Contemporary music in the Philippines usually refers to compositions that have adopted ideas and elements from twentieth

century art music in the West, as well as the latest trends and musical styles in the entertainment industry. This brief introduction covers only the works written by the art music composers. The modern Filipino repertoire consist of pieces that have been written in twentieth century idioms that have evolved out of such stylistic movements as impressionism, expressionism, neo-classism, as well as the socalled avant-garde and ew !usic. " #ood number of these works have utili$ed the standard formats of classical %uropean music such as the concerto, the symphony, the symphonic and tone poems, cantata, etc. and may therefore be broadly cate#ori$ed as neo-classic. "t the same time, they have also been #reatly influenced by the textural colors of &ebussy's music and the ambi#uous and (dissonant( tonalities of early )*th century expressionist compositions. !oreover, the sounds of non-Western instruments have been added to the tonal fabric. The first modern works that belon# to the above descriptions are attributed to icanor "belardo, who from +,-+ till his death in +,-. produced works that show a dramatic departure from his hi#hly chromatic--tonal idiom to dissonant and ambi#uous tonalities and complex rhythmic textures. /ome of the representative works of that period are the (Sinfonietta for Strings( and the (Cinderella( Overture. 0n Panoramas, a chamber music suite, "belardo also experimented on unorthodox instrumental combinations 1flute, violin, viola, celesta, piano2. Two short pieces for piano Dancing Fool and Malikmata by "ntoni !olina, Philippine Suite by 3amon Tapales, and Mindanao Sketches by "ntonio 4uenaventura were isolated works that assumed some de#ree of modernistic structural elements, immediately followin# "belardo's output. Philippine neo-classism is si#nificantly represented by three names5 %liseo Pa6aro, 3osendo /antos and 7ucresia 8asila#. !ost of Pa6aro's works 1usually bitonally chromatic2 are set in such extended formats as the symphony9 concerto9 symphonic ode9 e.#. Ode to Academic Freedom9 and son# cycles usin# Filipino folk tunes 1Himig Iloko2. the prolific 3osendo /antos, also a versatile performer in the keyboard, percussion, and wind instruments, has written hundreds of compositions for a variety of instruments and instrumental combinations9 e.#. Suite Brevet for clarinet, alto sa ophone and piano, !"o Poems for flute, vi#es, and percussion, $tude for si timpanist and multi%percussion, Fantas& for Contra#ass and Harp, etc. 7ucresia 8asila#, aside from usin# neo-classic idioms, has added a further dimension to her compositions by infusin# the sounds of native instruments as well as their scales, and experimentin# on new forms such as the operatorio Her son, 'ose and Dulara"an, a contraction of dula 1theater2 and larawan 1pictures2. /ome of her landmark compositions are !occata for percussion 1orthodo and Muslim2 and "inds, and Orientalia Suite for Piano and cham#er and Philippine percussion instruments( /he has also applied elements of improvisation in her $kologie I) On a Da& off for tape recorder and indigenous instruments andImprovisations *o( + and , for Moslem gamelan and tipangklong. "nother sub-classification of Philippine neo-classic works are those written by "lfredo 4uenaventura, :erry &adap, %duardo Parun#ao, and !anuel !aramba. Their works are characteri$ed by the eclectic utili$ation of various harmonic idioms, from late romantic to early twentieth century. " departure from the standard forms of western classical music is a si#nificant characteristic of the works of composers who are explorin# alternative directions and concepts in music composition. 7ed and inspired by :ose !aceda, these works derive their essence, theoretical and structural parameters from non-Western sources, specifically "sian music and Philippine indi#enous cultural traditions. "t the same time, they have been initially influenced by the ideas of mass structures that were advanced by such avant-#arde composers as %d#ar ;arese and 0annis <enakis, and later by the different streams of indeterminacy and improvisation as explored by :ohn Ca#e and his followers. The initial works of :ose !aceda may be classified as color and cloud compositions, utili$in# the tones and timbres of non-Western instruments to create different blocks of sounds9 e.#. -gma%-gma and Agungan. =is later works assumed overwhelmin# dimensions in the use of acoustical space, mass performance and the concept of a modern ritual- Pagsam#a, -dlot%-dlot, Ading, -gna&an, etc. "lso belon#in# to this formal cate#ory are 3amon /antos' .it"al ng Pasasalamat I and II as well as his /ikas%An and *agnit Igak 01nam 2ag1 n"ag *ila, a Philippine Centennial piece for orchestras, > choruses, audience, and conductor. :onas 4aes

also contributed to this literature with his Panta"ag, 3alipa& and 4e&unan which is based in his study of 0raya man#yan culture. "nother cate#ory of ew !usic compositions are improvisational works. The early pieces of 3amon /antos such as 3adyasyon and ?uadrasyon were later au#mented by Toledo's Samut%sari, Pintigan and !erminal /amentations, all written as musical #raphics, and his Humigit 3umulang for !alay hadrah and kompang. 4aes' 2ala and Ban"a, both written in +,,>, uses audience as well as the participation of traditional Philippine instruments. @ne of the more preferred media by the youn#er #eneration of Filipino composers is mixed media and theater forms. /antos has si#nificantly contributed to this body of works with his A"it, Panagho&, 1on the poetry and inoy "Auino2, !a%O at Dasalan and Pomp&ang at i#a Pa by Chino Toledo. The experimentalPanata ng /upa by Francisco Feliciano and other composers is an outdoor theater that fuses elements of opera and 8alin#a rituals. Feliciano has also composed the music for the music dramas Sikha& sa 3a#ila ng Paalam and Ashen 2ings, as well as the monumental opera /a /o#a *egra. 3elated to this cate#ory areballet and dance compositions to which belon# 8asila#'s Sisa, /egende, and !apestr&9 /antos' Aninag9 :erry &adap's !omaneg at Ani"a&9 Feliciano's 4erma9 Toledo's Pilipino 3omiks and A#e((( 1on the music of icanor "belardo2 /ome works may be cate#ori$ed as (unclassified( for their uniAueness in conceptual framework as well as the musical materials used9 e.#. /antos' 4ugto%4ugtong !agpo na Hingango sa Makasa&sa&ang Panaginip ni Antonio Manggaga"a, a modern epic9 :ose !aceda's Music for Five Pianos and Mosaic for 0ongs and Bam#oo.
Lucio San Pedro (February 11, 1913 March 31, 2002) was a Filipino composer and teacher. e was born on February 11, 1913 in !n"ono, #i$al, the %hilippines. e is &nown in the %hilippines as the composer o' the popular lullaby Sa Ugoy ng Duyan (in collaboration with (e)i *elerio) and the symphonic poem Lahing Kayumanggi. e tau"ht composition at a number o' colle"es and uni)ersities, includin" the +ni)ersity o' the %hilippines *olle"e o' Music, where he ser)ed as chairman o' its *omposition and *onductin" ,epartment 'rom 19-0 to 19-3. Felipe Padilla de Leon (1912.1992) was a ma/or %hilippine composer, conductor, and scholar. e was &nown best 'or translatin" the lyrics o' the %hilippine 0ational !nthem 'rom the ori"inal 1panish to 2a"alo". ! recepient o' numerous awards and honors, he was posthumously named 0ational !rtist o' the %hilippines 'or music in 199-. e was married to 3luminada 4onus Mendo$a and the 'ather o' si5 e6ually "i'ted and musical children7 (in order o' birth) Felipe Mendo$a de (eon, 4ayani de (eon, 2a"umpay de (eon, (unin"nin" de (eon.*arbonell, Ma"dan"al de (eon and Marila" de (eon.Mendo$a. Felipe %adilla de (eon was born in %e8aranda, 0ue)a 9ci/a on May 1, 1912. e was educated in Manila and the +nited 1tates. e tau"ht in )arious schools in the capital city. e became conductor o' 4anda Malaya 0o. 1 o' 2aytay, #i$al. e was &nown 'or Filipini$in" western music 'orms. e was a prodi"ious composer7 'or orchestra, Marian" Ma&ilin" :)erture (1939), #oca 9ncantada (19;0),Maynila :)erture (19-<), :rchesterstu& (19=1)> 'or choral music, !&o?y %ilipino, (upan" 2inubuan, and !ma 0amin. ,e (eon wrote his 'amous piece @%ayapan" ,ai"di"@ the mornin" a'ter he wo&e up to the destruction o' the city o' Manila durin" Aorld Aar 33. e also wrote the classic son"s 4ula&la&,!litaptap, Mutya n" (ahi and the &undiman 1aron" 4an""i. e also composed the 'irst 'ull.len"th Filipino opera, 0oli Me 2an"ere, and subse6uently 9l Filibusterismo. Many Martial (aw babies recall sin"in" his patriotic son" @ 4a"on" (ipunan@ immediately a'ter the national anthem.

RODOLFO CORNEJO 1!ay +B, +C,*-"u#. ++, +,,+2 Corne6o served as pianist-director of a D/@ concert unit that entertained the "llied Forces at the %.T.@., the !arianas, and the =awaiian 0slands in World War 00. 3odolfo Corne6o was a composer and pianist. =e was appointed by President ?ue$on as the researcher and official composer of the Philippine #overnment in exile. Corne6o was a soloist with the !anilia /ymphony @rchestra and was the musical director of the /ampa#uita and ;era-Pere$ !ovie Companies. Lucrecia Kasilag 1"u#ust -+, +,+> E "u#ust +F, )**C2 was a Filipino composer, music educator, and ational "rtist for !usic. /he studied composition with Wayne 4arlow. /he was also a former president of the Cultural Center of the Philippines, head of the "sian Composers 7ea#ue, Chairperson of the Philippine /ociety for !usic

%ducation, and was one of the pioneers of the 4ayanihan &ance Company. /he is credited for havin# written more than )** musical compositions, ran#in# from folkson#s to opera to orchestral works, and was composin# up to the year before she died, at a#e ,*. /he is particularly known for incorporatin# indi#enous Filipino instruments into orchestral productions.
Jos Montserrat Maceda (Banuary 31, 191- May ;, 200C) was a Filipino composer and ethnomusicolo"ist. Maceda was born in Manila, %hilippines, and studied piano, composition and musical analysis at Dcole 0ormale de Musi6ue de %aris in France. !'ter returnin" to the %hilippines, he became a pro'essional pianist, and later studied musicolo"y at *olumbia +ni)ersity, and anthropolo"y at 0orthwestern +ni)ersity. Ramon Santos, Ph.D., is a world.renowned Filipino composer whose wor&s ha)e been per'ormed in ma/or music 'esti)als around the world. e is pro'essor emiritus o' music at the +ni)ersity o' the %hilippines (+%) *olle"e o' Music in ,iliman, Eue$on *ity. e has done e5tensi)e studies in %hilippine traditional music and 1outheast !sian and 1outhern *hina music. 1antos is also one o' the 12 +% *entennial Fellows who will participate in the +% *entennial (ecture 1eries as part o' the *entennial celebration o' the %hilippines? premier institution o' hi"her learnin". Ryan Cayabyab (born Raymundo Cipriano Pujante Cayabyab on May C, 19;C in Manila, %hilippines but &nown as Mr. *) is a Filipino musician and was the 95ecuti)e and !rtistic ,irector o' the de'unct 1an Mi"uel Foundation 'or the %er'ormin" !rts. e was also a resident /ud"e 'or the only season o' Philippine Idol in 200<. is wor&s ran"e 'rom commissioned 'ull.len"th ballets, theater musicals, choral pieces, a Mass set to unaccompanied chorus, and orchestral pieces, to commercial recordin"s o' popular music, 'ilm scores and tele)ision specials. Jose ino !Chino! "oledo is a Filipino composer and conductor. e teaches music composition and theory at the +ni)ersity o' the %hilippines *olle"e o' Music, and is co'ounder o' the Metro Manila *ommunity :rchestra. e is an acti)e and reco"ni$ed 'i"ure in the contemporary !sian music scene. 2oledoFs music is characteri$ed by "reat ener"y and o'ten bears a relationship to the traditional music o' 1outheast !sia. e was a 'ounder o' the +ni)ersity o' the %hilippines Festi)al :rchestra, *rosswa)e 1ymphony :rchestra %ro/ect and the chamber )ocal ensemble !+32. e is also 'ormer music director o' the Manila 1ymphony :rchestra and %eace %hilharmonic :rchestra o' the %hilippines, and "uest conductor the %hilippine %hilharmonic :rchestra and the 1an Mi"uel %hilharmonic :rchestra in their concerts and other orchestral acti)ities. Lea Salon#a, G(, (HleI sIlJIH> born February 22, 19-1), is a Filipina sin"er and actress who starred in the lead role o' Gim in the musical Miss Saigon,K2L 'or which she won the :li)ier, 2ony, ,rama ,es&, :uter *ritics and 2heatre Aorld awards.K2LK3L 1alon"a is the 'irst Filipino artist to be si"ned to an international record label (ha)in" been si"ned to !tlantic #ecords in 1993). 1he is also the 'irst %hilippine.based artist to ha)e recei)ed a ma/or album release and distribution deal in the +nited 1tates (the second bein" *harice %empen"co with her 2010 album Charice), and one o' the best.sellin" Filipino artist o' all time, ha)in" sold o)er 'i)e million copies o' her albums worldwide. %ro'essor $scar C. %atco (born 0o)ember 23, 1931) is a Filipino conductor and )iolinist residin" in Mermany. 4orn to a 'amily o' music lo)ers, Natco obtained his music teacherFs diploma at the youn" a"e o' 1< 'rom the +ni)ersity o' the %hilippines in 19C-. From that 'irst step, he trained with renowned teachers such as 3)an Malamian at the Builliard 1chool o' Music in 0ew Nor& and Ailhelm 1tross at the 1tate !cademy o' Music in Munich, Mermany. e also won top pri$es in presti"ious international competitions in Mermany, and e)entually per'ormed as a soloist. Cecile Licad (b. May 11, 19<1) is a renowned Filipina )irtuoso classical pianist dubbed as @a pianist?s pianist@ by The New Yor er, @her artistry, a blend o' darin" musical instinct and superb trainin".@ *ecile 4uencamino (icad was born in Manila, %hilippines to a musical 'amily, she be"an her piano studies at the a"e o' three 'rom her mother, #osario (icad. 1he later studied with the hi"hly re"arded #osario %ica$o, and by the a"e o' se)en, made her debut as a soloist with the %hilippine %hilharmonic :rchestra. !t the a"e o' twel)e, *ecile mo)ed to the +nited 1tates to study at the *urtis 3nstitute o' Music with three o' the "reatest per'ormersHpeda"o"ues7 #udol' 1er&in, 1eymour (ip&in and Miec$yslaw ors$ows&i. &ilope' (abayao is one o' our "reatest Filipino Oiolinists. is )iolin murmured sweet syllables as it ascended and descended, at times seemin" to roar, then dwindlin" to a whisper. !t the a"e o' three Gabayao already started composin" short minuets. is 'ather is also a )iolinist, notin" his enthusiasm, started to teach him techni6ues and e5ercises ad)anced

'or his a"e. !t a"e nine, his early debut with a local orchestra playin" Mendelssohn?s Oiolin concerto in 9 minor 'oreshadowed what he would become. 2his was con'irmed when he and his sister (his accompanist) easily captured the hearts o' audiences because o' their youth, talent and ea"erness to play. Mr Gabayao loo&ed too youn" 'or a man o' -0. Jo)ita Fuentes, the "reat di)a, is the 'irst 'emale 0ational !rtist 'or Music in 19-<. er si"ni'icant contributions are the publication o' the son" o' Filipino compositions and the or"ani$ation o' the 4oys 2own 4and *oncert. "he *ni)ersity o the Philippines Madri#al Sin#ers (+%M1), also &nown as the Philippine Madri#al Sin#ersK1L or simply Mad', is one o' the ma/or cultural "roups based in the +ni)ersity o' the %hilippines, ,iliman. 3ts current conductor and musical director is Mar& !nthony *arpio. 2hey are the 'irst choir in the world to win the 9uropean Mrand %ri5 'or *horal 1in"in" twice (in 199- and in 200-). 2he %hilippine Madri"al 1in"ers (a''ectionately &nown as the @Mad$@) was 'ounded in 19<3 by 0ational !rtist 'or Music, %ro'essor !ndrea :. Oeneracion. 2he Mad$ is mostly composed o' students, 'aculty and alumni 'rom the +ni)ersity o' the %hilippines. 2he "roup?s trademar& per'ormance stance, sin"in" in a semicircle without a conductor, is instantly reco"ni$able. ! standard Mad$ per'ormance clearly e5hibits the seamless 'usion o' their musical )irtuosity, technical pro'iciency and soul'ul sin"in". 2heir hi"hly eclectic repertoire spans the breadth and len"th o' )ocal music7 'rom #enaissance madri"als to the a)ant."arde, 'rom Filipino and international 'ol&son"s to the latest pop hits, e)en 'rom the most cerebral choral masterpieces to the most humorous o' no)elty numbers. 2his world.class choir can honestly sin" anythin" with authenticity and pro'essionalism while &eepin" their audience thorou"hly entertained. 2he "roup per'orms a )ariety o' styles and 'orms but it speciali$es in the Madri"al, a polyphonic and challen"in" musical style popular durin" the #enaissance period where sin"ers and "uests would "ather around the table durin" a ban6uet to si"ht.sin" and ma&e music to"ether. 2his ser)ed as the inspiration 'or their uni6ue style o' sin"in" . sin"in" seated in a semicircle without a conductor. !s %hilippine ambassador o' culture and "oodwill, the Mad$ has had the pleasure and pri)ile"e o' "i)in" command per'ormances 'or royalty and heads o' state. 2hese include %ope %aul O3, %ope Bohn %aul 33, %residents Merald Ford and #ichard 0i5on, Eueen 1o'ia o' 1pain, Gin" Buan *arlos 3 o' 1pain and %rime Minister (ee Guan New. 2his choral institution has produced more than 200 choral and )ocal peda"o"ues 'rom its ran&s, acti)ely and constantly shapin" the local and international choral landscape. Mad$ alumni are much sou"ht.a'ter as sin"ers, conductors, arran"ers and music educators. 3ts corps o' composers and musical arran"ers continue to produce new compositions and choral settin"s o' %hilippine music, thus contributin" to the "lobal "rowth o' choral literature. !s resident artists o' the *ultural *enter o' the %hilippines, outreach concerts ha)e ta&en the Mad$ to 'ar.'lun" areas seldom reached by most per'ormin" artists. !)era"in" two international concert tours per year, the Mad$ relentlessly en"a"es in the promotion o' %hilippine music and the Filipino !rtist "lobally. %resently under the master'ul leadership o' Mad$ alumnus Mar& !nthony !. *arpio, the %hilippine Madri"al 1in"ers continues to set new standards o' e5cellence at a "lobal le)el. 1ince their humble be"innin"s as a uni)ersity.based chamber ensemble throu"hout their le"endary rise as international choral champions, this C-.year old cultural icon &nown as the %hilippine Madri"al 1in"ers has irre)ersibly cemented its stature as one o' world?s best choirs o' all time. :n 1- !pril 2011, the 1in"ers were honored to be 'eatured with the historic and Mrammy winnin" Mormon 2abernacle *hoir on their wee&ly broadcast . Music and the 1po&en Aord. +ndrea ,eneracion (or Ma!am "#> Buly 11, 192= Buly 9, 2013)K1L was a Filipina choral conductor and a recipient o' the 1999 0ational !rtist 'or Music award.K2L 1he 'ounded the %hilippine Madri"al 1in"ers in 19<3.K3L 1he was also an ad/udicator in numerous international choral competitions and was an acti)e 'orce in choral music be'ore her massi)e stro&e in 200;. 1he was born on Buly 11, 192=, to Macario :'ilada and #aymunda *arria"a. KCL 1he was raised in Manila, %hilippines. 1he earned her 4achelor o' Music de"rees in %iano and Ooice at the +ni)ersity o' the %hilippines ,iliman, "raduatin" cum laude. 1he was a lyric soprano soloist in )arious :ratorio wor&s and in the :pera 1ta"e. 1he was also a )ery accomplished pianist and accompanist and was the accompanist o' 0ational !rtist 'or Music, Bo)ita Fuentes 'or a number o' years. !part 'rom bein" an e5traordinary musician, she was also an e5ceptional athlete as a competiti)e swimmer. 1he was part o' the %hilippine swimmin" team who 'irst competed internationally in on" Gon".