Maceda, professor emeritus at the University of the Philippines, was a specialist in both Indonesian and Filipino music. He taught piano and ethnomusicology at the UP College of Music from 1952 to 1990.
Maceda graduated with a music diploma at the Academy of Music of Manila in 1935 before he was sent to Paris, France where he studied piano. He also studied musicology at Columbia University, anthropology at Northwestern University, and ethnomusicology at University of California, Los Angeles.
In Manila, he turned his concentration from piano playing to composing New Music: avant-garde and Asian music which are mainly works of Varese, Boulez, Xenakis, and Ravel which were programmed together with Chinese music, kulintang and kudyapi. Among his avant-garde works were: Ugma-ugma (1963), Agungan (1965), Kubing (1968), and Pagsamba (1968), and Udlot-udlot (1975). These masterpieces are a showcase of avant-garde techniques steeped in an Asian philosophical approach to time and music.
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.
Among his many honors are grants from the Guggenheim (1957–58, for study in the USA) and Rockefeller (1968, for research in Africa and Brazil) foundations, the honor l'Ordre des Palmes Académiques in France (1978) and the University of The Philippines Outstanding Research Award (1985). He has also received the John D. Rockefeller Award from the Asian Cultural Council in New York (1987), the Philippine National Science Society Achievement Award (1988), the award Tanglaw ng Lahi from Ateneo University (1988), and the award Gawad ng Lahi from the Cultural Center of The Philippines (1989).
Furthermore, he has received the Fumio Koizumi Award for Ethnomusicology in Japan (1992), the National Research Council Award (1993), the award Araw ng Maynila (1996), the Nikkei Award in Tokyo (1997), the award of the Fondazione Civitella Ranieri in Italy (1997), and the title of National Artist for Music (1998). He also holds the titles of Officier dans l'Ordre National du Mérite (1997) and Chevalier de la Légion d'Honneur (2001) from the government of France.
Initially active as a pianist, he appeared in France, The Philippines and the USA from 1935–57, during which time he introduced many new works, mainly by French composers, and pioneered a French style of piano playing in The Philippines. He also appeared as a conductor of avant-garde music that he arranged for various Philippine organizations and UNESCO from 1964–68 and introduced music by Edgard Varèse, Iannis Xenakis and other composers alongside Chinese and Philippine music.
Prof. Maceda has devoted much of his time to ethnomusicological studies of the music of The Philippines and Southeast Asia since 1953. He has done field music research throughout The Philippines and in eastern and western Africa, Brazil, China, Indonesia, Malaysia, Myanmar, Thailand, and Vietnam and has written extensively about this research for publications in Canada, Germany, Malaysia, The Philippines, the UK, and the USA.
He wrote the book Gongs and Bamboos: A Panorama of Philippine Music Instruments (1998, University of The Philippines Press) and the composer-pianist Yuji Takahashi translated many of his articles into Japanese in the book Drone and Melody (1989, Shinjuku Shobo Company). In addition, the University of The Philippines in Quezon City contains an archive of more than 2,500 hours of his field recordings in 51 language groups, complete with musical instruments, photographs, text transcriptions, and translations.
He taught as Professor of Piano and Ethnomusicology at the University of The Philippines from 1952–90, where he was named a University Professor in 1988 and as professor emeritus until 2004. He served as Executive Director of its Center for Ethnomusicology from 1997–2004. He has also given lectures throughout the world, including the Charles Seeger Lecture at the meeting of the Society for Ethnomusicology in Los Angeles in 1984 and a lecture as the International Arts Symposium Speaker at the National Academy of Arts in Seoul in 1994. Most recently, he spoke at the Arts Summit in Indonesia in 1995, was the Rayson Huang Visiting Lecturer at the University of Hong Kong in 1999 and served as the Jean-MacDuff Vaux composer-in-residence at Mills College in 2000.
E-mail address: email@example.com
Street address (university): Prof. José Maceda, Center for Ethnomusicology, College of Music, Rooms 214–16, University of The Philippines, 57 F. Agoncillo St., Quezon City 1101, The Philippines
Telephone (university): + 632 925 7139
COMPLETE LIST OF WORKS (note that these works are listed according to a general category defined by the composer; dates given are those of première)
I – MUSIC FOR BAMBOOS, MIXED INSTRUMENTS AND VOICES:
(1) Ugma-ugma – Structures (text by the composer), mixed chorus, rattle, tagutok (scraper), carabao horn, whistle, shō (Japanese mouth organ), cowbells/other small bells, clapper, pakkung (buzzer), tongatong (stamping tubes), kubing (mouth harp)/aroding (mouth harp), Chinese pai-pan clappers, bamboo sticks, gabbang (xylophone), kulintang (gongs in a row), gender (Indonesian metallophone), suspended agung (gongs with stopped sounds), suspended gandingan (gongs with freely-vibrating sounds), 1963
(2) Kubing (text by the composer), 5 male voices, 7 pairs of tongatong, 3 batiwtiw (bamboo zithers), 3 tagutok, 7 pakkung, 7 kubing, 1966
(3) Pagsamba – Worship (ritual music for a circular auditorium, text from the Mass [Tagalog translation]), 100 mixed voices, 25 male voices, 8 suspended agung, 8 suspended gandingan, 100 players (100 balingbing [bamboo buzzers], 100 palakpak [bamboo clappers], 100 bangibang [yoke-shaped wooden bars; played with beaters], 100 ongiyong [whistle flutes]), 1968
(4) Udlot-udlot – Hesitations (open-air ritual, text by the composer), vocal group (100s of voices; moving around every 10 minutes), bangibang group (100s of players; circling around with formal steps), instrumental group (100s of players; balingbing, tongatong, flutes) (sitting inside a circle), 1975 (also theatre version [VII (1)])
(5) Ading (text by the composer), 100 mixed voices, 100 players (100 pakkung, 100 bangibang, 100 batiwtiw, 100 tagutok), audience ad libitum, 1978
(6) Music for Indonesian Gongs, Metallophones, Bamboos, Flute, Contrabassoon, and Voices (text by the composer), 8 female voices, 8 male voices, piccolo, contrabassoon, pakkung (+ clapper, tagutok, 2 sticks, 2 tongatong, shaker, whistle), ketuk (Indonesian gong) (+ kempul [Indonesian gong], suwukan [Indonesian gong], 4 saron [Indonesian metallophones], 4 gender), 1997
II – MUSIC FOR SIX GONG FAMILIES:
(1) Agungan – A Play of Gongs, 3 high suling (bamboo flutes)/other flute-type instruments, 5 small suspended Tiruray agung, 4 kulintang, 6 gangsa (flat gongs; played with the hands), 6 gangsa (played with sticks), 3 large suspended agung, 2 suspended gandingan, 4 sulibao (conical drums) (1 player), 1965
III – MUSIC FOR MOUTH HARPS:
(1) Aroding (text from a Palawan song), 7 male voices, 3 pispis (tiny flutes), 40 aroding, 1983
IV – MUSIC FOR CASSETTE RECORDERS AND RADIO STATIONS:
(1) Cassettes 100, 100 tape recorders (100 operators), 1971
(2) Ugnayan – Atmospheres, 20 radio stations, 1974
V – MUSIC FOR EUROPEAN INSTRUMENTS, BAMBOOS, PERCUSSION, AND GONGS:
(1) Siasid, 10 blown bamboo tubes/10 trombones, 10 violins, 4 percussion (3 bamboo slit drums, 3 tagutok, 3 pakkung, 3 conical Ibaloy drums/similar drums), 1983
(2) Suling-Suling, 10 suling/10 flutes, 10 kudlung (bamboo string percussion)/10 pakkung/10 tagutok, 10 gangsa, 1985
(3) Strata, 5 flutes, 5 guitars, 5 celli, 10 balingbing/10 similar instruments (+ 10 bangibang/10 Chinese pai-pan clappers/10 similar instruments), 5 tam-tams, 1988
VI – MUSIC FOR ORCHESTRAL OR EUROPEAN INSTRUMENTS:
(1) Dissemination, olimong (whistle flute)/similar instrument, 5 flutes, 5 oboes, 5 French horns, 5 violins, 3 celli, 2 double basses, 2 gongs/2 tam-tams, 1990
(2) Distemperament, 3 flutes, 3 oboes, 3 clarinets, 3 bass clarinets, 3 bassoons, 3 French horns, 3 trumpets, 3 trombones, 3 violins, 3 violas, 3 celli, 3 double basses, 1992
(3) Music for Five Pianos, 1993
(4) Two Pianos and Four Winds, clarinet, bassoon, French horn, trombone, 2 pianos, 1996
(5) Exchanges, Music for a Chamber Orchestra, 1997
(6) Colors without Rhythm, harp, piano, harpsichord, celesta, vibraphone, xylophone, marimba, 10 percussion groups (10 total players), large orchestra, 1998
(7) Music for Two Pianos and Four Percussion Groups, 2 pianos, 4 percussion, 2000
(8) Sujeichon – Korean Court Music for Four Pianos, 2002
(9) Banter and Profundity, small orchestra (19 players), 2003
VII – MUSIC AS THEATRE:
(1) Udlot-udlot (music theatre work, text by the composer), voice, 4 flutes (all + balingbing, tongatong), bangibang, 1997 (version of open-air ritual work [I (4)])
Music for Indonesian Gongs, Metallophones, Bamboos, Flute, Contrabassoon, and Voices. Josefino Chino Toledo/AUIT Vocal Chamber Ensemble (National Commission for Culture and the Arts/Tunugan Foundation, 1999)
Pagsamba; Suling-Suling; Colors without Rhythm. (Tzadik: TZ 7067, 2001)
Strata; Sujeichon – Korean Court Music for Four Pianos; Music for Two Pianos and Four Percussion Groups. Chris Brown, Belle Bulwinkle, Charity Chan, Kanoko Nishi, pianos; Steed Cowart/The Mills Performing Group; Ramón P. Santos/UP Contemporary Music Players (Tzadik: TZ 8043, 2007)
Pagsamba, for large bamboo ensemble, gongs, 5 male vocal & 100 mixed voices
Suling-Suling, for 10 flutes, 10 bamboo buzzers & 10 flat gongs
Lucio San Pedro
(February 11, 1913 - March 31, 2002) was born on February 11, 1913 in Angono, Rizal, the Philippines. He was a composer and teacher in the Philippines. He is known in the Philippines as the composer of the popular lullaby Sa Ugoy ng Duyan (in collaboration with Levi Celerio) and the symphonic poem Lahing Kayumanggi, he taught composition at a number of colleges and universities, including the University of the Philippines College of Music, where he served as chairman of its Composition and Conducting Department from 1970 to 1973.
Lucio came from a family with musical roots and he began his career early. When he was still in his late teens, he became a church organist, taking over the job after the death of his grandfather. By then, he had already composed songs, hymns and two complete Masses for voices and orchestra. After studying with several prominent musicians in the Philippines, he took advanced composition training with Bernard Wagenaar of the Netherlands. He also studied harmony and orchestration under Vittorio Giannini and took classes at Juilliard in 1947.
His other vocation was teaching. He has taught at the Ateneo de Manila University, virtually all the major music conservatories in Manila, and at the College of Music of the University of the Philippines, Diliman, where he retired as a full professor in 1978. He received the title Professor Emeritus from the University in 1979.
On May 9, 1991, President Corazon C. Aquino proclaimed Lucio D. San Pedro a National Artist of the Philippines for Music.
He died of cardiac arrest on March 31, 2002 at the age of 89. A number of national artists attended his tribute at the Tanghalang Pambansa, including: Napoleon Abueva, Daisy Avellana, Leonor Gokingco, Nick Joaquin, Arturo Luz, Jose Maceda, and Andrea Veneracion. He is buried in his hometown of Angono, Rizal.
She was born and raised in Manila, Philippines and earned her Bachelor of Music degrees in Piano and Voice at the University of the Philippines Diliman graduating Cum Laude. She was a lyric soprano soloist in various Oratorio works and in the Opera Stage. She was also a very accomplished pianist and accompanist and was the accompanist of National Artist for Music, Jovita Fuentes for a number of years. Apart from being an extraordinary musician, she was also an exceptional athlete as a competitive swimmer. In fact, she was part of the Philippine Swimming team who first competed internationally in Hong Kong.
Later on, she continued to pursue her Master's Degree in Voice at Indiana University School of Music - Bloomington as a Fulbright scholar, where there she encountered the Indiana University Madrigal Singers which rallied the music of the Renaissance period.
Upon her return to the Philippines in 1963, she established a singing group with the same idea. This group was initially exclusive of U.P. faculty members and students and became officially known as the University of the Philippines Madrigal Singers. She established a tradition for which the Madz, as they are fondly called, are known for: unlike most choirs, the Madz were seated in a semi-circle formation without a conductor. The Choirmaster is at the left-most end of the circle who leads the group by giving their cues.
Under her direction, the Philippine Madrigal Singers won major awards in international choral competitions - Spittal, Austria; Arezzo and Gorizia, Italy; Neuchâtel, Switzerland; Debrecen, Hungary; Varna, Bulgaria; Tolosa, Spain; and Marktoberdorf, Germany. In 1996, she led the Philippine Madrigal Singers to its victory in the 1996 International Choral Competition in Tolosa, Spain. This made them eligible to compete for the European Choral Grand Prix on the following year and eventually won the title in Tours, France.
She is also the founding choirmaster and first conductor of the Asian Institute for Liturgy and Music (AILM) Chorale.
Later, some of her choristers went on to establish their own careers as well-known music performers and choral composers, conductors and arrangers in the Philippines; they include Ryan Cayabyab, Joel Navarro, Victor Asuncion, Montet Acoymo, Robert Delgado, Edgardo Nepomuceno, Jonathan Velasco, Eudenice Palaruan, Fr. Arnold Zamora, Christopher Borela, Anna Tabita Abeleda-Piquero and the present Madz Choirmaster Mark Anthony Carpio.
In 1997, She was awarded the TOFIL (The Outstanding Filipino) Award for Culture and the Arts For her contributions to the development of choral singing in the Philippines.
Eventually in 1999, Ma'am OA was named National Artist for Music, the highest cultural award bestowed by the Philippine government for an individual. In addition, the Philippine Madrigal Singers was named one of the Resident Artists of the Cultural Center of the Philippines.
In 2001, she retired as the Choirmaster of the Philippine Madrigal Singers. Together with an artistic committee, she personally selected Mark Anthony Carpio, her Assistant Choirmaster at that time, to be her successor. The Madz turnover ceremonies were held in a special concert at the Cultural Center of the Philippines coinciding with the launch of her biography "A Life Shaped By Music" by Marjorie Evasco.
She continued to guide the Madz under Carpio's baton by joining them in their 2002 North American Tours, 2003 Asian Tours and 2004 European Concert Tours. She was also there to witness Carpio's first international competition as Choirmaster (and the Madz's first competition after 7 years) at the 2004 International Competition of Habaneras and Polyphony in Torrevieja, Spain, where the Madz won First Places for both categories and was also the last choir to do so.
In December, 2005, she suffered a massive stroke which led to her paralysis. The Madz is constantly performing benefit concerts, the proceeds of which are used to help the Veneracion family for Ma'am OA's medical expenses.
For a list of awards won by the Philippine Madrigal Singers, see Philippine Madrigal Singers
1999 - National Artist of the Philippines for Music - currently the only awardee for choral music.
2001 - Distinguished Alumni Service award - awarded by Indiana University.
Andrea Ofilada Veneracion (born July 11, 1928 in Manila) is a Filipino choral conductor who is a National Artist for Music in the Philippines. She is the founding conductor of the Philippine Madrigal Singers. She also sat as a juror in international choral competitions.
Si Antonino R. Buenaventura (1904-1996), isang kompositor at guro, ay Pambansang Alagad ng Sining sa Musika ng Pilipinas na naglaan ng pitong dekada sa pagsusulong ng musikang Pilipino at paggawa ng mga awitin na nakabase sa katutubong musika ng iba't ibang pangkat-etniko sa bansa.
Ipinanganak si Buenaventura noong 4 Mayo 1904 sa Baliwag, Bulakan at supling nina Leocadia Ramirez at Lucino Buenaventura. Noong siya ay bata pa, natuto na siya ng solfeggio mula sa kanyang guro sa musika sa kanilang bayan. Magaling na rin siyang tumugtog ng clarinet at mahusay lumikha ng mga musika.
Nag-aral siya sa Unibersidad ng Pilipinas Konserbatoryo ng Musika at natamo ang kanyang teacher's diploma, major in science and composition noong 1932. Sina Nicanor Abelardo, Francisco Santiago, at Jeno von Takacs ang mga naging guro niya sa UP.
Naging tagapagturo at konduktor sa banda si Buenaventura sa Philippine Military Academy noong 1939; konduktor ng Philippine Army Band; at co-conductor ni Ramon Tapales ng Municipal Symphony Orchestra of Manila sa pagtatanghal nito sa Hongkong, Yokohama, Guam at Hawaii.
Naging direktor din siya ng musika sa Unibersidad ng Santo Tomas Konserbatoryo ng Musika noong 1961 at ng University of the East (UE) School of Music and Arts.
Sa ilang mga okasyon, naging kinatawan siya ng Pilipinas sa iba't ibang internasyonal na pagpupulong, kabilang dito ang: International Council of Music conference sa Rome, 1962 at Hamburg, 1964 bilang presidente ng National Music Council; Festival of the Asian League of Composers sa Kyoto, Japan, 1974 bilang vice-chairman ng League of Filipino Composers; at ang General Assembly of the International Society for Music Education sa Switzerland, 1976.
Pandanggo sa Ilaw, 1936
• Minuet, 1937
• By the Hillside, 1947
• Mindanao Sketches, 1947
• Divertimento for Piano and Orchestra, 1959
• Variations and Fugue, 1972
• Greetings, 1978
• Echoes from the Philippines
• Awit sa Tagumpay ng Bayan, 1986
• Band Conductor of the Year mula sa Manila Music Lovers Society, 1951
• Republic Cultural Heritage Award for Music, 1961
• Outstanding Alumnus, UP Alumni Association Award, 1966
• Patnubay ng Sining at Kalinangan Award mula sa Lungsod Maynila, 1971
Pro Mundi Beneficial Medal and Diploma Award, mula sa Academia Brazileira de Ciencias Humanas, 1975
Award of Merit for Outstanding Contribution to Philippine Music, mula sa Philippine Army, 1976
Direktor Emeritus Award, mula sa UE, 1981
Pambansang Alagad ng Sining, 1988
Siya rin ay nakalista sa Who's Who in the World, 1974 at Dictionary of International Biographies, 1975.
song), "Itik-itik" (folk song), "Waray-waray" (J.Silos
(April 30, 1910 - April 2, 2002) was a Filipino composer and lyricist who was born in Manila, Philippines. Celerio was a prolific song-writer, with over 4,000 songs to his credit. He is perhaps best-known for being a leaf-player, a feat for which he was put into the Guinness Book of World Records. In 1997, he was named National Artist of the Philippines for Music. He died on April 2, 2002.
Levi Celerio was born on April 30, 1910 in Tondo, Manila. He received a scholarship to the Academy of Music in Manila and became the youngest member of the Manila Symphony Orchestra. He wrote several number of songs for local movies, which earned for him the Lifetime Achievement Award of the Film Academy of the Philippines. Celerio has written lyrics for more than 4,000 Filipino folk, Christmas, and love songs, including many that became movie titles.
Known for being a good lyricist, his songs cherish life, convey nationalistic sentiments and utter grand philosophies. Celerio wrote more than 4,000 songs, among them are popular pieces, which many consider to be immortal. At one time or another, no Filipino could miss the tune or lyrics of Levi's Christmas songs: Pasko na Naman, Maligayang Pasko at Manigong Bagong Taon (Ang Pasko ay Sumapit), and Misa de Gallo.
His more popular love songs include: Saan Ka Man Naroroon?, Kahit Konting Pagtingin, Gaano Ko Ikaw Kamahal, Kapag Puso'y Sinugatan, and Ikaw, O Maliwanag na Buwan, Dahil Sa Isang Bulaklak, Sa Ugoy ng Duyan, Bagong Pagsilang, and Sapagkat Kami'y Tao Lamang, while his folk songs include Ang Pipit, Tinikling, Tunay na Tunay, Itik-Itik, Waray-Waray, Pitong Gatang, Ako ay May Singsing, Alibangbang, Alembong, Galawgaw, Caprichosa, Ang Tapis ni Inday, Dungawin Mo Hirang, Umaga na Neneng, Ikaw Kasi, and Basta't Mahal Kita. Celerio also wrote nationalistic songs such as Ang Bagong Lipunan, Lupang Pangarap, and Tinig ng Bayan.
Celerio, for a time, was also recognized by the Guinness Book of World Records as the only man who could play music with a leaf. Because of his talent, Celerio was invited to The Merv Griffin Show, where he played "All the Things You Are" with 39 musicians. Using his leaf, Levi wowed the crowd and got the attention of the Guinness Book of World Records. The Book later listed the entry: "The only leaf player in the world is in the Philippines". He would also later appear on That's Incredible!.
In his old age, Levi occasionally appeared in public, usually at a concert at the Cultural Center of the Philippines. He was also playing at a Quezon City bar from time to time.
He died at the Delgado Clinic in Quezon City on April 2, 2002 at the age of 91, just two days after the death of a fellow National Artist, Lucio San Pedro (who wrote the music for Sa Ugoy ng Duyan). But his death was overshadowed by the death a few days earlier of the popular matinee idol Rico Yan, thus, his death was received with little public attention. He was buried with full military honors at the Libingan ng mga Bayani (National Heroes' Cemetery).
Felipe Padilla de Leon
(1912-1992), Pambansang Alagad ng Sining sa Musika ng Pilipinas, ay isang musikal na konduktor, iskolar at kilalang makabayang kompositor, na sinikap ipakita ang kultural na identidad ng Pilipinas sa pamamagitan ng kanyang mga komposisyon. Nakapagsulat siya ng mga komposisyon para sa pyano, mga himno at martsa, art songs, chamber music, symphonic poems and overtures, opera, kundiman at sarsuwela.
Edukasyon at Karera
Nagtapos si de Leon ng elementarya sa Nueva Ecija High School at pumasok sa Unibersidad ng Pilipinas Conservatory of Music sa ilalim ni Antonino R. Buenaventura at Antonio J. Molina. Nagtapos siya sa UP noong 1939 at kumuha ng karagdagang pag-aaral sa komposisyon sa ilalim ni Vittorio Giannini ng Juilliard School of Music sa New York.
Naging propesor si de Leon sa UP Conservatory of Music, St. Scholastica's College, Centro Escolar University Conservatory of Music, Cosmopolitan Colleges, at Laperal Music Academy. Naging direktor siya ng departamento ng musika sa La Union College of Manila; dean ng Institute of Music ng Araneta University; regent ng Pamantasan ng Lungsod ng Maynila; at technical assistant ng cultural affairs sa Office of the President of the Philippines.
Siya rin ang presidente ng Filipino Society of Composers, Authors and Publishers (FILSCAP) at Pambansang Samahan ng mga Banda ng Pilipinas (PASAMBAP).
Mariang Makiling Overture, 1939
Payapang Daigdig, 1946
Roca Encantada, 1950
Noli me Tangere, 1957 – Opera
Noche Buena, 1965
Pasko Na Naman, 1965
El Filibusterismo, 1970 – Opera
Maynila Overture, 1976
Tindig, Aking Inang Bayan
Composer of the Year, 1949 mula sa Manila Music Lovers Society
Musician of the Year, 1958 mula sa UP Co servatory of Music
Presidential Medal of Merit, 1961
Rizal Pro Patria Award, 1961
Republic Cultural Heritage Award, 1971
Patnubay ng Sining at Kalinangan Award mula sa Lungsod Maynila, 1971
First Cultural Achievement Award, 1975 mula sa Cultural Center of the Philippines and Philippine Government Cultural Association
Doctor of philosophy in the humanities, 1991 mula sa UP
Long before Lea Salonga's break into broadway, there was already Jovita Fuentes' portrayal of Cio-cio san in Giacomo Puccini's Madame Butterfly at Italy's Teatro Municipale di Piacenza. Her performance has been hailed as the "most sublime interpretation of the part". This is all the more significant because it happened at a time when the Philippines and its people were scarcely heard of in Europe. Prior to that, she was teaching at the University of the Philippines Conservatory of Music (1917) before leaving for Milan in 1924 for further voice studies. After eight months of arduous training, she made her stage debut at the Piacenza. She later embarked on a string of music performances in Europe essaying the roles of Liu Yu in Puccini's Turnadot, Mimi in Puccini's La Boheme, Iris in Pietro Mascagni's Iris, the title role of Salome (which composer Richard Strauss personally offered to her including the special role of Princess Yang Gui Fe in Li Tai Pe). In recognition of these achievements, she was given the unprecedented award of "Embahadora de Filipinas a su Madre Patria" by Spain.
Her dream to develop the love for opera among her countrymen led her to found the Artists' Guild of the Philippines, which was responsible for the periodic "Tour of Operaland" productions. Her life story has been documented in the biography Jovita Fuentes: A Lifetime of Music (1978) written by Lilia H. Chung, and later translated into Filipino by Virgilio Almario.
Lucrecia Roces Kasilag
(August 31, 1918- August 16, 2008) was a noted composer, educator, cultural and arts administrator, and performing artist. She was named National Artist in Music in 1989. She pioneered the fusion of Filipino ethnic and Western music. She dared to mix indigenous Filipino instruments with Western orchestra in her prize-winning "Toccata for Percussions and Winds, Divertissement and Concertante," and the scores of the Filiasiana, Misang Pilipino and De Profundis. She was fondly called "Tita King".
Early life and education
She was born in San Fernando, La Union on August 31, 1918. Her mother, Asuncion Roces-Kasilag, encouraged her in her music studies. Her piano teachers were Concha Cuervo and Pura Lacson-Villanueva. She attended Paco High School and graduated as valedictorian in 1930. She earned a Bachelor of Arts in English at Philippine Women's University. In 1939 she received a diploma in music teaching at St. Scholastica’s College, where she was a student of Sister Baptista Battig.
In 1950, she completed her graduate studies at the Eastman School of Music in Rochester, New York under a Fulbright Travel Grant. In 1953 she became dean of the PWU College of Music and Fine Arts in 1953. She established in 1957 the Bayanihan Folk Arts Center to research Philippine music. Through her efforts she made Bayanihan Philippine Dance Company the primary artistic and cultural ensemble of the country.
In 1977, she retired from her position as Dean and she was honored when she was named Dean Emeritus of the PWU College of Music and Fine Arts. During the Marcos years, Kasilag was very much involved with First Lady Imelda Marcos' Cultural Center of the Philippines. Under the term of President Corazon Aquino she served three years as special consultant of the Office of the President.
Her compositions as her own preferences are influenced by her professors and Ralph Vaughan Williams, who was introduced by professor, Allan Irving McHose. It is with the so called "East-West flavour."
Kasilag died from pneumonia on August 16, 2008 at the age of 89.
Among more than the 250 compositions for orchestra and chamber she has written:
• Love Songs
• Legend of the Sarimanok
• Ang Pamana
• Philippine Scenes
• Awit ng mga Awit Psalms
• Fantasie on a 4-Note Theme
• East Meets Jazz Ethnika
• Doctor of Music, Honoris Causa from the Centro Escolar University, 1975
• Doctor of law, Honoris Causa from the Philippine Women's University, 1980
• Doctor of Fine Arts, Honoris Causa from the St. John's University in New York, 1981
• The Outstanding Filipino (TOFIL) Awardee for Culture and the Arts, 1989
• National Artist of the Philippines for Music, 1989
• Avicenna award from the USSR
• Dama de La Orden Alfonso X el Sabio from the Spanish government
• Japan’s Third Class of the Order of the Precious Crown
• France’s Commandeur dans l’Ordre de Arts et des Lettres
• Samson, Helen F. Contemporary Filipino Composers. Quezon City: Manlapaz Publishing Company, 1976.
• Lucrecia Kasilag. NCCA.gov.ph (Accessed September 23, 2008)
• Tariman, Pablo. "Kasilag, national artist for music, dies; 89." Inquirer.net (Accessed September 23, 2008)
• "The Filipina as National Artist." Manila Standard Today. (Accessed September 23, 2008)
Si Ernani Joson Cuenco
(1936-1988), isang kompositor, musikal na direktor at guro, ay kinilala bilang Pambansang Alagad ng Sining sa Musika ng Pilipinas noong 1999. Pinagyaman niya ang mga ballad na awitin ng Pilipino sa pamamagitan ng pagsasama dito ng mga elemento ng klasikal na kundiman. Magpasahanggang ngayon, ang kanyang mga komposisyon ay lubos na popular at kinagigiliwan.
Ipinanganak siya noong 10 Mayo 1936 sa Malolos, Bulakan at supling nina Felix Cuenco at Maria Joson.
Sa gulang na anim na taon, nagsimula na si Cuenco na kumuha ng pag-aaral sa pagtugtog ng pyano at biyulin. Nagtapos siya ng elementarya sa Immaculata Academy of Malolos noong 1948 at pumasok ng hayskul sa Unibersidad ng Santo Tomas (UST). Natapos niya ang kanyang Batsilyer sa Musika sa pyano at cello mula sa UST at ang kanyang master's degree sa edukasyong pang-musika mula sa Santa Isabel College.
Naging cellist si Cuenco ng Manila Symphony Orchestra at ng Filipino Youth Symphony Orchestra mula 1960 hanggang 1968, pati na rin sa Manila Chamber Soloists, 1966-1970.
Ilang Komposisyon at Gantimpala
• Diligin mo ng Hamog ang Uhaw na Lupa, 1975 -FAMAS Best Musical Score
• Ang Bakya Mo Neneng, 1977 -FAMAS Best Musical Score
• Bato sa Buhangin, 1976 -FAMAS Best Theme Song
• Ang Babaing Pinagtaksilan ng Panahon, 1980 -URIAN awardee
• Pedrong Taruc, 1982 -Film Academy of the Philippines Best Musical Score
• Isang Bala Ka Lang, 1983 -Film Academy of the Philippines Best Musical Score
• Gaano Kita Kamahal
Honorata dela Rama
ay isang Pambansang Alagad ng Sining sa Musika at Teatro at pinarangalan bilang Reyna ng Kundiman noong 1979.
Ipinanganak siya noong 11 Enero 1902 sa Pandacan, Maynila at lumaki kina Pastora Matias, at sa asawa nitong si Leon Ignacio. Ikinasal siya noong 1932 kay Amado V. Hernandez, isang makata.
Sa edad na pitong taong gulang, siya ay nagsimulang gumanap bilang batang karakter sa mga sarsuwelang espanyol tulad ng La mascota (The Mascot), Sueño de un vals (Dream Waltz), Marina at Viuda alegre (Merry Widow).
Labindalawang taong gulang si Atang dela Rama nang simulan niya ang pag-aaral sa pagtugtog ng biyulin kasama si Ignacio at nagpakadalubhasa sa piyano kasama si Vincenzo Gambardella. Nagkaroon naman siya ng pagsasanay sa pag-aawit kasama si Victorino Carrion at Galia Arellano. Sa gulang na 14, ginampanan niya ang papel na Angelita sa Dalagang Bukid, 1917, na isinulat nina Ignacio at Hermogenes Ilagan para lamang sa kanya. Ang sarsuwela na ito ang nagpasikat sa kanya at nagkaroon ng halos 1000 na pagtatanghal bago mag-1940. Isinapelikula rin ang Dalagang Bukid noong 1919 at pinangunahan ito ni dela Rama.
Nakapagtapos siya bilang isang Parmasyotika sa Centro Escolar de Señoritas (ngayon ay Centro Escolar University) noong 1922. Kumuha rin siya ng mga kurso sa Royal Dramatic Theater Academy sa New York noong 1925.
Inawit ni Atang dela Rama ang musika ni Ignacio sa mga sarsuwelang nilikha ng mga tanyag na manunulat ng panahon na iyon gaya ng: Alamat ng Nayon, 1927; Ararong Ginto, 1925; at Ang Kiri, 1926 ni Servando de los Angeles; Sa Bunganga ng Pating, 1921 ni Julian Cruz Balmaseda; Paglipas ng Dilim, 1920 ni Precioso Palma; Anak ng Dagat, 1921 ni Patricio Mariano; Ang Mestiza, 1920 ni Engracio Valmonte; at Sundalong Mantika, 1920 ni Florentino Ballecer.
Nakilala rin si Atang dela Rama sa pag-awit ng mga kundiman na ginawa ng mga sikat na kompositor noong 1920 at 1930, tulad nina Nicanor Abelardo, Francisco Santiago, Bonifacio Abdon, Francisco Buencamino Sr., at Constancio de Guzman. Siya ang nagpasikat ng mga awiting:
• Bituing Marikit
• Madaling Araw
• Mutya ng Pasig
• Anak Dalita
• Kundiman ng Luha
• Kundiman ni Abdon
Noong 1930, napuna ni Atang dela Rama na kakaunting mga sarsuwela lamang ang naisusulat, kaya't siya na mismo ang lumikha ng sarili niyang mga libreto at kinalaunan ay itinanghal ng Samahang de la Rama. Ito ang ilan sa kanila:
• Bulaklak ng Kabundukan
• Anak ni Eba
• Puri at Buhay
(born Raymundo Cipriano Pujante Cayabyab but known as Mr. C) is a Filipino musician and was the Executive and Artistic Director of the defunct San Miguel Foundation for the Performing Arts. He was also a resident judge for the only season of Philippine Idol in 2006.
His works range from commissioned full-length ballets, theater musicals, choral pieces, a Mass set to unaccompanied chorus, and orchestral pieces, to commercial recordings of popular music, film scores and television specials.
Cayayab's current project includes the Ryan Cayabyab Singers (RCS), a group of seven young adult singers comparable to his prior group Smokey Mountain in the early '90s. After FreemantleMedia decided not to renew the Philippine Idol franchise, Cayabyab transferred to rival show Pinoy Dream Academy (season 2), replacing Jim Paredes as the show's headmaster. PDA 2 started on June 14, 2008.
Ryan Cayabyab was born on May 4, 1954 in Manila, Philippines. His mother died when he was only 6, and his father struggled to support him and his three other siblings. His mother's dying wish was that none of her children would pursue music as a profession, knowing how hard life is for a musician with meager earnings (she was an opera singer).
Thus, Cayabyab initially took up Bachelor of Science in Business Administration in the University of the Philippines, Diliman. But at the same time, he looked for a job in order to support his studies, and eventually landed with then-Senator Salvador Laurel as accompanist for the Development Bank of the Philippines (DBP) Chorale Ensemble. Noticing Cayabyab's exceptional talent on the piano, Laurel offered Cayabyab a scholarship which would allow Cayabyab to shift his course and pursue an education in music.
And so Cayabyab later graduated from the UP College of Music earning a Bachelor of Music, Major in Composition degree. After that, he became a full time professor for the Department of Composition and Music Theory in the UP Diliman for almost two decades.
At the turn of the century, Cayabyab was about to bring his family and migrate abroad, but when offered by Danding Cojuangco (President of the San Miguel Corporation) a command post that would give him full access in producing and performing new music that would bring forth a fresh wave to the Philippine music scene, Cayabyab accepted the offer. Today he is currently in his 7th year as Executive and Artistic
He is married to Emmy Punsalan with 2 children: Cristina Maria and Antonio Maria Cayabyab.
Ryan Cayabyab is 2004's Gawad CCP Awardee for Music. On February 2, 1999, he was selected as one of the 100 awardees of the CCP Centennial Honors for the Arts . He became the first recipient of the Antonio C. Barreiro Achievement Award on 4 May 1996 for significant and lasting contributions to the growth and development of Filipino music. Likewise, in 18 June 1996, Awit Awards, the recording industry awards, awarded him a Lifetime Achievement Award for "invaluable contribution and outstanding achievements in the promotion and development of Filipino music." The University of the Philippines Alumni Association has conferred upon him the Professional Award in music for the year 1998.
Ryan Cayabyab The Music Studio, a music school that specializes in developing outstanding performance artists is run by Emmy Cayabyab, Ryan's wife. Established in 1986, the music studio has trained a whole generation of young singer-performers who have become nationally known Filipino performing artists.
Ryan is married to Emmy Punsalan and has a daughter, Cristina Maria, and a son, Antonio Maria, a freshman at the Ateneo, taking up AB Communication Arts. They reside in Quezon City, Philippines.
GREAT ORIGINAL PILIPINO MUSIC BY RYAN CAYABYAB
All songs in the album composed and arranged by Ryan Cayabyab. All songs recorded in 2001, except tracks 5, 8, and 9, which are SMMC a capella tracks and were recorded in 2004. This album received three nominations in the 18th Awit Awards aside from winning Best Musical Arrangement for Tuwing Umuulan at Kapiling Ka. Under Sony-BMG Pilipinas.
• Tuwing Umuulan at Kapiling Ka (winner, 18th Awit Awards, Best Musical Arrangement)
• Iduyan Mo
• Kahit Ika'y Panaginip Lang
• Paraisong Parisukat
• Tunay na Ligaya
• Nais Ko
• Limandipang Tao
• Da Coconut Nut
• Iniibig Kita
• Awit ng Pagsinta (Epithalamium) - from Ryan Cayabyab and Bienvenido Lumbera's pop-ballet Rama Hari; lyrics by Lumbera
• Hibang sa Awit - lyrics by Jose Javier Reyes
(born José Iñigo Homer Lacambra Ayala on June 1, 1956 in Bukidnon, Philippines) is a contemporary pop music artist in the Philippines. He is well known for his style of music that combines the sounds of Filipino ethnic instruments with modern pop music. His professional music career started when he released an album recorded in a makeshift-studio in 1982. To date, he has released six albums.
Some of the Filipino ethnic instruments Ayala is known to use include the two-stringed Hegalong of the T'Boli people of Mindanao and the 8-piece gong set, Kulintang melodical gong-rack of the predominantly Muslim peoples of the southern part of the country. He also uses modern instruments in his music, such as the electric guitar, bass guitar, and drums.
He is one of a few Filipino contemporary songwriters who insists on putting his creative energies at the service of cultural/social development, so much so that he has ventured directly into non-formal education - the running of workshops demonstrating the use of arts as a language for education.
The name of his band "Bagong Lumad" literally means "New Native" - a name and philosophy that has been carried over into Bagong Lumad Artists Foundation, Inc. (www.blafi.org), now a UNDP Responsible Party working on SiningBayan (Social Artistry) capacity-building projects with the Civil Service Commission, the Department of Education, and other GOs and NGOs in the Philippines.
Ayala also serves as the (2008-10) Chairman of the National Committee on Music under the National Commission for Culture and the Arts (www.ncca.gov.ph).
 Awards and Honors Received
• Fr. Neri Satur Award for Environmental Heroism, For promoting environmental awareness and arts education from ancestral roots to new artistic routes of musical expression advocating for the protection of the environment and the conservation of natural resources, National Commission for Culture and the Arts (NCCA), 2009
• Benigno S. Aquino, Jr. Award for Social Artistry, Federation of Catholic Schools’ Alumni/ae Associations (FeCaSAA)in partnership with the Good Citizenship Movement [GCM], 2007
• Musical Intelligence Award, Multiple Intelligence International School, 2007
• Datu Bago Award from The City of Davao (“for being an outstanding composer-performer-bandleader-lyricist, arranger, writer who has defined the ethnic character of Mindanao music that he renders magnificently well using his voice and indigenous instruments resulting in the consciousness of the Filipino soul of intimations of its moral values and environmental responsibilities.”) Awarded March 14, 2000, 63rd Araw ng Dabaw, Marco Polo Hotel.
• Special MAGIS Award for Outstanding Alumni, Ateneo de Manila High School (, “For creating music that delineates the unique Filipino soul, for defining the ethnic character of Philippine music through the use of native instruments, especially in harmony with foreign instruments like drums and acoustic guitar, and for awakening in the Filipino an awareness of its own heritage as a people . . .”), 1996
• Gawad ng Pagkilala - Komisyon sa Wikang Pilipino. Recognition from the National Commission for the Filipino Language (Dahil sa paglikha ng mga awiting mayaman sa pagpapahalagang moral sa wikang Filipino at paglalapat ng musika sa pamamagitan ng katutubong mga instrumento.... nakatutulong sa pagpapayabong at pagpapaunlad ng wika at kalinangang Pilipino. [For writing songs laden with moral values in Pilipino, for musical arrangements using indigenous instruments . . . for helping enrich and develop Pilipino culture.]), 1993
• Outstanding Alumnus in the field of the Performing Arts, Ateneo de Davao University Alumni Association, 1993
• Nomination: Ten Outstanding Young Persons of the World, Award for Cultural Achievement, Junior Jaycees Chamber International, 1993
• The Outstanding Young Men (TOYM) Award, The Philippine Jaycees, (“for humanitarian efforts directed towards the two objectives of art - as relevant socially-oriented medium and as aesthetic principle”), 1989
• Panganay ng Umaga (Firstborn of the Morning)
• Magkabilaan (Dichotomies)
• Mga Awit ng Tanod-lupa (Songs of the Earth-Guardian)
• Lumad sa Síyudad (Native in the City)
• Lupa't Langit (Earth and Heaven)
• Awit ng Magdaragat (Song of the Seafarer)
• Basta May Saging (As Long as Theres Bananas!)