, lifestyles, temperament and way of life of the indigenous peoples. Singing - main component of life among them. Singing solo or in leader-chorus style with or without accompaniment, with or without the benefit of words.

15. Ethnic Songs As a whole, serve as a vehicle for the expression of matters that otherwise may not be acceptable in speech or ordinary conversation. Response - must also be rendered in song Traditional methods of communication depend not only on speech and memory but also on song.

16. Hispanic - Banda Brass-based form of traditional music Ensemble of brass, woodwind, and percussion instruments Originated from Spain and Mexico Usually found in different municipal ceremonies or celebrations (e.g. fiestas)

17. Hispanic - Rondalla Ensemble of plectrum instruments It was introduced in the Philippines in the 19th century by Spain and became one of the traditional forms of Philippine folk music. Philippine rondalla instruments are made up of wood and played with a tortoise-shell plectrum. Rondalla came from the Spanish word ronda, meaning to serenade Also seen in weddings and fiestas.

18. Hispanic - Sarswela Filipino version of the Spanish Zarsuela Considered as the music in a play that has singing and dancing and may consist of one to five chapters. A form of operetta

19. Philippine Folk Music It is a part of Filipino Culture and Identity It reflects the everyday life of common folks The lyrics tell stories about the people and how they go about with their daily activities. It is linked with nature. Heavily influenced by Spain because of their rule over the country for more than 300 years.

20. Philippine folks songs has never reached national popularity due to the different languages and dialects that every region has. EXAMPLES: Luzon Visayas Mindanao

21. Kundiman (Cundiman) Songsthat expresses feeling of romantic love or intense longing and devotion. “Kung hindi man” (if it should not be so) Characterized by smooth, flowing, and gentle rhythm and dramatic intervals. The Kundiman came to be an art form at the end of the 19th century. The musical structure was formalized by composers such as NicanorAbelardo and Francisco Santiago.

22. Dr. Francisco Santiago – The father of Kundiman art song The composers sought poetry for their lyrics, blending verses and music in equal parts. Usually accompanied by a guitar or violin May also be used in serenading.

23. Awit at Korido Philippine Metrical Romances The terms “awit” and “corrido” are both related to music. An array of songs and dances performed by local talents. Long verse narratives on chivalric-heroic, religious, legendary and folkloric themes (Dr. Damania L. Eugenio, 1987).

24. Heavily influenced by foreign literature. Most popular among the Spanish colonial literary forms. None of the characters are natives. (e.g. Arabs, Turks, knights, etc.) Example: Florante at Laura (Francisco Balagtas)

25. Uyayi Lullabies Refered to as the songs that mothers sing to their babies to make them fall asleep

26. Modern Philippine Music Composed of songs from new and different genres. Up-to-date Greatly influenced by the Western.

27. Chorale Music A vocal ensemble Can sing with or without instrumental accompaniment. Usually consists of sopranos, altos, tenors, and basses. Philippine Madrigal Singers (Madz) – two-time champions in the European Grand Prix for Choral Singing (1997, and 2007 The Philippines is considered as one of the most prestigious and multi-awarded country in Asia in terms of chorale music.

28. Original Philippine (Pinoy) Music Otherwise known as OPM Filipino pop songs and ballads that were popularized from 1970s through the mid 1900s. Because of the development of different music styles in our country, OPM is now referred to as the songs composed, created and sung by Filipino artists.

29. Today, OPM artists are doing their best to promote and keep the Filipino music alive. There are a lot of genres under OPM such as: Pinoy Rock / Alternative Pinoy Rap / Hiphop PinoyRnB Pinoy acoustic (etc.)

30. Pinoy Rock Defined as rock music produced by Filipinos with cultural sensibilities. In the 1970s, rock acts like Freddie Aguilar, Asin, and Juan de la Cruz band (headed by Pepe Smith) became popular in the country. In the mid 1980s, Pinoy rock became the music of Filipino protesters. (Aguilar’s “BayanKo”) In the 1990s, underground bands became known and played in bars such as Red Rocks (now known as Club Dredd).

31. NU107.5 played more unknown bands and through this station, more bands were discovered. It also gave full exposure to Filipino bands like Eraserheads, Parokyani Edgar, The Dawn, Siakol, Rivermaya, etc. In the 2000s, other genres like RnB, Hip hop, and Acoustic became popular causing Pinoy Rock to take a back seat. Only a few rock acts were able to come back. During this time, the Pinoy Rock music scene in Cebu also gained exposure.

32. Pinoy Rap / Hip-hop Hip-hop music perfomed by Filipino descents, whether in the Philippines or overseas. The Philippines is known to have had the first hip-hop music scene in Asia. Francis M. (Magalona) and Andrew E are cited as the most influential rappers in the country. In the U.S.A., Apl.de.ap. (Black Eyed Peas), Cassie Ventura, and N.E.R.D. are among the most successful hip-hop artists. Messages of moral values and social issues.

33. PinoyRnB Similar to the RnB genre in the USA Can be in English, Filipino, or Taglish Only few have reached popularity (e.g. Kyla, Jay-R, Young JV)

34. Acoustic Acoustic artists cover songs from different genres and make it mellow and sung with a guitar and/or a beatbox. They also write their own songs. Popular in bars (Acoustic nights)

35. Filipinizing Western Music Filipinizing English Songs By Evangeline Alvarez Encabo and Cherubim FajardoValerio Song interpretation - almost similar to the original Meaning - somehow different from its origin. Regardless of the meaning, the songs are a certified hit in the Philippines because Filipino culture and interests were considered in the translation.

36. Tagalized/Filipinized Songs Irreplaceable (Beyonce) - Disposable Umbrella (Rihanna) Don’t Stop the Music (Rihanna) – ‘Wag MongPipigilan Bleeding Love (Leona Lewis) – SugatngPuso Low (Flo Rida ) - Lawlaw Always Be My Baby (David Cook) – Ikaw Lang AngIibigin Beautiful Girls (Sean Kingston)

41. Other Filipinized Songs Love the Way You Lie Don’t Matter So Sick Go On Girl – KakayaninKo With You – Sa ‘Yo

42. Famous People

45. OPM Between the 1980's and the 1990's singers: Sharon Cuneta, Regine Velasquez, Randy Santiago, Janno Gibbs, OgieAlcasid, Donna Cruz, Lea Salonga, Snooky Serna, Raymond Lauchengco, Francis Magalona, Ariel Rivera and Gary Valenciano

46. Songs like UrongSulong, Di Bale Na Lang, ‘Wag Mo Na SanangIsipin are frequently heard and listened to, even on FM stations. On July 25, 1987, President Corazon Aquino signed the Executive Order No. 255 as a law to play hourly OPMs on every FM station effectively and stations like DZOO, DWLS and others produced OPM songs mainly include Pinoy OPM disco-style dance and easy listening to shape-up Filipino culture as well. Christmas songs are also frequently listened every Christmas.

48. Mercat de les Flors in Barcelona and Circulo de BellasArtes in Madrid,

50. the Asian Fantasy Orchestra tours of New Delhi, Bombay, Tokyo, Nagoya, Osaka, Miyazaki, Bangkok, Vientiane, Yangon, Hanoi and Ho Chi Minh,

51. the Hong Kong Asian Arts Festival, the National Museum of Singapore

53. Her book, The Shared Voice: Chanted and Spoken Narratives from the Philippines (ANVIL Publishing, Fundacion Santiago) won in the 28th National Book Awards, Arts category. She is also currently working on a second book on the music of the Philippine babaylan (Visayan/Philippine shaman). In collaboration with composer Bob Aves, Grace has produced an audio and print series on Philippine oral traditions and instrumental music, which are being used by a number of teachers and students in the study of Philippine music, arts and culture. Grace herself has taught Philippine Traditional Arts at the University of the Philippines-Diliman, and Philippine Oral History at Miriam College.

54. The summation of over fifteen years of sustained interaction with Filipino oralists and personal practice of a number of Philippine oral traditions, it is the fruit of the journey toward self-understanding and meaning for those who may recognize their voices in this rich and diverse material. A book that echoes the life journeys and insights of ten Filipino oralists from different Philippine ethnolinguistic groups in Luzon and Mindanao; oralists who cut across lines of faith, gender, class, and generation.

55. References http://www.opm.org.ph/registry/artist_profile.php?artist_id=176] http://www.gracenono.com/gracenono/book.html http://en.wikipilipinas.org/index.php?title=Main_Page http://www.youtube.com/watch?v=coxpEXVCRtc