987 LET THE LOVE BEGIN - GINO PADILLA & ROCKY HINDI MAGBABAGO - RANDY SANTIAGO GILIW - MARTIN

NIEVERA WANT YOU TO CRY TOO - KENO BOY - TIMMY CRUZ WHEN WILL YOU BE MINE - ARENARR DI BALE NA LANG - GARY VALENCIANO ENVELOPED IDEAS - THE DAWN HEY IT'S ME - JAMIE RIVERA MAKING IT - NEOCOLOURS PARA SA YO - RANDY SANTIAGO TAKE ME OUT OF THE DARK - GARY VALENCIANO 1988 ESTUDYANTE BLUES - FREDDIE AGUILAR SAYANG NA SAYANG - MANILYN REYNES TATLONG BENTE SINGKO - DINGDONG AVANZADO NAG-IISANG IKAW - LOUIE HEREDIA A FRIEND - KENO I STAND WITH YOU - THE DAWN MAGHIHINTAY SA 'YO - DINGDONG AVANZADO KUNG MAIBABALIK KO LANG - REGINE VELASQUEZ AWIT NG BARKADA - APO HIKING SOCIETY SAY YOU'LL NEVER GO - NEOCOLOURS 1989 SALAMAT - THE DAWN PAIKOT IKOT - RANDY SANTIAGO MAKAPILING KA SANA - DINGDONG AVANZADO SOMEWHERE LAONG THE WAY - MANILYN REYNES SABI KO NA NGA BA - SHERYL CRUZ MISS - JANNO GIBBS KAHIT WALA KA NA - SHARON CUNETA SEE YOU THERE - DING MERCADO I'VE FALLEN FOR YOU - JAMIE RIVERA THE ONE I LOVE - REGINE VELASQUEZ MAHAL NA RIN KITA - POPS FERNANDEZ KAILAN - SMOKEY MOUNTAIN 1990 NANDITO AKO - OGIE ALCASID PAALAM NA - RACHEL ALEJANDRO KAYPALAD MO - LILET

BEAUTIFUL GIRL - JOSE MARI CHAN CAN'T WE START OVER AGAIN - JOSE MARI CHAN MGA KABABAYAN KO - FRANCIS M CAN THIS BE LOVE - SMOKEY MOUNTAIN AWIT PARA SA'YO - JAMIE RIVERA IF YOU LEAVE ME - JAYA LOOK IN YOUR EYES - GARY VALENCIANO 1991 PLEASE BE CAREFUL WITH MY HEART - JOSE MARI CHAN & REGINE VELASQUEZ CLOSER YOU AND I - GINO PADILLA IISA PA LAMANG - JOEY ALBERT I WILL BE THERE FOR YOU - NONOY ZUNIGA NAKAPAGTATAKA - RACHEL ALEJANDRO HUMANAP KA NG PANGET - ANDREW E IKAW PA RIN - TED ITO (considered OPM artist) MAGHINTAY KA LAMANG - TED ITO LUMAYO KA MAN SA AKIN - RODEL NAVAL EKSENA SA JEEPNEY - MICHAEL V LUNINGNING - DENMARK ANG PAG-IBIG KONG ITO - RACEL TUAZON SHOUT 4 JOY - GARY VALENCIANO 1992 IF - NELSON DEL CASTILLO NEXT IN LINE - AFTERIMAGE GOTTA GET CLOSE - NEOCOLOURS MAHAL KITA, WALANG IBA - OGIE ALCASID TIME TO LET GO - SIDE A DON'T KNOW WHAT TO SAY - RACHELLE ALEJANDRO MUNTIK NA KITANG MINAHAL - THE COMPANY WILL I SURVIVE - INTROVOYS ONLY YOU - AFTERIMAGE GAYA NG DATI - GARY VALENCIANO HOLD ON - SIDE A MAN FROM MANILA - FRANCIS M BAKIT LABIS KITANG MAHAL - LEA SALONGA

ORGANISASYON NG PILIPINONG MANG-AAWIT (OPM) The ORGANISASYON NG PILIPINONG MANGAAWIT (OPM) is the leading and most respected organization of Filipino professional singers in the country. It is a non-stock, non-profit

corporation duly registered with the Securities and Exchange Commission. It was established in October 27, 1986. The OPM is governed by a Board of Directors (BOD) consisting of 7 members duly constituted through an election. The BOD elects among themselves the officers: a president, and vicepresident, secretary and treasurer. All the rest are members of the Board. The BOD is assisted by a secretariat office headed by an Executive Director. BOARD OF DIRECTORS President Chairman of the Board Vice-President for Internal Affairs Vice-President for External Affairs Vice-President for Special Projects Treasurer Corporate Secretary Executive Director

: : : : : : : :

OGIE ALCASID MITCH VALDES GARY VALENCIANO NOEL CABANGON CHRISTIAN BAUTISTA JOSE MARI CHAN DINGDONG AVANZADO ELMAR BELTRAN INGLES

MISSION & VISION The Philippine music industry is abounding with world-class professional singers whose worth are upheld and rights are protected under Philippine and international laws. OPMs mission is to carry on the task of working for the Filipino Singers advancement through:

1. Advocating policies for the growth of music industry 2. Ensuring that policies are correctly implemented 3. Ensuring that members are adequately supported through legal assistance and professional enhancement 4. Continuing promotion for the Filipinos patronage of local singers and original Pilipino musical compositionsy 5. Continuing promotion for the recognition of the Filipino singer and song in the international arena OPM's OBJECTIVES

Cause the Philippine Government to issue policies under a framework that would nourish the growth of the music industry as a whole, Cause all sectors to adhere to policies and support the growth of the music industry; Supports the members improve their craft and defend their rights. Establish R&D center for the development of Philippine music and information center for public consumption.

ACCOMPLISHMENTS Since 1986, OPM has moved from a mere organization of performing artists to cultural advocates promoting, protecting and pushing for the rights of artists through active engagement in the following advocacies:

The lobbying at the Senate in August 1996 for the deletion of Section 27 (B) (III) of House Bill No. 6060. The provision sought to limit corporate sponsorship of concerts, live shows and sport events to 0.35% of a companys gross sales. If enacted, this would have eradicated a lucrative source of livelihood among industry workers as producers would venture to produce shows/concerts featuring only tried and tested singers.

The eradication of the practice among television stations/producers of nonpayment of honoraria to singers/artists for their guesting is another success story. OPM likewise sought the strict implementation of Executive Order N. 255 s 1987 whereby local radio stations with musical formats play four (4) original Filipino music per clock. OPM spearheaded the lobby in the House of Representatives for the separation of the Amusement Tax being levied on movies from live performances. The latest success of OPMs active promotion of their collective agenda was the passage of the Intellectual Property Code or Republic Act. No. 8293 which was signed into law in January 1998.

The much lauded passage of Republic Act No. 8293 though once again burdened OPM with additional tasks to perform. The most telling burden of which is how to collect what is rightfully the artists share. The law imposed an additional remuneration of at least five percent (5%) of the original amount received from the first broadcast or communication of the performance. The law also strengthened the artists claims and granted the right to object to any distortion, mutilation or any form of modification of his performance that would be prejudicial to his reputation. The problem that arises is enforceability and monitoring when an organization such as the OPM is not geared towards those twin tasks.

The creative way of policing the entry of foreign artists in the country by entering into an agreement with the Bureau of Immigration and Deportation providing for an Equity Collection Scheme, the proceeds from which have provided benefits to member through equity payment from foreign performers.

RELEVANT PROJECTS & ENGAGEMENTS WOW Turismo, Para sa Filipino October 24, 2003, CCP Front Lawn November 7, 2003, Eastwood, Libis Quezon City A series of two-hour musical concert extravaganzas celebrating the best of the Philippine performing arts. Featuring top-rated artists in the fields of music, dance and theater with personalities from the film and television industries. Concert line-up will feature a wide range of popular, folk, classical, contemporary, alternative and indigenous artistic forms presented within the context of the heritage tourism. THE ONLINE REGISTRY OF FILIPINO MUSICAL ARTISTS AND THEIR WORKS 2007 to Present http://philmusicregistry.net/main/home The ONLINE REGISTRY OF FILIPINO MUSICAL ARTISTS is a rich collection of information that lists all Filipino musical artists (composers, lyricists, arrangers, singers and musicians) and their published OPM songs. The ORFMA is a joint project of the Organisasyon ng Pilipinong Mang-aawit (OPM) and the NCCA meant to serve as an information resource for students, teachers, researchers, commercial end-users, cultural institutions, and enthusiasts of Philippine music.
http://en.wikipedia.org/wiki/Music_of_the_Philippines http://child-of-earth.blogspot.com/2009/09/songs-of-edsa-1986.html http://opm4life.blogspot.com/ http://en.wikipedia.org/wiki/Handog_ng_Pilipino_sa_Mundo

Music of the Philippines

From Wikipedia, the free encyclopedia Jump to: navigation, search This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2009) Music of the Philippines are performance arts composed in various genre and styles. The music of the Philippines is a mixture of indigenous, other Asian, European, Latin American, and American influences.

Contents

1 Traditional music o 1.1 Harana and Kundiman o 1.2 Tinikling o 1.3 Cariosa o 1.4 Rondalla 2 Modern Filipino Music o 2.1 OPM (Original Pilipino Music) 2.1.1 Pop music 2.1.2 Rock and Blues 2.1.3 Hip-hop 2.1.4 Program Music 2.1.5 Other genres 3 See also 4 Notes 5 References 6 External links

Traditional music
Main article: Filipino folk music Philippine gong music can be divided into two types: the flat gong commonly known as gangsa and played by indigenous groups in the Cordillera region of the bossed gongs played among the Islam and animist groups in the Southern Philippines. Kulintang refers to a racked gong chime instrument played in the southern islands of the Philippines, along with its varied accompanying ensembles. Different groups have different ways of playing the kulintang. Two major groups seem to stand-out in kulintang music. These are the Maguindanaon and the Maranaw. The kulintang instrument itself could be traced to either the introduction of gongs to Southeast Asia from China from before the 10th century CE, or more likely, to the introduction of bossed gong chimes from Java in the 15th century. Nevertheless the kulintang ensemble is the most advanced form of music from before the late 16th century and the legacy of hispanization in the Philippine archipelago. The tradition of kulintang ensemble music itself is a regional one, predating the establishing of borders between the Philippines, Indonesia and Malaysia. It transcends religion, with animist and Christian ethnic groups in Borneo, Flores and Sulawesi playing kulintangan; and Muslim groups playing the same genre of music in Mindanao, Palawan and the Sulu archipelago. It is distantly related to the Gamelan music orchestras of Java and Bali, as well as the musical forms in Mainland Southeast Asia, mainly because of the usage for the same bossed racked gong chimes that play both melodical and percussive.

Notable folk song composers include the National Artist for Music Lucio San Pedro, who composed the famous "Sa Ugoy ng Duyan" that recalls about the loving touch of mother to her child. Another great composer who's known as patriotic composer, Alfredo Buenaventura.

Harana and Kundiman

The Harana and Kundiman are lyrical songs popular in the Philippine Islands dating back to the Spanish period. Harana are traditional courtship songs in the Mexican-Spanish tradition based on the habanera rhythm while the Kundiman, which has pre-colonial origins from the Tagalog region, uses triple meter rhythm. Kundiman is also characterized by a minor key at the beginning and shifts to a major key in the second half. Its lyrics depict a romantic theme, usually portraying love, passion, or sadness. In the 1920s Harana and Kundiman became more mainstream musical styles led by performers such as Atang de la Rama, Jovita Fuentes, Conching Rosal, Sylvia La Torre and Ruben Tagalog.

Tinikling
The Tinikling is a Philippine dance which involves two individual performers hitting bamboo poles, using them to beat, tap, and slide on the ground, and against each other in co-ordination with one or more dancers who steps over, and in between poles.

Cariosa
The Cariosa (meaning loving or affectionate one), is a Philippine national dance from the Mara Clara suite of Philippine folk dances, where the fan, and handkerchief plays an instrument role as it places the couple in romance scenario. The dance is similar to the Jarabe Tapato. The Cariosa is accompanied with Hispanic music, and language.

Rondalla
The Rondalla is performed on ensembles comprising mandolin instruments of various sizes called banduria composed on the Iberian tradition. Other instruments including guitars, is also performed.

Modern Filipino Music

OPM (Original Pilipino Music)
Main article: List of best-selling albums in the Philippines Pop music Original Pilipino Music, now more commonly termed Original Pinoy Music or Original Philippine Music or OPM for short, originally referred only to Philippine pop songs, particularly ballads, such as those popular after the collapse of its predecessor, the Manila Sound, in the late 1970s, up until

the present. In the 70's Nora Aunor, Pilita Corrales, Eddie Peregrina, Victor Wood, ASIN and many more. In the 1970s the major commercial Philippine pop music artists were, Joey Albert, Claire dela Fuente, Didith Reyes, Rico Puno, Ryan Cayabyab, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Rey Valera, and Freddie Aguilar, Imelda Papin, Eva Eugenio, Nonoy Zuniga and many others. Between the 1980s and 1990s, OPM was led by artists such as Regine Velasquez, Sharon Cuneta, APO Hiking Society, Jos Mari Chan, Dingdong Avanzado, Rodel Naval, Janno Gibbs, Ogie Alcasid, Joey Albert, Lilet, Martin Nievera, Manilyn Reynes, Pops Fernandez, Lea Salonga, Vina Morales, Raymond Lauchengco, Francis Magalona, and Gary Valenciano among many others. In the 1990s, the famous artists/bands included Eraserheads, Smokey mountain, Donna Cruz, Jessa Zaragoza, Ariel Rivera, Southborder, Afterimage, Andrew E., Jaya, Rivermaya, Ella May Saison among many others. OPM pop has also been regularly showcased in the live band scene. Groups such as the Neocolours, Side A, Introvoys, The Teeth, Yano, True Faith, Passage, and Freestyle popularized songs that clearly reflect the sentimental character of OPM pop. From its inception, OPM has been centered in Manila, where Tagalog, and English are the dominant languages. Other ethnolinguistic groups such as the Visayan, Bikol, and Kapampangan, despite making music in their native languages have not been recognized as OPM, except in unusual cases like the Bisrock (Visayan Rock music) song "Charing" by Davao band 1017. Multiculturalism advocates, and federalists often associate this discrepancy to the Tagalog-centric cultural hegemony of the capital city of Manila. Having successfully created a subgenre of Philippine Rock they called Bisrock, the Visayans by far have the biggest collection of modern music in their native language, with great contributions from Visayan bands Phylum, and Missing Filemon. However, a band called Groupies' Panciteria that hails from Tacloban, a Winaray-speaking city, launched a free downloadable mp3 album on Soundclick.com in 2009 containing 13 Tagalog songs and only one very short one in the Cebuano language.[1] Following suit are the Kapampangans. The debut music video of "Oras" (Time) by Tarlac Citybased Kapampangan band Mernuts has penetrated MTV Pilipinas, making it the first ever Kapampangan music video to join the ranks of other mainstream Filipino music videos. "RocKapampangan: The Birth of Philippine Kapampangan Rock," an album of modern remakes of folk Kapampangan extemporaneous songs by various Kapampangan bands was also launched last February 2008, which are now regularly played via Kapampangan cable channel Infomax-8 and via one of Central Luzon's biggest FM radio stations, GVFM 99.1. Inspired by what the locals call "Kapampangan cultural renaissance," Angeles City-born balladeer Ronnie Liang rendered Kapampangan translations of some of his popular songs such as "Ayli" (Kapampangan version of "Ngiti"), and "Ika" (Kapampangan version of "Ikaw") for his repackaged album. Despite the growing clamor for non-Tagalog, and non-English music, and greater representation of other Philippine languages, the local Philippine music industry, which is centered in Manila, is unforthcoming in venturing investments to other locations. Some of their major reasons include the

language barrier, small market size, and socio-cultural emphasis away from regionalism in the Philippines. Rock and Blues See also: Pinoy rock The United States occupied the Islands in 1898 until 1946, and introduced American blues, folk music, R&B, and rock and roll which became popular. In the late 1950s, native performers adapted Tagalog lyrics for North American rock & roll music, resulting in the seminal origins of Philippine rock. The most notable achievement in Philippine rock of the 1960s was the hit song "Killer Joe", which propelled the group Rocky Fellers, reaching number 16 on the American radio charts. Up until the 1970s, popular rock musicians began writing and producing in English. In the early 1970s, rock music began to be written using local languages, with bands like the Juan Dela Cruz Band being among the first popular bands to do so. Mixing Tagalog and English lyrics were also popularly used within the same song, in songs like "Ang Miss Universe Ng Buhay Ko" (The Miss Universe of My Life), by the band Hotdog which helped innovate the Manila Sound. The mixing of the two languages (known as "Taglish"), while common in casual speech in the Philippines, was seen as a bold move, but the success of Taglish in popular songs, including Sharon Cuneta's first hit, "Mr. DJ", broke the barrier forevermore. Philippine rock musicians added folk music and other influences, helping to lead to the 1978 breakthrough success of Freddie Aguilar. Aguilar's "Anak" (Child), his debut recording, is the most commercially successful Filipino recording, and was popular throughout Asia and Europe, and has been translated into numerous language by singers worldwide. Asin also broke into the music scene in the same period, and were popular. Folk rock became the Philippine protest music of the 1980s, and Aguilar's "Bayan Ko" (My Country) became popular as an anthem during the 1986 EDSA Revolution. At the same time, a counterculture rejected the rise of politically focused lyrics. In Manila, a punk rock scene developed, led by bands like Betrayed, The Jerks, Urban Bandits, and Contras. The influence of New Wave was also felt during these years, spearheaded by The Dawn. The 1990s saw the emergence of Eraserheads, considered by many Philippine nationals as the number one group in the Philippine recording scene. In the wake of their success was the emergence of a string of influential Filipino rock bands such as Yano, Siakol, Parokya ni Edgar, and Rivermaya, each of which mixes the influence of a variety of rock subgenres into their style. Filipino rock has also developed to include some hard rock, heavy metal, and alternative rock such as Razorback, Wolfgang, Greyhoundz, Slapshock,Bloodshedd, and the progressive bands Paradigm, Fuseboxx and Eternal Now. Rock festivals have emerged through the recent years and it has been an annual event for some of the rock/metal enthusiasts. One big event is the Pulp Summer Slam wherein local rock/metal bands

and international bands such as Lamb of God, Anthrax, Death Angel, and Arch Enermy have performed.[2] The Neo-Traditional genre in Filipino music is also gaining popularity, with artists such as Joey Ayala, Grace Nono, Bayang Barrios, Cocojam, and Pinikpikan reaping relative commercial success while utilizing the traditional musical sounds of many indigenous tribes in the Philippines. assurman Hip-hop Main article: Pinoy hip hop Filipino hip-hop is hip hop music performed by musicians of Filipino descent, both in the Philippines, and overseas, especially by Filipino-Americans. This article focuses first on Filipino hip-hop in the Philippines, and secondly on that in the USA. The Philippines is known to have had the first hip-hop music scene in Asia[1] since the early 1980s, largely due to the country's historical connections with the United States where hip-hop was originated. Rap music released in the Philippines has appeared in different languages such as Tagalog, Chavacano, Cebuano, Ilocano and English. In the Philippines, Francis M and Andrew E. are cited as the most influential rappers in the country, being the first to release mainstream rap albums. Program Music Unlike pure music which has no reference in the real world and no story component, program music is instrumental music that may tell a story with explicit episodes, reveal facets of a character, place, or occasion, or imitate the sounds of the world. Sometimes this may take the form of a verbal explanation of the story or program of the piece. The term was invented bycomposer Franz Liszt, who understood program music to involve a program external to the music that set the parameters and the form in which the musical piece unfolds. Other genres A number of other genres are growing in popularity in the Philippine music scene, including a number of alternative groups, and tribal bands promoting cultural awareness of the Philippine Islands. Likewise, jazz has experienced a resurgence in popularity. Initial impetus was provided by W.D.O.U.J.I.(Witch Doctors of Underground Jazz Improvisation)with their award winning independent release "Ground Zero" distributed by the now defunct N/A Records in 2002 and the Tots Tolentino-led Buhay jazz quartet on the year before that. This opened up the way for later attempts most notable of which is the Filipino jazz supergroup Johnny Alegre Affinity releasing its eponymous debut album in 2005 under London-based Candid Records. Mon David has also made the rounds of the Las Vegas music circuit. Among the female performers, Mishka Adams has been the most prominent. A recent development is the fusion of spoken-word and jazz, and rock, chiefly attributed to Radioactive Sago Project. Other notable names of late are Bob Aves with his ethno-

infused jazz, The Jazz Volunteers and Akasha which have anchored the now legendary underground jazz jams at Freedom Bar for almost half of the 11 years of its existence. Bossa nova and Latino music has been popular since the 1970s. Performers like Annie Brazil were active in the 1970s, while more recently, Sitti has been earning rave reviews for her bossa nova covers of popular songs. While there has long been a flourishing underground reggae and ska scene, particularly in Baguio City, it is only recently that the genres have been accepted in the mainstream. Acts like Brownman Revival, Put3Ska and Roots Revival of Cebu, Philippines have been instrumental in popularizing what is called "Island Riddims". There is also a burgeoning mod revival, spearheaded by Juan Pablo Dream and a large indiepop scene. Electronic music had appeared in late 2000s in Manila nightclubs. Modern electronic songs were first released in 2010.
Handog Ng Pilipino Sa Mundo lyrics Di na 'ko papayag mawala ka muli. 'Di na 'ko papayag na muli mabawi, Ating kalayaan kay tagal natin mithi. 'Di na papayagang mabawi muli. Magkakapit-bisig libo-libong tao. Kay sarap palang maging Pilipino. Sama-sama iisa ang adhikain. Kelan man 'di na paalipin. Ref: Handog ng Pilipino sa mundo, Mapayapang paraang pagbabago. Katotohanan, kalayaan, katarungan Ay kayang makamit na walang dahas. Basta't magkaisa tayong lahat. Masdan ang nagaganap sa aming bayan. [From: http://www.elyrics.net/read/a/alamid-lyrics/handog-ng-pilipino-sa-mundolyrics.html ] Nagkasama ng mahirap at mayaman. Kapit-bisig madre, pari, at sundalo. Naging Langit itong bahagi ng mundo. Huwag muling payagang umiral ang dilim. Tinig ng bawat tao'y bigyan ng pansin. Magkakapatid lahat sa Panginoon.

Ito'y lagi nating tatandaan. (repeat refrain two times) Coda: Mapayapang paraang pagbabago. Katotohanan, kalayaan, katarungan. Ay kayang makamit na walang dahas. Basta't magkaisa tayong lahat!

This love song was originally written as a poem by Jose Corazon de Jesus in 1929 Ang bayan kong Pilipinas Lupain ng ginto't bulaklak Pag-ibig na sa kanyang palad Nag-alay ng ganda't dilag At sa kanyang yumi at ganda Dayuhan ay nahalina Bayan ko, binihag ka Nasadlak sa dusa CHORUS Ibon mang may layang lumipad Kulungin mo at umiiyak Bayan pa kayang sakdal-dilag Ang 'di magnasang makaalpas Pilipinas kong minumutya Pugad ng luha at dalita Aking adhika Makita kang sakdal laya