John Ralph Aaron C.

Dungca

MS-II

Music

Music of the Philippines

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.

*Traditional music
-Gong 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 Northern Philippines and 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 ku'intang ensemble music itself is an 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 parts.

-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. The traditional harana has been kept alive by companies such as HARANA.PH, which is the only professional serenade and surprise service in the Philippines. example : kundiman by: Silent Sanctuary

-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.

*Philippine Choral Music

In the forefront of choral music in the Philippines, the Philippine Madrigal Singers has from its ranks produced more than 200 choral arrangers and composers who have contributed to the wealth of Philippines choral literature. They are the first and only two-time champions in the European Grand Prix for Choral Singing (1997, and 2007), widely considered the most prestigious choral competition in the world. There are choirs in about every university, school, or church in the Philippines and most have gone and won on national and international competitions. Of mention are the University of Santo Tomas Singers, University of the Philippines Singing Ambassadors, University of the Philippines Concert Chorus, University of the Philippines Manila Chorale, Ateneo de Manila College Glee Club, Philippine Normal University Chorale, Saint Louis University Glee Club (Baguio City), University of the East Chorale, Hail Mary the Queen Children's Choir, De La Salle University Chorale, Don Bosco Makati's all-male choir "Boscorale" and the Kilyawan Boys Choir (Claret School of Quezon City).

Filipino Composers
Immortal Composer such as 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.

OPM (Original Pilipino (or Filipino) 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, and performed by major commercial Philippine popmusic artists like APO Hiking Society, Sharon Cuneta, Rico Puno, Ryan Cayabyab, Basil Valdez, Eraserheads, Freddie Aguilar, Rey Valera, Jos Mari Chan, Rivermaya, True Faith, The Teeth and Freddie Aguilar, among many others. Between the 1980s and 1990s, OPM was led by artists such as Eraserheads, Regine Velasquez, Barbie's Cradle, Janno Gibbs, Ogie Alcasid, Donna Cruz, Lea Salonga, Raymond Lauchengco, Francis Magalona, Side A and Gary Valenciano. Some popular singles during this period include Urong Sulong, Babaero, Di Bale Na lang and 'Wag Mo Na Sanang Isipin, which were exceedingly popular and played regularly on FM radio. On July 25, 1987, then President Corazon Aquino enacted into law Executive Order No. 255 as a which required FM radio stations to play locally-produced songs (i.e. OPM) on an hourly basis. FM stations likeDZOO, DWLS and others

produced OPM songs, particularly disco/dance and easy listening music. OPM Christmas songs are also frequently played during Christmas. Handog ng Filipino sa Mundo, Bayan Ko and Magkaisa are the post-People Power Revolt songs also played to immortalize the events brought after the revolution. OPM pop has also been regularly showcased in the live band scene. Groups such as the Neocolours, Side A, True Faith, Passage, 3rd Avenue and Freestyle popularized songs that clearly reflect the sentimental character of OPM pop. More recently and with the emergence of many diverse, alternative musical styles in the Philippines, the term OPM now refers to any type of music produced in the Philippines or composed by individuals of Filipino descent, regardless of location. The lyrics may be in any Philippine languages or dialect. However, certain exceptions exist, in which foreign songs by foreign composers created specifically to be performed by Filipino singers are considered OPM as well. 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 City-based 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. In September 2010, Click Music Philippines was formally launched at the New Horizons Hotel, Mandaluyong City, with members of the press, music artists and radio station executives in attendance. Its primary aim is to revive interest in OPM as an industry standard. As a precedent, this movement hopes to bring together music composers and radio stations towards a unified business direction anchored on musical creativity initiatives and a tighter focus on copyright protection and ownership, in the value chain during stages of the production and distribution of music content.