REVIEW

 Known as a nationalist composer who expressed

the Philippines’ cultural identity
through his compositions.
FELIPE PADILLA DE LEON SR.
 His piano works have become staples in the

Philippine repertoire of today’s performers.

especially Larawan and Maligayang Bati.
 FRANCISCO B. BUENCAMINO SR
A product of both Romantic and Impressionist
style, and came to be known as the“Father of
Philippine Impressionist Music”.
 ANTONIO J. MOLINA (1894 – 1980)
 A contemporary composer and conductor

who spans both popular and classical

worlds with his pop
music,ballads,operas,zarsuelas,orchestral
arrangements, masses, psalms, and choral
composition.
 A contemporary composer and conductor

who spans both popular and classical

worlds with his pop
music,ballads,operas,zarsuelas,orchestral
arrangements, masses, psalms, and choral
composition.
Ryan Cayabyab
He was fascinated by the dynamics and
harmonies of Debussy, but retained much of
the Romantic style in his melody.
Antonio Molina
GUESS THE MUSIC
 Lesson 2
NEW MUSIC
COMPOSERS
What is Contempmorary Music?

 Contemporary music in the Philippines

usually refers to compositions that have
adopted ideas and elements from twentieth
century art music in the West, as well as the
latest trends and musical styles in the
entertainment industry. This brief
introduction covers only the works written by
the art music composers.
What is traditional Filipino Music?
 Every country in the world has their own
traditional music, Filipino traditional music
portrays the beliefs, customs, and traditions
of the rural folks. Traditional music may be
classified such as to glorify the beauty of
nature, courtship music, or welcome songs.
  
Characteristics of Filipino Music:
 Cantata form. A cantata is a vocal composition with an
instrumental accompaniment and often contains more
than one movement.
This vocal composition is usually structured as a recitative
(or sung speech) with an aria, a solo voice part, repeated in
between.
 Acapella. An acapella song is a vocal composition without

instrumental accompaniment.
 Sonata form is used – a composition for one or more solo

instruments, one of which is usually a keyboard

instrument, and usually consisting of three or four
independent movements varying in key, mood, and tempo
(Anupol, 2007).
JOSE MACEDA (1917 – 2004)
 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 understanding
and preservation of Filipino traditional music.
 Considered as the first Filipino avant garde

composer.
Composition
 Ugma-Ugma (1963), a work for voice and
ethnic instruments; Agungan (1975), a piece
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),
Composition sample
LUCRECIA R. KASILAG (1918-2008)
 was born in San Fernando, La Union on
August 31, 1918.
 Her compositions were influenced by her

professors Irving McHose and Wayne Barlow.

Kasilag’s compositions demonstrated a fusion
of Eastern and Western styles in using
instruments, melody, harmony, and rhythm.
 She is particularly known for incorporating

indigenous Filipino instrument.

Composition
 AToccata 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
 compositional style features chromaticism,
music seria, and electronic components,
combined with indigenous Philippine music
elements.
 He was the students of Jose Maceda
Compositions
 Ding Ding Nga Diyawa, Nabasag na Banga at
Iba’t iba pang Pinag-ugpong-ugpong na
Pananalita para sa Labing Anim na Tinig
Darangang Magayon
 . Among his awards are the following: “Ten
Outstanding Young Men” (TOYM);
“International Award for the Arts”; “Civitella
Ranieri Fellowship in Italy”; and the
“Chancellor Awards for Outstanding Musical
Works,” University of the Philippines.
FR. MANUEL MARAMBA, OSB (1936 – )
 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..
 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 was the youngest finalist to participate in the
National Music Competitions for Young Artists
(NAMCYA) piano competition in 1978.
COMPOSITION:
 operas like Aba!, Sto. Nino, La Naval, and Lord
Takayama Ukon, Awakening, – 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, a zarzuela
entitled Ang Sarswela sa San Salvador, and
three orchestral works – Pugad Lawin, The
Virgin of Naval, and Transfiguration.
 the first Filipino composer to conduct his own
works at the Carnegie Recital Hall in New
York City.
 He 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.
 Dadap started composing when he was still

studying at Silliman University in the southern

city of Dumaguete.
 COMPOSITIONS:
 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, Lamang 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)
 avant garde composer and conductor for
band and chorus
 He 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.
 COMPOSITION:
 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. He has composed
several prize winning works such as Pokpok
Alimpako, (a favorite piece of choirs in
international choral competitions),
Salimbayan, Umiinog, and Walang Tinag
(Perpetuum I mobile) which was premiered at
the ISCM Festival
JONAS BAES (1961 – )
 was born in Los Baños, Laguna in 1961. He
enrolled at the College of Music, University of
the Philippines (UP) in 1977 as a student of
Ramon P. Santos
 Baes is known for writing music utilizing

unorthodox musical instruments such as

beanpod rattles, leaves, iron-nail chimes, and
various Asian instruments such as bamboo
scrapers, bamboo flutes, and vocal music
using Asian vocal techniques. His early works
in the 1980s were influenced by Maceda in
the use of large numbers of performers.
 COMPOSITIONS:
 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 animatorcallers, and
iron nail chimes played by the audience (1996); SALAYSAY, for
solo voice, three percussionists, and pairs of pebbles
distributed among the audience; PATANGISBUWAYA (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 198
 Baes received the Gawad Chancellor para sa
Pinakamakusay na Mananaliksik (Hall of
Fame, 2003) f
Generalization
 If you were a composer, what genre or
musical style would you prefer?
 Who are the traditional composers?
 Who are the new compesers?
APPLICATION
“Name the Composer, Title of the Music,
Musical Style, and Description
 The first student in each line goes to the

board and pastes the strip with the title of the

song. The second student will match the
picture. The third student will paste the strip
with the name of the composer and the
fourth students, the description of musical
style. 4. One student will be assigned as the
scorer. The team with the highest score is the
winner. Title of the Song Picture N
Group Activity:
A. Give 20th century Filipino composers.
Write a brief biographical sketch of each
composer, including their works, on a bond
paper.
Group 1. Jose Maceda and Lucresia Kasilag
2. Jerry Dadap and Fr. Manuel Maramba, OSB
3. Ramon Santos and Francisco F. Feliciano
4. Josefino Toledo and Jonas Baes
B. Reporting The leader of the group will report
their output.