TRADITIONAL
PHILIPPINE
MUSIC
Filipino traditional
What is Traditional Philippine Music?
music reflects the way
of life, beliefs, and
traditions of the rural
folks. This type of music
usually glorifies the
beauty of and nature
and man’s strong
connection with his
environment.
Characteristics
Filipino folk song of Traditional
and Western
music. Philippine Music
3. Majority of the
compositions are written in
Tagalog text.
4. It consists of the flowing,
smooth and dramatic
intervals.
5. It uses diatonic scale
instead of the usual Asian
scale.
CLASSIFICATI
ON OF
TRADITIONAL
PHILIPPINE
MUSIC
1. ETHNIC
A. Maguindanao ensemble
1. Kulintang
-is an ensemble
composed of a set of
eight gongs of
graduated sizes
arranged in a row.
2.Gandinga
-n
a set of suspended
gongs
-is a Philippine set
of four large,
hanging gongs used
by the Maguindanao
as part of their
ensemble.
3. Agong
-a tubular drum
-is a set of two wide-
rimmed, vertically
suspended gongs used
by the Maguindanao,
Maranao, Sama-Bajau
and Tausug people of the
Philippines as a
supportive instrument in
kulintang ensembles.
4.
Babandil
-a small gong
- is a single, narrow-
rimmed Philippine
gong used primarily as
the “timekeeper” of
the Maguindanao
kulintang ensemble.
5.
Dabakan
-is a single-headed
Philippine drum,
primarily used as a
supportive instrument
in
the kulintang ensemble
. Among the five main
kulintang instruments,
it is the only non-gong
B. Gangsa
-is a smooth-surfaced
gong with a narrow rim
-this ensemble is
played according to the
traditions of the
different tribes such as
Klinga, Ifugao, and
Bontoc of Cordillera.
A.
2. HISPANIC Rondalla
-is an ensemble of
stringed instrument
with the pick such
as guitar, banduria
laud, octavina,
piccolo and bajo de
uñas.
1. Guitar
-is a fretted musical
instrument that usually
has six strings.
-it is typically played by
both hands by
strumming or plucking
the strings either the
guitar pick or fingers.
2.
Banduria
14- stringed pear-
shaped lute with a
round sound hole and
played with a plectrum,
it plays the melody in
the rondalla ensemble.
3.
- 14-stringed lute
Octavina
which is shaped like
a small guitar and
played with a
plectrum.
- It plays a counter
melody or harmony
fill-in the Rondalla
ensemble.
4. Laud
- 14-stringed pear-
shaped lute with f-
shaped sound holes
and played with a
plectrum.
- It plays the alto part or
counter melody in the
Rondalla ensemble.
5. Bajo De Uñas
(Double Bass)
- also known simply as
the bass
- is the largest and
lowest-pitched string
instrument in the
modern symphony
orchestra
- it has four, although
occasionally five,
strings.
B. SARSUWELA
-is a combination of
melodrama. A play with
songs and dances.
-serves as the
accompaniment of the
Rondalla.
3. filipino
A.
Kundima
n
-is an art song that
speaks about the
love of a man for a
woman.
B.
-is an old Visayan folk
Balitao
song and dance where a
man and woman engage
in debate by means of a
song.
-lyrics are usually
humorous and
spontaneously
performed.
C. Musikong
Bumbong or
bamboo
-is a band music
that uses
improvised instrument
made of bamboo.
-it includes here the
piccolo, tuba, clarinets,
flutes and saxophones
made of bamboo.
CLASSIFICATION OF THE
PHILIPPINE TRADITIONAL
MUSICAL INSTRUMENTS
AEROPHONES
-instruments that are blown
(whether made of wood or
IDIOPHONES/
bamboo)
MEMBRANOPHONES
-instruments that are struck
MEMBRANOPHONES
-instruments that are struck
CHORDOPHONE
S
-instruments that are plucked
Traditional
Filipino
Musical
Instruments
KUDLUNG
Two stringed lute made
of wood
KUDYAPI
Two stringed boat
shaped lute
seronggagandi
Decorated bamboo
tube; closed by a node
at both ends
saludoy
Tube made of
bamboo with five
strings cut from the
tube
afiw
Brass instrument
horizontally held by the
tongue infront of the
opened mouth
balingbing
Bamboo buzzer
CONTEMPORARY
PHILIPPINE
MUSIC
WHAT IS CONTEMPORARY
PHILIPPINE MUSIC?
-pertains to compositions
that have adopted
elements of 20th century
Western Music as well as
the latest trends and
musical styles in the
entertainment industry
and in the musical world.
-also known as “New
TRADITIONAL
COMPOSERS
LUCIO D. SAN PEDRO
(1913-2002)
LUCIO D. SAN PEDRO
• He was born on February 11, 1913 in
Angono, Rizal.
• He was a master composer, conductor and
a teacher.
• He came from a musically talented family.
• He became the conductor of the Peng
Kong Grand Mason Concert Band, the
San Pedro Band, and his father’s former
band- Banda Uno of Angono.
LUCIO D. SAN PEDRO
• He became a church organist after his
grandfather’s death.
• He received his training in advanced
composition under Bernard Wagenaar of
the Netherlands.
• He took harmony and orchestration
lessons with Vittorio Giannini.
• In 1947, he took classes at Juilliard
School of Music in New York City.
LUCIO D. SAN PEDRO
• He also taught and retired as full professor
at the UP College of Music in 1978 where he
acted as the chairman of the Department of
Composition and Conducting for 3 years.
• In 1979, he received the title “Professor
Emeritus”.
• On May 9, 1991, he received his award as a
National Artist for Music under the
administration of President Corazon Aquino.
LUCIO D. SAN PEDRO
• He became the director of Dramatic
Philippines.
• He was a conductor of the differen bands;
Banda Angono Numero Uno, Manila
Symphony Orchestra, Musical Philippines
Philharmonic Orchestra, Peng Keng
Grand Mason Concert Band, and San
Pedro Band of Angono.
LUCIO D. SAN PEDRO
• He has a wide range of compositions
from vocal works, cantatas, choral
works and music for solo instruments,
chamber, band and orchestral music.
• At the age of 89, he died because of
Cardiac Arrest on March 31, 2002.
LUCIO D. SAN PEDRO
Some of his compositions include the
following:
For Orchestra
Violin Concerto in D Minor
Malakas at Maganda Overture
Hope and Ambition
Prelude and Fugue in D Minor
The Devil’s Bridge
LUCIO D. SAN PEDRO
For Choir
Easter Cantata
Sa Mahal Kong Bayan
Rizal’s Valedictory Poem
LUCIO D. SAN PEDRO
For Band
Lahing Kayumanggi
Dance of the Fairies
Triumphal March
Angonian March
LUCIO D. SAN PEDRO
For Voice
Sa Ugoy ng Duyan (lyrics from Levi
Celerio)
Lulay
In the Silence of Night
LUCIO D. SAN PEDRO
Awards and Distinctions:
First Place, National Heroes Day
Competition, 1936
First Place, President Laurel March, 1943
Special Award, National Composition
Contest, 1946
Republic Cultural Heritage Award, 1962
Professor Emeritus, UP College of Music,
1979
LUCIO D. SAN PEDRO
Tanglaw ng Lahi Award, Ateneo de Manila
University, 1981
Signum Merit Medal, De La Salle
University, 1982
Patnubay ng Sining at Kalinangan Award,
1984
First Place, Second National Eucharistic
Congress of the Philippines Hymn
Contest, 1987
LUCIO D. SAN PEDRO
Asian Award for Music, 1990
Papal Award
National Artist Award of the Philippines for
Music, 1991
MOLINA (1894-
1980)
ANTONIO J. MOLINA
• He was born on December 26, 1894 in
Quiapo, Manila.
• He came from a family of musicians.
• He was dubbed as the “First National Artist
in Music.
• His Father Juan Molina, a government
official, founded the Molina Orchestra.
• He took his formal lessons on solfeggio and
violin, under one of his Father’s orchestra,
Celestino De Vera.
ANTONIO J. MOLINA
• He finished his Bachelor of Arts degree at
San Juan de Letran in 1909.
• He created his first composition, “Martinal”,
in 1912.
• He received a teacher’s diploma in
violoncello at the UP Conservatory of Music.
• At the age of 23, he married Pilar Siuangco,
his first wife.
ANTONIO J. MOLINA
• His second wife named Carmen Serrano,
was a former student of him with a
bachelor’s degree in music education.
• He was the first composer who asked to
perform his compositions in the Malacañang
Palace.
• The Centro Escolar University String Quartet
was the first chamber music group that he
performed.
ANTONIO J. MOLINA
• He was a mentor to two prominent
composers , Lucresia Kasilag and
Felipe De Leon.
• He created over 500 compositions.
• His musical brilliance was also
inherited by his children.
ANTONIO J. MOLINA
• He passed away in 1980 at the age of 86.
• He was the first composer to integrate the
pentatonic scale and indigenous instruments
like the kulintang and gabbang in his
symphonies.
• He introduced the whole-tone scale,
pentatonic scale, dominant ninths and
eleventh chords, and counterpoints in his
compositions.
ANTONIO J. MOLINA
• He is known as the “Claude Debussy
of the Philippines” and the “Dean of
Filipino Composers”.
ANTONIO J. MOLINA
For Orchestra
Misa Antoniana and Grand Festival
Maas
Ang Batingaw
Kundiman-kundangan
ANTONIO J. MOLINA
For Chamber Music
Hatinggabi- a serenade for solo violin
and piano accompaniment
String Quartet
Kung sa iyong gunita
Pandangguhan
ANTONIO J. MOLINA
For Voice
Amihan
Awit ni Maria Clara
Larawan Nitong Pilipinas
ANTONIO J. MOLINA
For Theater
Ana Maria (Sarsuwela)
For Piano
Malikmata
ANTONIO J. MOLINA
Molina received the following awards and
distinctions:
Diploma of Honor, Manila Music Lovers Society,
1940.
Commemorative medal and diploma,
Department of Education, Health and Public
Welfare, 1942.
Choral Conductor of the Year and Music
Researcher of the Year, Music Lovers Society,
1949.
Rodolfo S. cornejo
• A composer, conductor, and pianist.
• He was born on May 15, 1909 in Singalong,
Manila.
• His first piano teacher was Gelacio Reyes.
• He became the organist of the Pasay Catholic
Church at the age of 10.
• He composed his first piece, Glissando Waltz, a
piano piece that he dedicated to his mother.
• He composed a military March titled Salute.
Rodolfo S. cornejo
• He entered the UP Conservatory of Music at the
age of 14.
• He received his Teacher’s Diploma in Pianoforte
and another Teacher’s Diploma in Science and
Composition in 1950.
• As a music professor in UP, he was able to
teach the following brilliant people:
Lucio San Pedro
Salvacion Oppus Yñiguez
Aida Sanz
Liwanag Cruz
Rodolfo S. cornejo
Flora Zarco
Felipe De Leon
Dalisay Aldaba
Enya Gonzales
Candida Bautista
Anastacio Sosa
Adoracion Reyes
Elena Ilagan
Jesus del Carmen
Josefino Cenizal
Julian Balita
Rodolfo S. cornejo
He acquired his Bachelor of Music in Piano
from the Chicago Musical College in the
United States in 1932 to further his music
studies.
He also finished a degree in Master of Music
Composition from the same school.
He finished his Doctor of Philosophy in
Composition at the Neotarian College in
Kansas City.
Rodolfo S. cornejo
For influencing his musical style, Dr. Rodolfo
Cornejo was grateful to the following
professors:
Francisco Santiago and Glenn Dillard Gunn
on piano
Alexander Lippay, Bernard Rogers, Howard
Hanson and Vittorio Giannini on composition
Nicanor Abelardo on theory and harmony
Dr. Rudolf Ganz on conducting and piano
Rodolfo S. cornejo
For influencing his musical style, Dr. Rodolfo
Cornejo was grateful to the following
professors:
Francisco Santiago and Glenn Dillard Gunn
on piano
Alexander Lippay, Bernard Rogers, Howard
Hanson and Vittorio Giannini on composition
Nicanor Abelardo on theory and harmony
Dr. Rudolf Ganz on conducting and piano
Rodolfo S. cornejo
He married the lyric soprano, Nievas
Guerrero in 1949.
He had this great ability to showcase his
piano and composition skills through what
he called “impromptu classical
improvisation”.
He would just create a piano composition
suggested by a telephone number, a car
plate number or a name.
Rodolfo S. cornejo
He died in Manila on August 11, 1991.
Some of his major works include the following:
For Choir
A Lajuventud Filipina, 1934
Mass in F Minor, 1936
The Miracles of Christ, 1947
Rodolfo S. cornejo
For Voice and Piano
Three Songs, 1939
Beneath This Heart of Clay, 1959
For Orchestra
The Allies, 1943
Oriental Fantasy, 1944
Ruby, 1964
Rodolfo S. cornejo
For Theater
Together (operetta), 1937
Ibong Adarna (ballet), 1970
Bailes de Ayer (ballet), 1974
For Piano Solo
The Season-Song Cycle, 1932
Ala Juventud Filipina, 1935
Philippine Symphony No. 1, 1939
Philippine Symphony No. 2, 1942
Philippine Symphony No. 3, 1947
Rodolfo S. cornejo
He received the following awards and
distinctions:
Doctor of Music, honoris causa,
Chicago Musical College, 1954
Distinguished Musical Achievement
Award, Manila Symphony Society, 1957
Certificate of Merit, Pasay City Mayor,
1971
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