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According to National Artist Ramon Santos, PhD, “contemporary music in

the Philippines refers to compositions that have adopted ideas and elements from 20th
century art music in the west, as well as the latest trends and musical styles in the
entertainment industry.”
The modern Filipino repertoire consists of musical pieces that have been written in
20th century idioms that have evolved out of such stylistic movements as
impressionism, expressionism, neo-classicism, as well as avantgarde and new music.
New music are compositions which are improvisational works such as the early
compositions of Dr. Ramon Santos, Radyasyon and Quadrasyon; Josefino “Chino”
Toledo’s Samut-Sari, Pintigan and Terminal Lamentations, and Jonathan Baes’ Wala
and Banwa

In this module, you will learn the first part of the history of the Contemporary
Philippine music. We will be discussing the characteristics of musical styles of the
famous Philippine contemporary composers, historical and cultural backgrounds.
● Narrates the life of selected contemporary traditional Filipino composer/s
● Analyzes the musical characteristics of traditional and contemporary
Philippine music.

Word Classification

Instructions: Complete the table below by classifying the 20thtraditional composers to

its sample composition.

Awit ni Maria Lahing Kayumanggi Alikabok

Pandanggo sa Ilaw Ang Ating Watawat Ang Magsasaka

Himig ng Nayon Alitaptap Himutok

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Lesson
20th Century Traditional
1 Composers

With Spain and then America having colonized the Philippines from the early
1500s to the late 1800s, it was unavoidable that Western compositional techniques
found their way into the works of Filipino composers. Yet, even 20th century Filipino
composers have managed to retain some traditional elements in their assimilation of
Western techniques. In fact, they have become the strongest foundations of what we
now know as Philippine music.
Among the major Philippine contemporary composers are Francisco Buencamino Sr.,
Francisco Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col. Antonino
Buenaventura, Rodolfo Cornejo, Lucio San Pedro, Rosendo Santos Jr., Alfredo
Buenaventura, and Ryan Cayabyab.

FRANCISCO B. BUENCAMINO SR.

(1883 – 1952)
Francisco Beltran Buencamino Sr .was born on November
5, 1883 in Bulacan. He was the son of a musically inclined
couple. His father was Fortunato Buencamino, a church
organist and band master. His mother was Luisa Beltran, a
noted singer. He studied music composition and harmony
at Liceo de Manila. Unfortunately, he was notable to finish.
He taught at the Ateneo de Manila, and at Centro Escolar de
Señoritas whose Conservatory of Music he founded. He also
created the Buencamino Music Academy in 1930 where
Nicanor Abelardo was one of his students. Expanding his
career, he ventured into musical directing and scoring, and
composing film music for Sampaguita Pictures, LVN, and
Excelsior.

Buencamino’s compositions include Harana, Pandanggo n iNeneng, Collar de

Sampaguita, Dulces las Horas, Mayon (Fantasia de Concierto), My Soul’s Lament,
Larawan, Mazurka, Boholana, Mi Bandera, Princesang Kumintang, Maligayang Bati,
Ang Bukang Liwayway, Pandanggo ni Neneng,Ang Bagong Balitaw, Himig ng Nayon,
Damdamin (Romance), and Pizzicato Caprice.
Many of his piano works have become a staple part of the Philippine repertoire of
today’s young students, especially Mayon, Larawan, and Maligayang Bati. He also
wrote several zarzuelas and kundimans. He passed away on October 16, 1952 after
which a posthumous award honored him with the title “Outstanding Composer.”

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 LUCIO SAN PEDRO
(1913 – 2002)
National Artist for Music

Lucio San Pedro was born on February 11, 1913 in

Angono, Rizal. Since his elementary days, he started
composing. He studied the banjo which inspired him to
become a serious musician. He later pursued his music
degree at the University of the Philippines and the Juilliard
School in New York, USA. Upon returning to the Philippines, he became a professor
of theory and composition at the University of the Philippines’ College of Music.

San Pedro is known as a “romantic nationalist.” He

incorporated Philippine folk elements in his compositions with Western forms and
harmony. His chords have a rich expressive tonality, as represented in his well-loved
Sa Ugoy ng Duyan, a lullaby melody sung by his mother.

His orchestral compositions are best represented by the Suite Pastorale (1956), a
poetic aural description of his hometown Angono, and his nationalistic symphonic
poem Lahing Kayumanggi (1962). Other compositions include songs, pieces for violin,
cello, and chorus. His works for the symphonic band was where he was most prolific
and productive both as composer and conductor.

His musical prowess was internationally recognized when he was invited to be a judge
at the prestigious Van Cliburn International Piano Competition in 1980. He was
declared National Artist for Music in 1991 and passed away on March 31, 2002.

NICANOR ABELARDO
(1893 – 1934)
Nicanor Abelardo is one of the “Triumvirate of Filipino
Composers” which includes Antonio Molina and Francisco
Santiago. He studied music at the Chicago Music College
and was influenced by the musical styles of Schoenberg,
Hindemith and Stravinsky.

Abelardo developed a style that combined European

romanticism with chromaticism. His compositions contain
hazy tones, dissonance and unusual chordal
combinations found in such works as Cinderella Overture, Panoramas, and a violin
sonata.
Although a 20th century modern composer in style, he is also considered a composer
in the Romantic style. His best-known compositions include Mutyang Pasig, Nasaan
Ka Irog, Cavatina for Violoncello, and Magbalik Ka Hirang.

ANTONIO J. MOLINA
(1894 – 1980)
National Artist for Music

Antonio Molina, the first National Artist for Music, is

considered one of the “Triumvirate of Filipino Composers”
which includes Nicanor Abelardo and Francisco Santiago.
He began his music career as an orchestral soloist at the
Manila Grand Opera House.

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He served as Dean of the Centro Escolar University Conservatory of Music from 1948
to 1970. He was also a faculty member of the University of the Philippines’
Conservatory (now College) of Music.

Molina was a product of both the Romantic and Impressionist schools of thought. He
was fascinated by the dynamics and harmonies of Debussy, but retained much of
the Romantic style in his melody. A characteristically impressionist work is his piano
work Malikmata (Transfiguration). The mysteriously exotic chords of this piece
gradually lead to a lyrical melody, with the traditional harmonies abruptly returning
to the initial mood. Molina wrote several compositions for piano, violin, and voice as
well as a Spanish-style opera form known as the zarzuela.
He is best known for his poignantly romantic serenade for violin and piano
Hatinggabi. Subsequent transcriptions of this piece were written for the cello, flute,
piano, and guitar. Other works by Molina include orchestral music – Misa Antoniana
Grand Festival Mass, AngBatingaw, Kundiman-Kundangan; chamber music - String
Quartet, Kung sa Iyong Gunita, Pandangguhan; and vocal music - Amihan, Awitni
Maria Clara, and Larawan Nitong Pilipinas. He received the National Artist for Music
award in 1973. He passed away on January 29, 1980.

CIPRIANO “RYAN” CAYABYAB

(1954 –)

Ryan Cayabyab is a popular contemporary composer who

also has classical compositions to his credit, such as Misa,
Four Poems for Soprano and Piano, and Te Deum. His
compositional style makes much use of syncopation,
extended chords, and chromatic harmony.

Among his numerous compositions are the award-winning

Kay Ganda ng Ating Musika (1978), as well as the modern
zarzuela Alikabok (2003), the opera Spoliarium with
libretto by Fides Cuyugan-Asensio, and a variety of choral
pieces and song cycles. He also produced a number of recordings,
including the memorable album One, where he personally sang the unaccompanied
songs on different tracks to produce 16 voices.

Cayabyab was born on May 4, 1954 in Manila. He obtained his Bachelor of Music
degree at the University of the Philippines’ College of Music. After which, he became
a faculty member for Composition at the same University. He also served as the
Executive and Artistic Director of the San Miguel Foundation for the Performing Arts,
which oversaw the operations and programming of the San Miguel Philharmonic
Orchestra and the San Miguel Master Chorale. At present, he continues to be a much
sought-after professor, musical director, composer, arranger, and conductor in the
Philippine concert and recording scenes.

Francisco Santiago
(1889 – 1947)
Francisco Santiago is known as the “Father of the
Kundiman” and belongs to the “Triumvirate of Filipino
Composers.” He finished his music specialization at the
American Conservatory of Music in Chicago, where he
obtained his Doctorate Degree in 1924.

Santiago’s music was Romantic in style, incorporating

Western forms and techniques with folk materials. He
composed several works such as kundiman, symphonies,
piano concertos, and other music pieces for the piano, violin,
and voice.

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Among his famous works are Pakiusap, Madaling Araw, Sakali Man, Hibik ng
Pilipinas, Ano Kaya ang Kapalaran, and Kundiman (Anak Dalita). This piece was
sung before the Royal Court of Spain upon the request of King Alfonso II. He was also
a musical director for films. Among the films whose music he supervised are
Kundiman, Leron-Leron Sinta, Madaling Araw, Manileña, and the movie inspired by
his own composition Pakiusap. He became the first Filipino Director of the UP
Conservatory of Music.

HILARION RUBIO Y FRANCISCO

(1902 – 1985)

Hilarion Rubio Y Francsico was born on October 21,

1902 in Bacoor, Cavite. A composer, music teacher,
conductor, and clarinetist, he created substantial works
for the orchestra. He served as conductor for opera,
ballet, dance recitals, and movie music.

His early interest in music came from the influence of

his uncle who was then playing with the Bacoor Band.
His first music lessons in music theory and clarinet were
with Fr. Amando Buencamino who taught him solfeggio and some musical
instruments. When he was eight years old, he was accepted as a member of the
Bacoor Band as a clarinetist. At that time, he made his first composition Unang Katas
for his concert with the band. In his high school years at the North High School (now
Arellano High School), Rubio became a member of several orchestras. He performed
with various movie house bands and orchestras. He was also a member of the Lyric
Theater Orchestra, Trozo Band in Benavides Street, and the Band Moderna in Tondo.
After he graduated from high school in 1930, he co-founded the Anak Zapote Band.
He later became a bandleader and conductor of the ROTC Band of the Conservatory
of Music, University of the Philippines (UP) and played the violin and timpani with
the UP Junior Symphony Orchestra.
Rubio’s compositions include: Bulaklaken, Theme and Variations for Band,
Dance of the Nymphs Rondo, Florente at Laura (overture), Halik, Danza, Unang
Katas, Two- part Invention (piano), AngKonsyerto (ballet), Ang Magsasaka, Bukang
Liwayway, Concertino in C (marimba and piano), Filipinas Kong Mahal, Hatulan Mo
Ako, Ginintuang Araw, In a Tropical Sea, Light, Narra, Mutyang Silangan, To the
Filipino Youth, Nela, National Heroes Day Hymn, and Salamisim. He passed away on
December 28, 1985.

COL. ANTONINO BUENAVENTURA

(1904 – 1996)
National Artist for Music

Col. Antonino Ramirez Buenaventura was a renowned

composer, conductor, and teacher. His father Lucio was the
chief musician of the Spanish artillery band in Intramuros
and founder of Banda Buenaventura. As a young boy, he
had already demonstrated a passion for music while
learning the rudiments of music and solfeggio and becoming
a proficient clarinet player.

Col. Buenaventura further developed his musical abilities at the Conservatory of

Music, University of the Philippines (UP) at the age of 19. He received a Teacher’s
Diploma in Science and Composition at UP. Nicanor Abelardo and Francisco
Santiago were among his famous mentors. At the University, Buenaventura led the
UP ROTC Band and established the UP Junior Orchestra which was the first
collegiate orchestra in the country. He pursued further studies at the Institute of

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International Education in New York. He was also awarded a study grant by the
UNESCO in 1949. He was a delegate to the general assembly of the International
Society for Music Education held in Montreux, Switzerland in 1976. He represented
the country at the general meetings of the International Music Council (IMC) in Rome
(1962) and Hamburg (1964).

FELIPE PADILLA DE LEON SR.

(1912 – 1992)
National Artist for Music
Felipe Padilla de Leon was born on May 1, 1912 in Barrio
Papaya (now General Tinio) in Penaranda, Nueva Ecija. He
is the son of Juan de Leon and Natalia Padilla. Felipe de
Leon married pianist Iluminada Mendoza with whom he had
six children. Bayani and Felipe Jr., are two of his children.
Bayani is a well-known composer, and Felipe Jr. is a writer
and the chairman of the National Commission for Culture
and the Arts (NCCA).
De Leon’s talent in painting and drawing was discovered
during his school days and admired by his uncle, peers.
People asked him to make illustrations and sketches and was paid for them.
When he was studying at the Nueva Ecija High School, he went on trips with his
hometown band and wrote short pieces for them. He took up Fine Arts at the
University of the Philippines in 1927, but he had to stop schooling in order to make
a living. He played the trombone in dance orchestras which performed in cabarets,
circuses and bodabil (vaudeville). Then, he worked as an assistant conductor of the
Nueva Ecija High School Orchestra where he started doing musical arrangements.
Later on, he wrote music for the zarzuela.
De Leon wrote piano compositions, hymns, marches, art songs, chamber music,
symphonic poems, overtures, band muic, school songs, orchestral works, operas,
kundiman, and zarzuelas. He was known as a nationalist composer who expressed
the Philippines' cultural identity through his compositions. Two operas which are
considered his masterpieces are the Noli Me Tangere (1957) and El Filibusterismo
(1970). These two operas have been staged in the Philippines and abroad. He also
wrote a march during the Japanese regime entitled Tindig, Aking Inang Bayan, and
another march Bagong Lipunan during the martial law. He wrote the popular
Christmas carols Payapang Daigdig (1946), Noche Buena, and Pasko Na Naman, both
in 1965. Felipe de Leon received a posthumous award as National Artist for Music in
1997. He died on December 5, 1992.

RODOLFO S. CORNEJO
(1909 – 1991)
Rodolfo S. Cornejo was born on May 15, 1909 in Singalong,
Manila. Inspired by his mother’s genuine support, the young
Cornejo started formal music lessons at the age of six. He
performed on stage after only two years of music studies.
During this time, he was also invited as organist of the Pasay
Catholic Church. His first composition at age 10 was a piano
piece entitled Glissando Waltz. It was followed three years
later by a military march entitled Salute. At the age of 14, 26
of Cornejo’s compositions were already listed by the United
Publishing Company Inc.
Cornejo was also known for his extemporaneous thematic improvisations based on
the letters of people’s names. His compositional output includes A la Juventud
Filipina, Bailes de Ayer, Caprice on a Folksong, Cello Sonata, Ibong Adarna,
Kandingan, Malakas at Maganda, Overture, Okaka, Oriental Fantasy, Ibong Adarna,
Piano Concerto Nos. 1,2,3, Ruby, and Song of the Miners. He passed away on August
11, 1991.

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 ROSENDO E. SANTOS JR.
(1922 – 1994)

Rosendo E. Santos Jr. was born on September 3, 1922 in

Cavite City. At age 11, he started composing band marches,
instrumental, and vocal scores, as well as music for
Catholic masses.

He studied in Cavite schools and later graduated from the

UP Conservatory of Music where he eventually became a
faculty member. He also pursued a Master of Music degree
in theory and composition from the Catholic University of
America in Washington, D.C. After which, he also served on its faculty as well as in
West Virginia University and Howard University.
A prolific composer, he had composed several piano concerti, sonatas, symphonies,
symphonic poems, five operas in Filipino, numerous band overtures, and more than
200 marches. He had also written 50 masses in Latin and 20 in English. He has more
than 1,000 musical compositions in the library of the University of the Philippines.
Santos’ last musical work and only ballet composition, Melinda’s Masquerade, was
performed in 1995, a year after his death. Santos passed away on November 4, 1994
in Swoyersville, Pennsylvania, USA.

ALFREDO BUENAVENTURA
(1929 – )

Dr. Alfredo Santos Buenaventura, composer, conductor

and teacher, was born in Sta. Maria, Bulacan on October
14, 1929. He grew up in a musical environment and became
a band member in his hometown at a young age. He was
drawn by his fascination with trumpets and trombones and
became one of its arrangers and conductors. He was one of
twenty boy sopranos of Tiples at Sto. Domingo Church from
where he received his first significant musical training. At
that time, he also wrote his first composition, Danza.

Some of his major works include the operas Maria Makiling (1961), Diego Silang
(1966), Prinsesa Urduha (1969), cantatas Ang Ating Watawat (1965), Paskong
Barangay (1964), three piano concertos subtitled Celebration, Determination, and
Exultation, and symphonies such as Dakilang Lahi (1971), Gomburza (1981), and
Rizal, the Great Malayan Antagonist (1990). His minor works numbering more than
50 cover mostly religious songs and hymns for specific celebrations such as the
Sixteenth Centenary of St. Augustine, Mass for the 400th Year of the Augustinian
Recollect, and the Philippine Music Festival. His other creative musical works have
been commissioned by the Cultural Center of the Philippines, Metropolitan Theater,
and the National Music Competitions for Young Artists (NAMCYA).
Buenaventura’s compositional style rests mainly on his own set of musical
ideas, wherein he creates a combination of contemporary and conventional materials.
He keeps his melodies simple and understandable but with contemporary harmonies
that enhance their complexity. He became an official organist of the Manila Cathedral
in 1960. He became the Dean of the College of Music, Centro Escolar University. He
is a member of the League of Filipino Composers. He received a number of awards in
the music industry. He was twice an awardee of the Republic Cultural Heritage Award
and the The Outstanding Filipino Award (TOFIL) for Music in 1995.

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 The following are the musical elements that you can use in analyzing the
given music of the 20th century traditional composers.

Pitch – register (high or low); organization of pitches with a pattern

of intervals between them creates scales; Words we might use to describe
scales: major/minor, chromatic, gapped, pentatonic.

Rhythm – the time element of music. A specific rhythm is a specific pattern

in time; we usually hear these in relation to a steady pulse, and mentally
organize this pulse or tempo into meter (sometimes called a "time
signature"). Meter organizes beats into groups, usually of two or three; beats
can be divided into small units usually 2, 3 or 4 subdivisions

Melody, or musical line, is a combination of pitch and rhythm (some say

"duration"). Sometimes a melody is considered to be the theme of a
composition. A melody that uses mostly small intervals (or scale steps) and is
smooth is said to be a conjunct melody.

Timbre – sound quality or tone color; timbre is the characteristic that allows
us to distinguish between one instrument and another and the difference
between vowel sounds. I prefer to avoid describing timbre in emotional terms
(excited, angry, happy, sad, etc.); that is not the sound quality, it is its effect
or interpretation. Rather than describe the timbre of an instrument in other
terms, it is often clearer just to describe the timbre by naming the instrument,
once we have learned the names and sounds of a few instruments.

Dynamics – loud or soft, a composition that has extremely soft passages as

well as extremely loud passages is said to have a large or wide dynamic
range. Dynamics can change suddenly or gradually (crescendo, getting
louder, or decrescendo, getting softer.)

Texture – monophonic (one voice or line), polyphonic (many voices, usually

similar, as in Renaissance or Baroque counterpoint), homophonic (1. a melody
with simple accompaniment; 2. Chords moving in the same rhythm
(homorhythmic)) heterophony – “mixed” or multiple similar versions of a
melody performed simultaneously (rare in European music; possibly used in
Ancient Greece) collage – juxtaposition & superimposition of extremely
different textures or sounds.

A. Listening Activity
1. Listen to the following of recordings of the following works by Filipino song
composers:
a. NicanorAbelardo –
NasaankaIroghttps://www.youtube.com/watch?v=W8-
NqGJYkeE

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 b. Lucio San Pedro – Sa
UgoyngDuyanhttps://www.youtube.com/watch?v=F4A7Ptil2j4
c. Ryan Cayabyab – Kay
GandangatingMusikahttps://www.youtube.com/watch?v=fzv2
FsJFmqA
d. Col. Antonio Buenaventura –Mindanao Sketches
https://www.youtube.com/watch?v=FKdceWT1o0s
e. Alfredo Buenaventura –
DakilangLahihttps://www.youtube.com/watch?v=J6bQ9fyJc3k
2. Listen carefully to each excerpt and recognize the different
musical styles of the composers.
3. Analyze the music. Take note of the elements of music present.

Nasaan Sa Ugoy Kay Ganda ng Mindanao Dakilang

Elements
ka Irog ng Duyan ating Musika Sketches Lahi
Meter/ Time
signature
Tempo/beats
per minute
(slow,
moderate,
fast)

Texture

Timber

Dynamics

All your answers will be written in your activity notebook and send to: Option 1.
Send to group chat Option 2. Send to Google classroom.

1. Choose a composition in the 20th century traditional composers that

you like. Write a short reaction paper on it in relation to its musical
style.
2. All your answers will be written in your activity notebook and send to:
Option A. Send to group chat Option B. Send to Google classroom.

Go and Explore!
1. Compose a simple song. Write the lyrics and the music.

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 2. You may adapt a certain melody from the compositions of the 20th century
traditional composers that you like. Write the new lyrics to fit the music.
3. You may include an accompaniment such as guitar, flute, recorder, keyboard,
drums, tambourine, and maracas or improvise musical instruments from the
environment.
4. You may sing it a capella (without accompaniment) or with accompaniment.
Perform your composition or your song adaptation in class.
5. What motivated you to compose or adapt the music of that song?
6. You may your mobile phone, laptop or personal computer.
7. You may improvise simple vocal or instrumental accompaniment/s to the songs
you have chosen.
8. You may explore ways of creating sounds as instrumental accompaniment to the
song from a variety of sources or from the environment.

All your answers will be written in your activity notebook and send to: Option 1.
Send to group chat Option 2. Send to Google classroom.

Rating:
1. How well did the performers express the message of the songs?
2. How well did the performers pronounce the lyrics of the songs?
3. How well did the performers sing based on musical elements and style:

a. pitch
b. rhythm
c. style
d. expression
e. dynamics
f. melody
g. timbre
h. texture
i. harmony

REFERENCES
BOOKS
Horizons Music and Arts appreciation for Young Filipinos pages 91-104
WEBSITE
https://www.britannica.com/art/musical-performance https://en.wikipedia.org/wiki/Alberti_bass
TheTeacherCorner.net
https://www.youtube.com/watch?v=W8-NqGJYkeE
https://www.youtube.com/watch?v=F4A7Ptil2j4
https://www.youtube.com/watch?v=fzv2FsJFmqA
https://www.youtube.com/watch?v=FKdceWT1o0s
https://www.youtube.com/watch?v=J6bQ9fyJc3k

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 Development Team of the Module

Writer: Analisa V.Caňales

Editors:
Content Evaluator: Ryan Gleserio P. Palamos
Language Evaluator: Marlie B. Maximo
Reviewers: Jericho V. Castro

Illustrator: Anne Canales, Amapola Espos

Layout Artist: Melanie D. Gatanela
Management Team: DR. MARGARITO B. MATERUM, SDS
DR. GEORGE P. TIZON, SGOD Chief
DR. ELLERY G. QUINTIA, CID Chief
SHOJI GERONA, EPS - MAPEH
DR DAISY L. MATAAC, EPS – LRMS/ALS

For inquiries, please write or call:

Schools Division of Taguig city and Pateros Upper Bicutan, Taguig City

Telefax: 8384251

Email Address: sdo.tapat@deped.gov.ph

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