CONTEMPORARY PHILIPPINE MUSIC

Group 2
GRADE 10-LIMESTONE
 ⮚ JOSEFINO TOLEDO
⮚ LUCRECIA R. KASILAG
⮚ JERRY DADAP
CONTEMPORARY
⮚ JOSE MACEDA
MUSIC ⮚ RAMON P. SANTOS
ARTISTS ⮚ JONAS BAES
⮚ FR. MANUEL MARAMBA, OSB
⮚ FRANCISCO F. FELICIANO

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INTRODUCTION
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. Philippine music has truly evolved from its indigenous roots to its
contemporary form. Throughout the centuries and through several colonial
influences, the music in the Philippines have become too Westernized
especially during the American colonial period and after the Second World
War.

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JOSEFINO TOLEDO

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JOSEFINO TOLEDO
Born : March 6, 1959 in Manila
Wife : Immaculada Concepcion Ramos
Child : Charisse Loraine
Father : Victor Odulio Toledo
Mother : Lolita Esteban (Javier) Toledo
composer and conductor
Education:
He studied at the University of the Philippines College of Music (BM 1979), the Paris Conservatoire (1983–5) and the Cleveland
Institute (MMus 1986). Among his teachers were Ramón P. Santos, Claude Ballif, John Rinehart and Donald Erb.

Membership:
Member League Filipino Composers (associate)

Career:
Instructor University of the Philippines, 1880-1983, music
Director Percussion ensembles, 1980-1983,
Assistant professor since 1987
Instructor University St. Thomas, Quezon City, 1980-1983
Principal percussionist Manila Symphony Orchestra, 1980-1983
Music Director, 1985,1987, 1989,
Siena-Letan Chorale, Quezon City 1982-1983
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JOSEFINO TOLEDO

Josefino Chino Toledo is a composer-conductor. He is currently the Executive Director of Miriam College Center for
Applied Music, and a full professor of music composition and theory at the University of the Philippines. Toledo is
the founding music director of Metro-Manila Concert Orchestra (MMCO) and the Grupo 20/21, a modular music
ensemble.

Chino studied music at the University of the Philippines, Cleveland Institute of Music – Case Western Reserve
University in the U.S., and at the Conservatoire National Superieur de Musique in Paris.

As a conductor, he is noted for premiering works of Filipino composers as well as other Asian composers and has
conducted concerts in Japan, Indonesia, Australia, and China. He was the associate artistic director and conductor
of the first Asia-Europe Music Camp by the Asia-Europe Foundation.

Toledo’s own compositions are regularly performed in international festivals, concerts and recitals in US, Canada,
Lithuania, Brazil, Israel, Australia, New Zealand, Italy, France, Austria, Netherlands, Germany, and almost all Asian
countries.

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JOSEFINO TOLEDO
AWARDS, FELLOWSHIPS, GRANTS

International Arts Award; UP University Artists III Award; UP Chancellor Outstanding Professor Award;
The Outstanding Young Men Award; FEU Oustanding Alumni Award Civetella Ranieri Fellowship Award;
PMPC Movie Musical Scorer of the Year Star Award; ASCAP Raymund Hubbel Award; CIM Institutional
Grant; Asian Cultural Council Grant; UP Chancellor Awards; CCP-LFC Composition Prizes; Young Artist
Foundation of the Philippines Study Grant; French Government Scholarship; Golden Screen Award for
Best Musical Score; 2014 Gawad Buhay - Philstage Awards for Outstanding Original Musical
Composition and Outstanding Musical Direction; etc..

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LUCRECIA R.
KASILAG

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LUCRECIA R. KASILAG
Kasilag was born on August 31, in San Fernando, La Union. Music was introduced to her at an early
age by her mother, Asuncion Roces, a music teacher. She learned to play the bandurria and guitar at an
early age. Every weekend, she and all five of her siblings performed as the “Kasilag Rondalla” before
their mother.

She excelled in academics as well, graduating valedictorian at Paco Elementary School and the
Philippine Women’s University (PWU) High School. She obtained Bachelor of Arts degree in English, at
the PWU, cum laude.

Even with her academic achievements, she never turned her back on music. Aside from taking piano
lessons under Concha Cuervo and Pura Lacson-Villanueva, the young Lucrecia also took a diploma
course in music teaching at St. Scholastica’s College. Shortly thereafter she enrolled for bachelor’s
degree in music at PWU, and pursued graduate studies in music at the Eastman School of Music,
University of Rochester in New York.

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LUCRECIA R. KASILAG
She taught at St. Scholastica’s College, Assumption College, the University of the Philippines
Conservatory of Music, and PWU, where she became dean of the College of Music and Fine Arts from
1953 to 1977. She was president of the Cultural Center of the Philippines during the Marcos years and
special consultant during the Aquino administration. She also held key positions in both national and
international music organizations, including the League of Filipino Composers, National Music Council
of the Philippines, Regional Music Commission of Southeast Asia, Philippine Society for Music
Education, Asian Composers League, and the National Music Competition for Young Artists Foundation.
She also reaped international recognition as musical director of the Bayanihan Dance Company.

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LUCRECIA R. KASILAG
Kasilag wrote more than 200 compositions which include folksongs, opera, and orchestral works. Her
orchestral body of work includes “Love Songs,” “Legend of the Sarimanok,” “Ang Pamana,” “Philippine
Scenes,” “Her Son,” “Jose,” “Sisa,” “Awit ng mga Awit Psalms,” “Fantaisie on a 4-Note Theme,” and
“East Meets Jazz Ethnika.”

As educator, composer, and performer, Kasilag was known for incorporating indigenous Filipino music
with Western influences, thus paving the way for more experimentation among Filipino musicians. She
also did pioneering research on Filipino ethnic dances and culture. In 1989, she was the lone addition to
the roster of National Artists. She was conferred honorary doctorate degrees by the Centro Escolar
University, PWU, and New York’s St. John’s University. Fondly called “Tita King,” Kasilag died on August
16, 2008.

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LUCRECIA R. KASILAG
Sources:

De la Torre, Visitacion R. (1985). Lucrecia R. Kasilag: an Artist for the World.

Felipe, Vilma R. Santiago- (1998). A Gem of a Person, A Jewel of an Artist. In The National Artists of the
Philippines (pp. 209–217). Pasig City: Anvil Publishing.

Tariman, Pablo. (2008, August 17). Lucrecia Kasilag, grand dame of RP music, dies at 90”. Philippine Daily
Inquirer.

Tiongson, Nicanor (Ed.). (1994). CCP encyclopedia of Philippine art (Vol. 6: Philippine music). Manila:
Cultural Center of the Philippines.

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JERRY
DADAP

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JERRY DADAP
Who is Jerry dadap?or called Michael Jerry dadap..
Michael Dadap is a popular Filipino guitarist, composer, and conductor, and an influential advocate of
Filipino folk music. He was influential in the creation of a world-class rondalla ensemble in the United
States is also the founding music director of the Iskwelahang Rondalla (Rondalla School) of Boston,
Massachusetts.
Dadap was born in Barangay Bangcas B Hinunangan, Southern Leyte, on May 19,1944, into a family of
musicians, one of the 14 children of Dionesia Amper and Vedasto Dadap. His first exposure to music
was at a local Protestant church, where he grew up with the hymns of Handel, Mozart and Beethoven.
He earned his bachelor's degree in 1964 from the University of the Philippines, majoring in conduction.
In 1971, he went to study composition and conducting at the Mannes College of Music in New York City
and three years later made his debut performance at Carnegie Recital Hall. He also toured as a musical
performer in other parts of the United States, Europe and the Far East.

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JERRY DADAP
Background history:

Since 1984, Dadap has been the artistic and musical director and principal conductor of the Children's
Orchestra Society (COS) in New York City. WQXR, the classical music radio station of The New York
Times, featured Dadap's album, Intimate Guitar Classics, in 1990. Dadap had also been given the
Asian-American Alliance for the Arts Award for composing the Handurawan Dance Suite, a work that
was premiered by the Brooklyn Philharmonic's Chamber Orchestra in 1988. In December 2000, Dadap
was recognized as the first recipient of the 2000 Artist of the Year by the Flushing Council on the Arts in
Queens, New York. On December 7, 2007, Philippine President, Gloria Macapagal Arroyo, presented
Dadap the Pamana ng Lahi Award at the Malacañan Palace.[1]

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JERRY DADAP
As a conductor, Dadap has worked with violinists Cho-Liang Lin, Soovin Kim and Sarah Chang, pianists
Cecile Licad and Emanuel Ax, cellist (and brother-in-law) Yo-Yo Ma, flutist Paula Robison, and most
recently Jaime Laredo and Sharon Robinson. His other works include the children's musical play, Five
Visayan Serenades for Guitar; the full-length folkloric ballet, Alamat ng Ampalaya (Legend of the Bitter
Melon); and the Legend of the Tikling Bird. Dadap is also the author of the book Complete Method for
the Virtuoso Bandurria.[1]

Dadap was one of the featured performing artists during the celebratory musical program for the 109th
anniversary of Philippine independence, Pamana (A Heritage of Philippine Music), a presentation held
at the Kalayaan Hall of the Philippine Center in New York City on June 11, 2007. Dadap's performance
was followed by a recital by the Filipino pianist, Adolovni Acosta.[1]

Top song that he compost are:

1.What a Friend We Have In Jesus. Wondrous: A Celebration of Hymns for Guitar · 2011.
2.In the Garden. Wondrous: A Celebration of Hymns for Guitar · 2011.
3.Trust and Obey. Wondrous: A Celebration of Hymns for Guitar · 2011
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JOSE
MACEDA

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JOSE MACEDA

Maceda, José (b. January 31, 1917, Manila – d. May 5, 2004, Quezon City). Philippine composer of
interdisciplinary works that have been performed throughout the world; he is also active as an
ethnomusicologist.

Prof. Maceda studied piano with Victorina Lobregat at the Academy of Music in Manila, where he
graduated in 1935, and with Alfred Cortot at the École Normale de Musique de Paris from 1937–41.
Later he studied in the USA, including private piano studies with E. Robert Schmitz in San Francisco
from 1946–49 and musicology studies at Queens College and Columbia University from 1950–52. He
then studied anthropology at the University of Chicago and ethnomusicology at Indiana University in
1957–58 and the University of California at Los Angeles from 1961–63, where he earned his PhD. He
also worked with the Groupe de Recherches Musicales in Paris in 1958.

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RAMON P. SANTOS

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RAMON P. SANTOS
Ramón Pagayon Santos (born 25 February 1941)[1] is a Filipino composer, ethnomusicologist, and
educator[2] known for being the Philippines' foremost living exponent of contemporary Filipino classical
music,[1][3] for work that expounds on "the aesthetic frameworks of Philippine and Southeast Asian artistic
traditions,"[3] and for finding new uses of indigenous Philippine instruments.[3]

Ramón Santos
25 February 1941 (age 82)
Pasig, Rizal, Philippine Commonwealth
Occupations: composition, musicologist, ethnomusicologist

Known for Chevalier de l'Ordre des Arts et Lettres, 1987

National Artist of the Philippines.svg Order of National Artists of the Philippines, 2014
A University Professor Emeritus of the composition and theory department at the College of Music of the
University of the Philippines Diliman,[4] he was proclaimed National Artist of the Philippines for music in
2014.[2][4]

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JONAS
BAES

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FR. MANUEL
MARAMBA,OSB

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JONAS BAES
Jonas Baes (born 1961 in Los Baños, Laguna) is a Filipino composer. He enrolled in the University of
the Philippines' College of Music in 1977 as a student of Ramon P. Santos, and encountered the
musical compositions of Jose Maceda, attended several seminar-workshops of visiting lecturers, and
did research on the music of the Iraya-Mangyan people of Mindoro, which became the inspiration for his
compositions. From 1992 to 1994, he studied with Mathias Spahlinger in Freiburg, Germany. Baes is
known for writing music utilizing "unorthodox" musical instruments like bean-pod rattles, leaves, iron-nail
chimes, as well as 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, while in the 1990s he experimented with various methods by which the
audience becomes integral in the performance. At the beginning of the new century, Baes experiments
with notions of structure-agency integration [after Anthony Giddens] and simulacrum [after Jean
Baudrillard]. It is 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. Baes is also active as an
ethnomusicologist and writer.

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FR. MANUEL MARAMBA,OSB

He was a child prodigy and musical genius,” adds Chua. “He was a concert pianist, organist, theorist
and composer, an advocate of atonality who also brought in Philippine musical forms and structures into
this compositions.”

Born July 4, 1936 in Pangasinan, Maramba was only 11 when he gave his first recital on the famed
bamboo organ at the St. Joseph Parish church in Las Piñas. He became the official accompanist of the
Las Piñas Boys’ Choir at age 14.

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FRANCISCO F.
FELICIANO

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FRANCISCO F. FELICIANO
Born :
February 19, 1941
Morong, Rizal, Philippine Commonwealth

Died :
September 19, 2014 (aged 73)
Manila, Philippines

Nationality : Filipino
Occupation(s) : Composer, conductor
Awards : National Artist of the Philippines.svg Order of National Artists

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 FRANCISCO F. FELICIANO

Dr. Francisco F. Feliciano (1941 - 2014) was one of the Philippines’ most important composers. Dr. Feliciano
created more than 30 major works that include operas and music dramas including La Loba Negra, Ashen
Wings, Sikhay Sa Kabila ng Paalam (Beyond the Farewell), and the life of wartime Filipino hero, Jose Abad
Santos. Among his large works are Transfiguration and Missa Mysterium for orchestra and large chorus, the
ballet Yerma, and several prize winning compositions including Pokpok Alimpako, a favorite piece of choirs in
international choral competitions, and Salimbayan. Umiinog, Walang Tinag (Perpetuum Immobile) was premiered
in New York City at the ISCM Festival. In 1977, Dr. Feliciano was given a John D. Rockefeller III Award in Music
Composition.

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FRANCISCO F. FELICIANO
One of Asia’s leading figures in liturgical music, Dr. Feliciano composed hundreds of liturgical pieces,
mass settings, hymns, and songs for worship. At the Asian Institute for Liturgy and Music, a school for
church musicians he founded 20 years ago, he supervised the publication of a new Asian hymnal
containing mostly works of Asian composers. Dr. Feliciano’s works are published worldwide in hymnals
and worship books of various churches.

Dr. Feliciano was president of the Samba-Likhaan Foundation: The Asian School of Music, Worship and
the Arts, an organization located in Quezon City, the capitol of the Philippines, and neighboring city of
Manila. Devoted to the promotion of Asian music and arts, its goal is to put music and art in the context
of worship.

Francisco F. Feliciano has 1 titles published with Santa Barbara.

Click on any title below to view the complete score and hear a recording if available.

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GROUP 2
GRADE 10 - LIMESTONE

Rylen Kate U. Ayuban

Elyanah Ven C. PAJO
Caryl Joy O. Combis
Mhybylle G. Caja
Vince D. Tagalog
John Cydreck C Pelino
Mondravid Bernasor
Lizette Judaval
Sophia Necole Aspurias
Kent Ph Yburan
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THANK YOU

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