Art Appreciation: Ñas, Cavite

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City of Dasmariñas,Cavite
ART APPRECIATION
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City of Dasmariñas,Cavite
LECTURE 4
 History of Philippine Music

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2
Objectives
1. Learn the rich history and evolution of Philippine music.
2. Appreciate the role of culture and foreign influences affecting
the evolution of Philippine music.
3. Demonstrate skills on critical appreciation of some famous
Filipino musicians and artists.
History of Philippine Music:

Geographically, the Philippines belongs to the East, its music has been heavily
influenced by the West owing to 333 years of Spanish rule and 45 years of American
domination. Music in the highland and lowland hamlets where indigenous culture
continues to thrive has strong Asian elements. Spanish and American influences are
highly evident in the music of the urban areas. In discussing Philippine music, three main
divisions are evident:
(1) An old Asian influenced music referred to as the indigenous;

(2) A religious and secular music influenced by Spanish and European forms; and
(3) An American/European inspired classical, semi-classical, and popular music.


(1.) The Indigenous Traditions (before 16 th
Century)
Long before the arrival of Ferdinand Magellan in the country, indigenous peoples have
already possessed their own native music. It functioned as a form of entertainment during
occasions such as weddings, festivals, inaugurations, as well as funerals. Musical styles
vary among regions, as each of the more than a hundred ethnic groups scattered in the
islands of Luzon, Visayas, and Mindanao produces its own lyrics and music.
Indigenous or traditional music is accompanied by musical instruments like string, wind,
and percussion, which are typically made of bamboo, wood, or metal. Flutes, pipes, and
panpipes are wooden or bamboo-finished products, while gongs or gangsa are constructed
from metal. Different singing techniques are applied between the people up north and
inhabitants of the south, the former with more rhythmic expressions and the latter with long
melodic phrases. Among the most common traditional music instruments used are kudyapi,
kulintang, gimbal, kubing, tongali, and suling.


(1.) The Indigenous Music Traditions (before 16 th
Century)
KULINTANG or the GONG ensemble is composed of different sets

of knobbed gongs aligned horizontally and arranged according to pitch.
It is used by the Tausug, Maranao, and Maguindanao for entertainment
during festivals and weddings. The widespread practice of kulintang in
the Southern Philippines came before the influence of Islam or
Christianity in the archipelago.
GIMBAL Headhunting activities are associated with gimbal, or war

drums created from a hollow tree trunk and covered with animal skin on
both ends or on one end. Several ethnic groups in eastern Mindanao,
such as the Mansaka and Mandaya, also used the same exact
instruments. It is played at dances as a complement to gongs.Up north
in the Cordilleran region, gimbal is called sulibao by the Ibalois and
kimbal by the Bontoc.


Century)
KUBING is a type of bamboo Jew's harp, is famous around
the Philippines and is used for courtship or when trying to
convey a message to one’s family and loved ones. It is placed
between the lips and produces various sounds when its bamboo
tongue is plucked. It is known as barmbaw among the Tagalogs,
kinaban among the Hanunoo Mangyans, and kollibaw among
the Negritos.
TONGALI is a three-holed or four-holed nose flute. A

traditional instrument used particularly in the mountains of
northern Luzon. It is made of bamboo and played by blowing air
through the nose. This instrument was believed to help rice
grow, as the rice plants are said to be attracted to the soft sound
of the flute. It is known as unguing among the Ifugaos, basil
among the Kapampangans, and kaleleng among the Bontoc.


Century)
KUDYAPI is a two-stringed lute native to the

Lumads in Mindanao. It is made out of a single piece of
wood and used by the Manobo, T’boli, Maguindanao,
and Maranao.
SULING or Seruling is a Southeast Asian bamboo

ring flute especially in Brunei, Indonesia, Malaysia, the
Philippines and Singapore. It is used in gamelan
ensembles. Depending on the regional genre, a suling
can be tuned into different scales.


(2). The Spanish-European Influenced Traditions (17 th
– 19th Century)
With the coming of the Spaniards the Filipino’s music underwent a transformation
with the influx of western influences, particularly the Spanish-European culture
prevalent during the 17th to the 19th centuries. The Hispanization during the
succeeding three centuries after 1521 was tied up with religious conversion. It
effected a change in the people’s musical thinking and what emerged was a
hybrid expression tinged with Hispanic flavor. It produced a religious music
connected to and outside the Catholic liturgy and a European-inspired secular
music adapted by the Filipinos and reflected in their folk songs and instrumental
music. Singing or voice became an integral part of most of the music ensembles
and compositions.
There are four distinct category of music, which resonated profoundly in the social
and religious life of the Filipinos:
(1) Liturgical Music (2) Extra Liturgical Music
(3) Secular Music (4) The Rich Music Scene


– 19th Century)
LITURGICAL MUSIC The very firststrains of Western music heard by the

natives originated from rites of the Catholic Church: mass, Gregorian chant,
hymn, Hail Mary, funeral hymn, Hail Holy Queen, sung rosary, supplication, etc.
various religious orders would take in children to train them to serve in the liturgy,
while the friar teachers would give lessons of solfeggio (do-re-mi…) and
vocalization to the more musically-inclined or prepare them to sing in the coro de
tiples (boy sopranos´ choir), play the organ along with orchestral instruments and
compose music conforming to new concepts of tonality, rhythm and harmony. The
San Agustin Church and the Cathedral in Intramuros stood out in this endeavor,
the latter having its own School for Boy Sopranos whose curriculum followed that
of the Madrid Conservatory. The noted composer Marcelo Adonay (1848-1928) of
Pakil, Laguna was a product of San Agustin and was lauded for his solemn music
which showed influences of the Gregorian chant.


– 19th Century)
EXTRA LITURGICAL MUSIC As Christianity spread, a distinct musical forms

linked to rites and rituals outside of the liturgy sprang forth with distinct Hispanic
influence. Used in the context of many diverse festivities celebrated by the community,
most were lively and merry, while others were solemn and dramatic, depending on what
occasions are into like .
Songs based on popular Hispanic melodies, accompanied by a simple band of flutes,

guitars, violins and drums manifested dance rhythms such as the balse or songs and
classical music. Examples of these forms still being practiced today are the dalit and
tagulaylay (sacred lamentations), Panunuluyan (Nativity play), Flores de Mayo (honoring
the virgin Mary), Santacruzan, held during the month of May in honor of the Holy Cross, Original Cover of “Pasyon” by poet
Salubong (Meeting) on Easter Sunday and Pabasa (chanted verses of Christ’s Passion). Gaspar Aquino de Blen, written in
1703
Gaspar Aquino de Belen’s work being the earliest printed version dating back to 1703.
Carols, songs of praise, hymn, psalm, sung rosary and antiphons could also be heard on
the streets before makeshift altars and even inside the church.


– 19th Century)
SECULAR MUSIC
Secular means non religious music and is mostly based on social and cultural connections outside the church.
All throughout the islands, our indigenous music began to assimilate Hispanic tendencies such as the “composo
(narrative) of Panay”, “kumintang” (lamentation or war song) of Batangas and “balitaw” (courtship dance and
song) of the visayas. Accompanied by simple music mix together with vocal styles and movement. Several
indigenous music forms emerged based on European models the “kundiman” a song combining Spanish and
Tagalog verses. The spread of Hispanic influence in Philippine music is largely due to foreign performances
such as “operas” from Italy and “zarzuelas” from Spain. They certainly awakened and stimulated the taste and
appreciation of the Filipinos for these theatrical genres and music. The opening of the Suez Canal in 1869 paved
the way for the entry of more foreign theater companies which performed all over Manila. As a consequence,
Philippine music was further enriched with the various dance rhythms heard in theaters: the fandango
(pandanggo), jota, which gave rise to many regional adaptation such as the jota batangueña and jota caviteña”,
“pasodoble” and “polka” on whose rhythm are based many of our Christmas carols and folksongs, “valse” which
gives distinctive mark to our songs and instrumental works and the “habanera” (danza filipina).


– 19th Century)
SECULAR MUSIC
As we survey our musical landscape since the arrival of the Spaniards, we see that it was
not a simple process of taking or imitating the Hispanic in our music. It was not a matter of
simply adopting and assimilating foreign elements, but at the same time adjusting and
accommodating them to fit the Filipino sensibility, thereby rendering the Hispanic as truly
and uniquely ours.
Throughout the history of music, wherever different cultures converge, a system such as
this was put into action. Let us take the “habanera” as an example is a dotted quarter
rhythm based on the “Argentinian tango” proved so sensually attractive to the Filipinos so
much so that we claimed it and transformed it into our very own “Danza Filipina”, now CONSTNCIO DE GUZMN, 1903-1982
Composer, Maalaala Mo Kaya, 1960
uniquely melodiously, gracefully, tropically Filipino. In “Habanera” form are the Ilocano
folk song “Ti Ayat ti Meysa nga Ubing”, the “harana” (serenade) O Ilaw, the “kundiman”
Bituing Marikit of Nicanor Abelardo, the movie theme song Maalaala Mo Kaya of
Constancio de Guzman, and the piano works La Flor de Manila by Dolores Paterno and
Recuerdos de Capiz by julio Nakpil.

– 19th Century)
THE RICH MUSIC SCENE In the mid-19th-century, the Philippines gradually
began to shine in the Orient as a land of musical excellence in the Hispanic and
Western traditions. It was Spain that brought us the “rondalla”, plucked-string
ensemble which evolved from the “murza” (street musicians) and the estudiantina
(student groups); and the banda, a vital component at fiestas and socio-civic
occasions. We also inherited from Spain the tradition of domestic music-making, with
the rise of a Filipino salon society and its access to the piano, harp, flute, violin and
the classical repertory of the West. Some example pieces of rondalla music are:
Kuratsa, pandango sa ilaw, Dandansoy, Sarong bangi, maglalatik, Inday na kunday,
La Jota Filipina, etc.
To conclude, Spain’s presence in the Philippines is indeed an ancient chapter in
history books, but the definite and inextinguishable reality is that we live and breathe
her influence in many ways in today’s music. The Hispanic has truly enriched our lives
as Christians. We appropriated the Hispanic as an essential ingredient of our identity,
blended it with our own local Asian roots to produce music that is distinctly, absolutely
and proudly nothing else but Filipino.

(3). The American Influenced Traditions (1898-1946)
In the newly established public school system by the Americans, music was
included in the curriculum at the elementary and later at the high school levels.
Music conservatories and colleges were established at the tertiary level.
Graduates from these institutions included the first generation of Filipino
composers whose works were written in western idioms and forms. Their works
and those of the succeeding generations of Filipino composers represent the
classical art music tradition which continues to flourish today.
Side by side with this classical art music tradition was a lighter type of music.
This semi-classical repertoire includes stylized folk songs, theater music, and
instrumental music. The sarswela tradition produced a large body of music
consisting of songs patterned after opera arias as well as short instrumental
overtures and interludes.


When the Americans came, they brought blues, folk, R&B, and rock and roll. They
also made music a part of the educational curriculum. This developed the skills of
Filipinos in music and so they used this skill to imitate Western music to create
local versions of Western music. For over half a century, Americans introduced to
the Filipinos the juke boxes, AM radio, American dance hall, vaudeville, jazz, the
Broadway musical, and vinyl records where they can listened to mostly rock
bands and blues music.
American music became a hybrid of other forms of music that were popular then
among conservative Filipinos, such as kundiman and harana. Nevertheless, the
influence of the Americans in Filipino music proved to be evident during the
1960’s especially during the popularity of the Beatles and 1970’s “disco fever”
genre. The less “formalized and institutionalized” forms of music were heard and
made popular in concert halls called kabaret, vaudeville shows showcasing
comic, raucous, and even lewd sketches accompanied by jazz music, and even
sometimes, traditional grass-root kundiman.


JUKEBOX (Music Machine) is a partially automated

music-playing (phonograph) device, usually a coin-operated
machine, that will play a patron's selection from self-contained
media. The classic jukebox has buttons, with letters and
numbers on them, which, when one of each group entered
after each other, are used to select a specific record. A record
is a vinyl type where in the song is coded into it, just like the
cd we have now. All American records are in the jukebox
machine selections since there were only few Filipino songs
selections in vinyl that time.


DANCE HALLS (Party time) entertainment during
night time for the Americans is natural, they brought the dance
hall to Philippine soil and it pave the way for the locals to open
clubs and cabaret. During the party all sort of dance music is
being played like the boogie, waltz and rhythm and blues and
rock and many other just like the ballrooms we have today.
AM RADIO FREQUENCY Radio was the cheapest form of

entertainment, and it was the most popular medium during World War
II. The accessibility and availability meant it fueled propaganda and
could reach a large number of citizens. Radio helped entertain and
inform the population and also to play all music of sort from their land
for the Filipino to hear from jazz to rhythm and blues to rock bands.


ZARZUELA originally introduced by a Spanish director Alejandro Cubero.
It was used by Filipino artists to express dismay to the Americans at every
end of the show. The Americans however forcefully stop every show and
eventually concentrated on rural areas. Zarzuela became known in the
Philippines as sarsuwela and was later on adapted in the vernacular. The
Filipino genre of sarswela is a play with songs and dances usually written in
prose, containing from one to five acts, depicting the vagaries of romantic
love among idealized Filipino characters, and often incorporating
contemporary social, political, economic or cultural issues for relevance and
interest.
One of the most popular artists emerged in this genre is Hermogenes Ilagan
(1873-1943) was a Filipino tenor, writer, stage actor, and playwright. He was
a descendant of Francisco Baltazar. His talent in singing made him popular in
the field of theater arts. He became known as “the Father of Tagalog
Zarzuela and the Father of Philippine Zarzuela”. Scene from an early sarswela
(CCP Library Collection.


VAUDEVILLE or bodabil in the Philippines, was a popular genre
of entertainment in the Philippines from the 1910s until the mid-
1960s. It was introduce by the Americans to entertain the troops
stationed in Manila.
For decades, it was equally patronized with film/movies, radio and
television as the dominant form of Filipino mass entertainment.
During these early years of vaudeville (bodabil) in the Philippines,
most of the featured entertainers were non-Filipinos. A vaudeville
artist aside from being pretty must also skillful in dance and singing.
Popular artist that time is Katy Dela Cruz (1907-2004) who later then
recorded the most popular song “Balut-penoy”. Few of the still known
artists today who started their career in vaudeville are, Rogelio Dela
Rosa, Nora Aunor, German Moreno and Dolphy


The Philippine First Recording Artist:
MARIA CARPENA (1886-1915)
Born in Sta. Rosa, Laguna, Maria was a soprano singer and a zarzuela
artist, and the Philippines's first recording artist. She is also known as the
“Nightingale of the Zarzuela”. Her talent was exceptional as remembered by
American anthropologist H. Otley Beyer saying she is “A real nightingale.
She would sing at the Luneta to about 20,000 people and her voice would
be heard clear through the Manila Hotel.”
Considered as one of the best singers in her time, her career rose to
stardom when she became the first Filipino recording artist in 1913,
accompanied by an orchestra with Victor Recording Company in the United
States of America through the invitation of Governor General Howard Taft.
Her most popular songs include, “Ang Maya”, “Ang Ibon” and “Ave Maria”.


THE PHILIPPINE OPERA 1900s
The Philippine Opera is an evolution of zarzuela and vaudeville. In an opera
act, An opera is essentially a play in which all the actors' lines are sung
instead of spoken. This singing is combined with the other theatrical
elements of drama, dancing, costumes, sets, staging, lighting, and other
technical aspect of the production to create the artistic spectacle of skills
and talents. The opera components are singers (usually soprano and tenor)
the lead soprano is called “The Prima Donna”, composers, conductors,
directors, writers orchestra and production staff.
THE MANILA GRAND OPERA HOUSE was a theater and opera house
located in the Santa Cruz district of Manila on the intersection of Rizal
Avenue and Doroteo Jose Street. It was the Philippines' the premiere
entertainment venue during the Spanish and American colonial periods and
the most popular theater in the 1900s.The theater was also the site of
historically significant political meetings and could accommodate crowds of
more than 200 people.

“SANDUGONG PANAGUINIP” (1902)
The opera was composed by Ladislao Bonus (1854-1908) (The father of
Philippine Opera in the Tagalog language), the first in Philippine opera
history is “Sandugont Panaguinip”, and was based on a translation made
by Roman G. Reyes of Pedro Paterno's “La Alianza Soñada”, a Spanish
libretto. It had a single act with five scenes set in the 16th century in the
banks of the Pasig River, Muslims pirates come to the area (around
Modern day Pasig, Cainta, and Antipolo) to claim maidens as their tribute.
Lapu (lead character) witnesses an alliance between the people of the
Philippines and the United States in a dream which could lead to the
rescue of the maidens.
Sandugong Panaguinip had its premiere on August 2, 1902 at the Zorrilla

Theatre in Manila. The Molina-Benito Company staged the initial
performance of the opera. The opera had subsequent performances for
more than a week with Governor General William H. Taft often in
attendance.

“NOLI ME TANGERE” (1957)
Noli Me Tangere (Touch Me Not) is an opera in 3 acts composed and

directed by Felipe Padilla de León (1912-1992) with libretto (text) by
Guillermo Tolentino. The opera was closely based on a novel by José
Rizal by the same name. The opera was sung entirely in Tagalog and is
considered as the first full-length opera sung in Tagalog. It was staged on
February 5, 1957 at the auditorium of The Far Eastern University, Manila
with the Manila Symphony orchestra. Crisostomo Ibarra was played by
tenor Don David while Maria Clara was played by a soprano Juanita
Javier. The libretto was done by Felipe Guillermo Tolentino, who hailed as
National Artist for Music in 1997.
In 1970, the sequel of Noli Me Tangere the EL FILIBUSTERISMO in 3

acts was again composed by Felipe Padilla de León with libretto this time
by Anthony Morli and was staged at the Cultural Center of the Philippines.


“LA LOBA NEGRA” (1984)
La Loba Negra (The Black She-wolf) is an opera in 3 acts by Francisco

Feliciano (1941-2014) with libretto by Fides Cuyugan-Asensio. The opera
was based on a novel attributed to Jose Burgos. The opera tells of the story
of the Governor-General Francisco Bustamante and his subsequent
assassination and the revenge of his wife Luisa, now called La Loba Negra,
after the death of her husband. The music was written in a vibrant
expressionist style, contains violent contrasts in pitch and instrumentation,
rapidly shifting keys and meters, and vivid orchestral color, as heard in eerie
wolf calls and forest sounds. The work was premiered in 1984 at the Cultural
Center of the Philippines, with the Philippine Philharmonic Orchestra
conducted by the composer. It was acclaimed by critics as an extraordinary
work of the 1980s.


THE KUNDIMAN
The kundiman emerged as an art song at the end of the 19th century and by
the early 20th century. Its musical structure was formalized by two Filipino
composers such as Francisco Santiago1889-1947) (Father of the Kundiman
Art Song”) and Nicanor Abelardo (1893-1934). They sought poetry for their
lyrics, blending verse and music in equal parts. Scholars and historians
believed that the kundiman originated from the Visayas.
FRANCISO SANTIAGO
Both studied at University of the Philipines, Abelardo wrote “Piano Sonata in
G Major”, and was regarded as the first Sonata made by a Filipino composer
and his post-graduate piece, the “Piano Concerto in B-flat minor”, was the
first concerto made by a Filipino composer. Santiago masterpiece was the
"Concerto in B flat minor" for pianoforte and orchestra and his most famous
piece "Kundiman, (Anak-Dalita)". He was named UP Emeritus Professor of
Piano, on May 25, 1946. NICANOR ABELARDO


When natives' patriotic expression was deemed taboo under Spanish
THE KUNDIMAN
rule more so in the American regime, the kundiman emerged as a
retaliation embodying the Filipino's love for the country. The kundiman
is marked by passionate, sweeping symphonies and romance. It is
believed that the romantic object of affection in kundiman songs are
symbolic of the country more than expressing romantic love for other
person. Two of the prominent kundiman singers emerged in the early
19th century are Sylvia La Torre (1933-present) “Queen of Kundiman”
and Ruben Tagalog (1922-1989)” King of Kundiman”. La Torre’s most
popular song is “Sa Kabukiran” while Tagalog’s most remembered song
is “Ang Dalagang Filipina”
Here are some popular kundiman songs and composers:
1. Ang Maya (1905) Jose Estrella 6. Madaling Araw (1938) Francisco Santiago
2. Pakiusap (1921) Francisco Santiago 7. Buhat (1939) Mike Velarde Jr.
3. Bituing Marikit (1926) Nicanor Abelardo 8. Minamahal Kita (1940) Mike Velarde Jr.
4. Mutya ng Pasig (1926) Nicanor Abelardo 9. Usahay (1955) Gregorio Responso Labja
5. Dahil sa Iyo (1937) Mike Velarde Jr. 10. Irog Ako Ay Mahalin (1971) Ric Manrique Jr.

THE HARANA
The word “harana” has derived from the Spanish string instrument of the same name. It
resembles a guitar, but is smaller in nature. The Harana genre first gained popularity in
the late part of 18th century. Its influence comes from folk Music of Spain and the mariachi
sounds of Mexico. It is a traditional form of courtship music in which a man woos a
woman by singing underneath her window at night. The Philippine harana is an act of
courtship through singing, and is widely practiced in many parts of the Philippines with a
set of protocols, a code of conduct, and a specific style of music. The main instrument
used for Harana is the guitar, played by the courter, although other string instruments
such as the Ukulele and less frequently, the violin and trumpets are also used. Most
popular harana songs used by bachelors are “Dungawin mo hirang”, “Natutulog ka na ba,
sinta” “O Ilaw, sa gabing madilim”. Most significant aspect of the harana lyrics is its use of
pure, unadulterated and archaic Tagalog. They use words you and I will never hear in a
daily conversation in Manila. Words such as idampulay (to offer or give), tanglaw
(luminous or luminosity), or pagkagupiling (a light sleep). You will also never encounter
even a hint of Spanish word, a characteristic shared by kundiman songs. Harana and
kundiman perhaps the last refuge of the ancient Tagalog language.

THE HARANA
“Kundiman” and “Harana” is both expression of love and affection but they
are not the same in purpose just because kundiman songs can be sang
during harana as well as harana songs can be appreciated as kundiman.
The difference between the two genre is the scale, kundiman is 3/4 time
scale while harana is in 2/4. Other big difference between the two is the
song message, kundiman most of the time tends to beg for pity or offer
everything in the world just to get the heart of the person. Meanwhile
harana is an expression of pure realistic love and most of the time pleasing
the person’s beautiful attributes in the message of the song.
The harana “Dungawin mo Hirang” in the 50’s is one of the most popular
song sung by Ruben Tagalog composed by Santiago S. Suarez. (1901-
1964), Suarez studied in the University of the Philippines and trained under
Nicanor Abelardo.


THE 21st CENTURY MUSIC IN THE PHILIPPINES
Indeed, during the 20th century there was a large increase in the variety of music that people had access to.
Prior to the invention of mass market gramophone records (developed in 1892) and radio broadcasting (first
commercially done ca. 1919–20), people mainly listened to music at live Classical music concerts or musical
theatre shows, which were too expensive for many lower-income people; on early phonograph players (a
technology invented in 1877 which was not mass-marketed until the mid-1890s); or by individuals performing
music or singing songs on an amateur basis at home, using sheet music, which required the ability to sing, play,
and read music.
Today, some elements of the previous century have been retained, including postmodernism, polystylism and
eclecticism, which seek to incorporate elements of all styles of music irrespective of whether these are
"classical" or not—these efforts represent a slackening differentiation between the various musical genres.
Important influences include rock, pop, jazz and the dance traditions associated with these. The combination of
classical music and multimedia is another notable practice in the 21st century; the Internet, alongside its related
technology, are important resources in this respect.


TRANSITIONAL ERA (1970s – 1990’s) The popular

songs of the 1970’s combined elements from the American ballad,
Broadway, and light kundiman. The demand for the local popular
music was further enhanced by the Broadcast Media Council
when it passed Resolution B76-31 requiring all radio stations to
broadcast at least one Filipino composition every hour.
Original Pilipino Music or OPM flourished especially in the 1980s

and the onset of the 90’s. Pinoy rock is the offshoot of the rock
boom of the 1960’s, when groups were equipped with electronic
instruments. After the music world was aroused by the success of
rock operas, the local pop music scene saw the creation of Pinoy
counterparts. This music era is the period when music is heard
over the AM radio, cassette tapes, Walkman/cd-Walkman.


Original Pilipino Music (OPM) This term is use to cover all
Filipino music genre. Original Pilipino Music or more commonly
known OPM refers to original Philippine songs varying from the
traditional to modern original music compositions. This type of
music are written in Filipino, English or Taglish, sung and performed
by Filipinos. This transitional era gave way for different solo artists
and bands of different genre to experiment the extent of artistic
music.
OPM first referred only to Philippine pop songs, especially those in
the ballad form, such as songs popularized in the 1970s. But this
term became a brand for Filipino Music until this time. Through the
years, different artists emerged and established a different style of
OPM music. One of the most significant popular bands emerged in
this transitional era is “Cinderella” with their song “Ang Boyfriend
Kong Baduy””.

Original Pilipino Music (OPM)
MANILA SOUND is a musical genre in the Philippines that began
in the early 1970s. The genre flourished and peaked in the late 1970s. It
is often considered the "bright side" of the Philippine martial law era and
has influenced most of the modern genres in the country by being the
forerunner to OPM. Manila sound is characterized by catchy melodic
phrases. “Hotdog”, a pop rock band popularized the song “Manila” in
which the genre was named after.
DISCO MANIA Dance music swept the Philippines, led by groups

such as VST & Company, The Boyfriends and Hagibis, among others.
Alternately described as "the marshmallow sound", a joyful version
Manila sound generated a string of calculated radio hits by artists such
as Apolinario Mabini Hiking Society (The APO), Florante, Rico J. Puno,
Sharon Cuneta, and many others. Most of the singles released by VST
& Co. are dance songs including “Sumayaw, Sumunod”, “Tayo’y
Magsayawan” and many others.

PINOY FOLK ROCK MUSIC Pinoy rock, or Filipino rock, is the brand of
rock music produced in the Philippines or by Filipinos. It has become as diverse as
the rock music genre itself, and bands adopting this style are now further classified
under more specific genres or combinations of genres like alternative rock, post-
grunge, ethnic, new wave, pop rock, punk rock, funk, reggae, heavy metal, ska,
and recently, indie. Because these genres are generally considered to fall under
the broad rock music category, Pinoy rock may be more specifically defined as
rock music with Filipino cultural sensibilities.
FLORANTE was a pioneer and leading advocate of Pinoy folk rock during the
DZRJ-AM radio boom in Manila during the 1970s. His more popular singles include
the hit ballad, "Handog" and other songs, such as "Ako'y Isang Pinoy" (I Am A
Filipino), "Abakada", "Digmaan" and "Pinay", which form part of the musical genre
called Manila sound. He influenced other singer-songwriters that followed,
particularly during the emergence of OPM artists that include Joey Ayala, Freddie
Aguilar and Heber Bartolome.

FREDDIE AGUILAR (1953–present) Philippine rock/folk musician and artist
added folk music, and other influences which lead to the 1978 breakthrough success
of the artist Ka Freddie Aguilar, a Pinoy Rock and folk musician and is best known
for his patriotic rendition of "Bayan Ko“. The song later on became the anthem of the
opposition against the Marcos regime during the 1986 People Power Revolution.
“Anak”, Aguilar’s debut recording, is the most commercially successful Philippine
recording, and was popular throughout Asia and Europe, and has been translated
into numerous languages by singers worldwide. The song was also an immediate
smash success, gaining double platinum certification in a matter of weeks. This was
followed by an album that contained both the Tagalog and the English versions, but
it was the Tagalog version that carried the album and brought international success.
Anak climbed to the top ten charts in Japan and Europe; over six million copies were
sold and the song went on to generate 55 conversions in 26 languages. International
opportunities followed and Freddie recorded an album in Los Angeles in English.


PINOY ALTERNATIVE/POP ROCK late 80s - early 90s
The decade of 1990 is perhaps one of the golden eras of Philippine Music. It was
the last decade when we got our cassette tape or CD-Walkman to listen to our
favorite OPM icons. And yes, it is the decade when we saw the soaring success of
the most enduring Filipino talents in the Philippine music scene, particularly the
OPM bands that became crowd favorites and young generation influencers.
The artists of this genre are the products of old school music influence that in turn
opened a new decade of Alternative Pop Rock, those who were born in 1977-
1983 with kaleidoscope, eclectic choices that resonate the feels (aspirations,
angst) of the young professional musicians. This transition was spearheaded by
young blood bands like The Dawn, After Image, South Boarder, Freestyle,
Introvoyz, Rivermaya, True faith, Barbie’s Cradle, Moonstar88, Side A, Parokya ni
Edgar, Eraserheads and many others.


THE DAWN (1990) is a Filipino rock band lead by Jett Pangan first achieved
commercial success during the late 1980s. The name "The Dawn" was given by the
late Teddy Diaz since the word "dawn" has a positive hopeful meaning, the band
reunited after five years since break up in 1995. One of their hit single that became
national anthem for friendship is “Salamat”.
AFTERIMAGE (1992)) is one of the pioneers in the golden age of OPM

bands in the 90s. Fronted by singer songwriter Wency Cornejo, AfterImage
popularized songs with lyrics that exude hope and courage–a theme mostly
left untouched by other OPM Bands. They’re the the OPM band behind the
timeless and critically acclaimed song, “Next in Line.” which made a huge
mark in the music industry and in every kid’s school graduation.


SOUTHBORDER (1990) Hailed from Davao, South Border with front man Jay
Durias has never failed to make everyone fall in love with their kilig-inducing RnB
songs. The band is most widely known for their first hit single, Kahit Kailan which
was variously awarded the 1996 Song of the Year. And there’s no dispute that
we all love their hit songs “Rainbow”, “Ikaw Nga” and “Too Crazy”. Even up to
now, their 20 years of music still dominates the airwaves.
Freestyle (1996) Debuted in Davao, RnB Freestyle is everyone’s favorite

band when in search for relatable and soulful OPM music. Frontmen Top
Suzara and Jinky Vidal were the perfect vocal pair when the Philippine music
scene’s in love with RnB and Soul music in mid-90s. Their 1998 hit single
“Before I let You go” which captured and broke youngster’s hearts since its
release, it also became karaoke’s favorite. Freestyle is also behind the hit
songs, “So Slow” and “One Hello”.

INTROVOYZ (1991) Founded by a drummer Paco Arespacochaga in 1986,
the band debuted to mainstream music with their album “Back to the Roots” in
1991. Their single, “However Which Way” instantly rose to the hit chart and
became number one in the Metro which immediately followed by three other hits;
“Line to Heaven” gave them their ultimate success written by Paco, it is said that
the lyrics were an ode to his parents whom he lost tragically.
RIVERMAYA (1994) Rivermaya’s first album easily became a hit and went
golden then later, triple platinum. This album gave us the songs “Ulan”, “214”
and “Awit ng Kabataan”. Their success continued through their second, and
third album. But after Bamboo decided to withdrew from the band in 1998,
Rico Blanco later on took up his role as the vocalist. With Rico as their
frontman, Rivermaya continued to soar high in the music industry, releasing
6 more albums with Rico as the vocalist until his departure in 2007.

TRUE FAITH (1991) Their 1993 song “Perfect” was their breakthrough in the
OPM scene. It quickly hit number one in the Metro and topped hit charts in
various radio stations. This big hit paved the way for a warm reception of their
1995 Album “Build” which became their biggest break in the Philippine music
scene. In 2000, the band was nominated for MTV Music Awards’ Asian Viewers
Choice. Though they did not win it gave the band greater and wider exposure.
PAROKYA NI EDGAR (1993) None in the members named Edgar but this
band is known to be “Banda ng Bayan”. Their initial recordings "Buloy", and
"Lutong Bahay (Cooking Ng Ina Mo)" gained radio airplay almost every hour.
Their first album, “Khangkhungkherrnitz” (1996) became a triple platinum hit
and “Buruguduystunstugudunstuy” (1997) was awarded triple platinum, “Jingle
Balls Silent Night Holy Cow” (1998) with gold, and “Gulong Itlog Gulong”
(1999) with triple platinum. The song “Halaga” made them an iconic artist.

ERASERHEADS (1989) Eraserheads is no doubt one of the most successful
and most influential Pinoy bands in the OPM History. This is certainly the reason
why they’re named the “Beatles of the Philippines”. The band formed at the
University of the Philippines with Ely Buendia as vocalist, Marcus Adoro for the
lead guitar, Buddy Zabala for the bass and Raymund Marasigan for the drums.
And just as any other greats in the industry, they started small and were even
rejected by record labels until BMG records picked up their demo songs for the
first album, “Ultraelectromagneticpop”.
This album marked the start of the “Eraserheads mania”. The band gave us
iconic singles like “Toyang”, “Ligaya”, “Pare ko” and “Tindahan ni Aling Nena”.
This mania went on to help them reach a Diamond status in their albums. To
date, their 1996 album “Cutterpillow” sold an approximately 400,000 records and
is considered the best-selling album ever in Philippine OPM history.

PINOY HIP-HOP (early 80s)
Filipino hip-hop or Pinoy hip hop (also known as Pinoy rap or Filo rap) is hip hop music
genre emerged in the Filipino music scene in in early 1980s is largely due to the
country's historical connections with the United States where hip hop originated. Rap
music in the Philippines has first appeared in different languages or dialects before
Tagalog are Bicolano, Chavacano, Cebuano, Ilocano and English.
Francis Magalona and Andrew E. are among the most influential rappers in the country,
being the first to release mainstream rap albums. Gloc 9, a protégée of Francis
Magalona continued the genre up to this day. Andrew E put the hip-hop art in Filipino
audience when he debuted his first single "Humanap Ka Ng Panget“ in 1990 and
followed by successful album releases. His album Clubzilla named as Rap Album of the
Year by PMPC Star Awards for Music in 2010. His other unforgettable singles to name a
few are “Banyo Queen”, Alabang Girls” and Ang Boyfriend kong Gamol”.


GLOC 9 Born Aristotle Pollisco, he is known by his stage name Gloc-9 as he started
his career in 1992. Being a rapper, singer and songwriter. Today he is regarded as one of
the best Filipino rappers of all-time, his fast-flowing vocal style has made him one of the
most successful hip-hop artists. He was described by fellow rapper and friend Francis
Magalona as "a blacksmith of words and letters, and a true Filipino poet."
He has collaborated on almost a dozen songs with other OPM artists; "Lando" with the
late Francis M, "Upuan" with Jaezelle, "Bagsakan" with Parokya ni Edgar , "Baon" with
Gab Chee Kee of Parokya ni Edgar and Francis M, and "Sari-Saring Kwento" with Noel
Cabangon and Champ Lui Pio. His songs mostly tackle social issues such as social
injustices, poverty and patriotism. He began his musical career with the gangsta rap
group Death Threat.
Gloc-9 is notably one of the few artists in the history of Pinoy hip-hop music scene who
has won an award in every album released.

FRANCIS MAGALONA (1964-2009) Born as Francis Michael Durango
Magalona, he is widely regarded as the best and the most successful local Filipino
rapper of all-time. As a respected singer and song writer, he is often credited as the
“Pioneer of Pinoy Hip-hop” and the first Filipino rapper in the Philippines to cross over
into the mainstream. He became a significant influence to artists in the Pinoy hip-hop
scene & the local rap community. Beyond music, Magalona was also a television host on
MTV Asia and Channel V Philippines and on the noontime variety television show Eat
Bulaga!. Magalona died on March 6, 2009, seven months after being diagnosed with
acute myelogenous leukemia. Since 1992 up to the time of his death, Magalona was one
of the best selling rap artist in the Country. Magalona was later awarded a posthumous
Presidential Medal of Merit. The award's citation noted that it had been given "for his
musical and artistic brilliance, his deep faith in the Filipino and his sense of national pride
that continue to inspire us. Magalona’s notable songs to name a few are; “Mga
kababayan ko”, “Cool Summer Nights” and “Kaleidoscope World”.
THE 21st CENTURY MUSIC IN THE PHILIPPINES and the FUTURE

Music has changed a lot over the years. Back then, songs were recorded with full and live orchestrations unlike
today, when a lot of the music we hear is from software synths and samples. The listening experience was also
very much different back then because we would have to take an active part in listening to music as we would
use turntables and cassettes. Nowadays, we just turn on our iPods or go on Spotify. This generation’s music
consumption is far different from old generation. And Millennials rarely consume an entire album. This is the
culture that new technology has created. CDs are slowly becoming a niche market. Surprisingly though, vinyl
records are keeping up and even increasing in sales.
Today, the new technology that is being used in selling music are thru internet platforms that are very easily
accessible. Sound seems to be secondary for many. Also, the discovery of fresh talent is instantaneous. Artists
are instantly famous because of the extensive reach of the platforms. They can command their own audience
as soon as their following reaches the millions. These supposed challenges are fantastic opportunities for the
artists to showcase their music. Technology brought new trends, so many local bands now are playing purely
OPM and it sounds so good and technically pleasing. We are looking forward to a new OPM.
” Music as water is hugely important.”

- ppm

Art Appreciation: Ñas, Cavite

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EMILIO AGUINALDO COLLEGE ISO 9001: 2015 CERTIFIED

QUALITY MANAGEMENT SYSTEM

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

(1) An old Asian influenced music referred to as the indigenous;

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

KULINTANG or the GONG ensemble is composed of different sets

GIMBAL Headhunting activities are associated with gimbal, or war

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

TONGALI is a three-holed or four-holed nose flute. A

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

KUDYAPI is a two-stringed lute native to the

SULING or Seruling is a Southeast Asian bamboo

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

LITURGICAL MUSIC The very firststrains of Western music heard by the

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

EXTRA LITURGICAL MUSIC As Christianity spread, a distinct musical forms

Songs based on popular Hispanic melodies, accompanied by a simple band of flutes,

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

JUKEBOX (Music Machine) is a partially automated

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2

History of Philippine Music:

AM RADIO FREQUENCY Radio was the cheapest form of

VIRTUE EXCELLENCE SERVICE

City of Dasmariñas,Cavite QUALITY MANAGEMENT SYSTEM Lecture 2