NEW MUSIC COMPOSERS

NEW MUSIC COMPOSERS

 Incorporating traditional music forms

as well as indigenous rhythms and
instruments in their compositions.
 JOSE MACEDA
(1917 – 2004)
National Artist for
Music
• January 17, 1917 in Manila.

• Music studies;
• Academy of Music in Manila.
• Paris to study with Alfred Cortot.
• USA with E. Robert Schmitz and
• Earned a Doctorate Degree in Ethnomusicology
from UCLA.
Maceda’s musical style:

– 1953, changed when he encountered the

music of the indigenous tribes of Mindoro.
– Understanding and preservation of Filipino
traditional music.
– Collection of recorded music taken from the
remote mountain villages and far-flung inland
communities.
– Compositional approach Western style.
– Combined sounds of the environment
with ethnic instruments.
• Compositions were usually for large
groups of musicians.
• Among his works are:
– Ugma-Ugma (1963), a work for voice and
ethnic instruments
– Agungan (1975), a piece for six gong families
– Pagsamba (1968), a musical ritual for a
circular auditorium using several ethnic
percussion instruments
– Cassettes 100 (1971), a composition for 100
cassette tape recorders; and
– Ugnayan (1974), an ethnic piece played at
the same time over several radio stations.
 First Filipino avant garde composer.
 1958, worked at a recording studio in
Paris, specialized in musique concrète.
 He met Pierre Boulez, Karlheinz
Stockhausen, and Iannis Xenakis,
considered the musical giants of this
musical genre.
 1952 to 1990, Professor of Piano and
Musicology at the College of Music,
University of the Philippines.
• 1997, Executive Director of its Center for
Ethnomusicology.
• National Artist for Music.
• He passed away in Manila on May 5,
2004.
 LUCRECIA R. KASILAG
(1918 – 2008)
National Artist for Music

 August 31, 1918 San

Fernando, La Union.
 Went to Manila to pursue a
degree in Music at the
Philippine Women’s
University.
 She then obtained her
Master’s degree from the
Eastman School of Music in
New York, USA.
• Her compositions were influenced by her
professors Irving McHose and Wayne
Barlow.
• Music Style:
– compositions demonstrated a fusion of
Eastern and Western styles in using
instruments, melody, harmony, and rhythm.
– Incorporating indigenous Filipino
instruments into orchestral productions.
• Former Dean, College of Music and Fine
Arts, Philippine Women’s University..
• President, Cultural Center of the
Philippines.
 President and Music Director of the
Bayanihan Dance Company.
 Chairman, Asian Composers’ League and
the League of Filipino Composers.
 She is credited for having written more
than 200 musical works, ranging from
folksongs to opera to orchestral works,
which she continued to compose for the
rest of her life.
 National Artist for Music in 1989.
Kasilag’s many compositions are:

• Toccata for Percussion and Winds (1959),

composed for indigenous Muslim instruments
and Western instruments;
• The Legend of the Sarimanok (1963),
composed for chamber orchestra and Philippine
ethnic instruments;
• Divertissement and Concertante (1960),
compositions for piano and orchestra combining
Western and Eastern forms, harmonies, and
intervals; and
• Dularawan (1969), a musical drama combining
a dance solo with a chorus and an ethnic
orchestra. Her other works include compositions
for piano, instrumental ensemble, and chorus.
 RAMON P. SANTOS
(1941 – )
National Artist for Music
• February 25, 1941 Pasig
• Bachelor of Music degree,
College of Music, UP.
• Master of Music degree,
Indiana University, USA.
• Doctor of Philosophy degree in
Composition, State University
of New York, USA.
• Graduate studies in
Ethnomusicology, University
of Illinois, USA.
• Compositional style:
– chromaticism,
– music seria, and
– electronic components, combined with
indigenous Philippine music elements.
• Dean, of the UP College of Music from
1978 to 1988.
• Head of the UP Center of
Ethnomusicology.
• Professor Emeritus of the same institution.
• He was conferred the title of National
Artist for Music in 2014.
• His works include:
• Ding Ding Nga Diyawa,
• Nabasag na Banga at Iba’t iba pang Pinag-
ugpong-ugpong na Pananalita sa Wikang
Pilipino para sa Labing Anim na Tinig, and
• L’BAD.
• He had done extensive research on the
gamelan music of Java as well as the
traditional music of the Ibaloi, Maranao,
Mansaka, Bontoc, Yakan, and Boholano tribes
in the Philippines.
FR. MANUEL MARAMBA,
OSB
• July 4, 1936 in Pangasinan.
• accomplished musicians and
liturgists in the Philippines
emerging during the second
half of the 20th century.
• At age 11, first public
performance at the Bamboo
Organ in Las Piñas.
• At age 14, official accompanist
of the Las Piñas Boys Choir.
• 1978, youngest finalist,
National Music Competitions
for Young Artists (NAMCYA)
piano competition
• Full scholarship to the University for
Music and Performing Arts in Graz,
Austria.
• Degree of Master of Arts in Church Music.
• He also received a Teacher’s Certificate in
Organ.
• His musical career led him to the United
States, where he performed at Carnegie
Hall at the age of 19.
• Bachelor of Music degree major in Piano
at the Conservatory of Music, University of
Sto. Tomas (UST), Fr. Maramba
• Studies abroad:
• Master of Music degree,
• Artist Diploma,
• Bachelor of Music degree in Composition, and
• Teacher’s Certificate in Theory from the
Peabody Conservatory of Johns Hopkins
University, USA.
• Master’s degree of Musical Arts in
Performance from Yale University’s School
of Music, USA.
• He also studied sacred music at the
Kirchenmusikschule in Regensburg,
Germany.
• He took further lessons in piano, organ,
and the harpsichord at the Hochschule fur
Musik in Vienna, Austria.
• Fr Maramba is a monk at Our Lady of
Montserrat Abbey in Manila.
• Former director, Paul VI Institute of
Liturgy in Malaybalay, Bukidnon during
which he composed the music for the
papal mass.
• A prominent canon lawyer, National
Appellate Matrimonial Tribunal.
• Faculty member, UST Conservatory of
Music, St. Scholatica’s College, and Sta.
Isabel College.
• Composed operas:
– Aba!, Sto. Nino, La Naval, and Lord Takayama
Ukon.
• Other major compositions are the music
for Awakening which was commissioned
by Ballet Philippines and music for
Philippine Ballet Theater’s production of
Seven Mansions
• three masses:
– Papal Mass for World Youth Day, 1995;
– Mass in Honor of St. Lorenzo Ruiz, and
– the Mass in Honor of the Sto. Nino;
• Three cantatas
• St. Lorenzo Ruiz,
• St. Benedict, and
• St. Scholastica
• Three Psalms;
• A hymn in honor of St. Lorenzo Ruiz, and the
• official hymn of the 1996 National Eucharistic
Congress;
• a zarzuela entitled Ang Sarswela sa San
Salvador
• Three orchestral works
• Pugad Lawin,
• The Virgin of Naval, and Transfiguration.
 JERRY DADAP

• November 5, 1935 in
Hinunangan, Southern Leyte.
• First Filipino composer to
conduct his own works at the
Carnegie Recital Hall in New
York City.
• 1964, Bachelor’s Degree in
Music, major in Composition
at the Conservatory of Music,
(UP)
• In 1968, (USA) study-observation grant
from the Music Promotion Foundation of
the Philippines.
• 1969-1971, full scholarship grant from the
United Presbyterian Church of USA.
• Postgraduate Diploma in Composition at
the Mannes College of Music in New York,
USA.
• 1971, he taught composition, ear training,
and orchestration at the Sta. Isabel College
of Music in Manila.
• Started composing when he was still
studying at Silliman University in the
southern city of Dumaguete.
• Among his numerous compositions are:
– The Passionate and the Wild (1960),
– Mangamuyo I (1976) and
– Mangamuyo II (1977),
– The Redemption (1974),
– Five Little Fingers (1975),
– Tubig ng Buhay (1986),
– Dakilang Pagpapatawad (1986),
 – Andres Bonifacio,
– Ang Dakilang Anak Pawis,
– Ang Pag-ibig ng Diyos,
– Balitaw Nos. 1-7,
– Lamang Epic,
– Lorenzo Ruiz,
– Chorale Symphonic Ode Nos. 1 and 2,
– Aniway at Tomaneg,
– Song Cycle, Nos. 1-4,
– Choral Cycle Nos. 1-3, and
– Diyos Ama ay Purihin

• His major works as composer-conductor

were performed at the concert “LAHI” that
featured works by local major composers.
 FRANCISCO F. FELICIANO
(1942 – 2014)
National Artist for Music

• February 19, 1942 in Morong,

Rizal.
• avant garde composer and
conductor for band and
chorus.
• Morriz Band, a brass
ensemble established and
owned by his father,
Maximiano Feliciano
• Music career, high school band (cymbals
and the clarinet)
• 1964, Teacher’s Diploma in Composition
and Conducting at the Conservatory of
Music, UP.
• 1967, Bachelor of Music degree major in
Composition.
• Subsequent degrees:
– Master in Music Composition UP.
– Diploma in Music Composition from the
Hochschule der Kunst in Berlin, Germany.
 – Master of Musical Arts and Doctorate in
Music Composition from Yale University
School of Music, USA.
– He studied composition with Jacob
Druckman, Isang Yun, H.W. Zimmerman and
Krystof Penderecki.
• Choir conductor and instructor in music
fundamentals at St. Andrews Seminary in
Quezon City.
• Instructor, UP Conservatory of Music and
conducted the UP Symphony Orchestra.
• musical director of the movie Ang Bukas
ay Atin and provided orchestration for a
number of musical productions including
My Fair Lady and various Philippine
productions.
• 30 major works, including the musical
dramas:
– Sikhay sa Kabila ng Paalam
– Ashen Wings,
– the monumental three-act opera La Loba
Negra (1984).
• He also wrote music for the orchestra
such as:
- Prelude and Toccata (1973)
– Fragments(1976)
– Life of Wartime Filipino Hero Jose Abad
Santos
– Ballet Yerma (1982)
• Other large works are:
- Transfiguration and Missa Mysterium for
orchestra and large chorus.
• Several prize winning works:
– Pokpok Alimpako, (a favorite piece of choirs
in international choral competitions)
– Salimbayan, Umiinog
– Walang Tinag (Perpetuum I mobile) which
was premiered at the ISCM Festival in New
York City, USA.
• His latest choral works,Pamugún and
Restless, have been performed by Filipino
choirs in various choral festivals in
Europe.
• 1977, John D. Rockefeller III Award in
Music Composition.
• Feliciano composed hundreds of liturgical
pieces, mass settings, hymns, and songs
for worship.
• He founded the Asian Institute for Liturgy
and Music (AILM) in Quezon City, a
school for church musicians, and
supervised the publication of a new Asian
hymnal containing mostly works of Asian
composers.
• 2014, title of National Artist for Music.
• He died on September 19, 2014.
JOSEFINO TOLEDO

• Josefino “Chino” Toledo is

a recognized figure in the
Asian contemporary art
music scene.
• Master of Music degree
from the Cleveland
Institute of Music, USA.
• Among his awards are the following:
• “Ten Outstanding Young Men” (TOYM)
• “International Award for the Arts”
• “Civitella Ranieri Fellowship in Italy”
• “Chancellor Awards for Outstanding Musical
Works,” University of the Philippines.
• 1966 to 1979, Pangkat Kawayan (a bamboo
orchestra).
• 1977-1978, Philippine Youth Orchestra
(PYO).
• 1980-1983, Principal percussionist of the
Manila Symphony Orchestra.
• 1985, Music director and principal conductor.
• He attended the 1984 International Computer
Music Conferencein France.
• He was the country’s representativeto the
1980 Young Composers Conference in
HongKong,
• ASEAN Composers Forum onTraditional Music
in 1989(Philippines)
• 1993 (Singapore)
• 1995 ASEAN ComposersWorkshop (Indonesia),
• 1996 International ComposersWorkshop
(Gaudeamus,Amsterdam).
• 1990 Pacific Music Festival and Pacific
Composers Conference (Japan).
• Music Professor at the College of Music,
(UP).
• Founding music director of the Metro
Manila Community Orchestra,
• UP Festival Orchestra, and the
• Crosswave Symphony Orchestra.
• He is noted for conducting the premiere
performances of the works of Filipino
composers as well as other Asian
composers.
• His own music, including works
• for chorus,
• orchestra,
• chamber ensemble,
• solo instrument, and
• music theater have been performed by well-
known international artists and ensembles.
 JONAS BAES

• Los Baños, Laguna in

1961.
• He enrolled at the
College of Music,
University of the
Philippines (UP) in 1977
as a student of Ramon
P. Santos.
• he encountered the works of Jose Maceda
and attended several seminar-workshops
of visiting lecturers.
• He researched on the music of the Iraya-
Mangyan people of Mindoro, which later
became the inspiration for his
compositions.
• From 1992- 1994, he studied with Mathias
Spahlinger in Freiburg, Germany.
• known for writing music utilizing
unorthodox musical instruments such as:
• beanpod rattles, leaves, iron-nail chimes,
• various Asian instruments such as:
• bamboo scrapers, bamboo flutes, and vocal
music using Asian vocal techniques.
• His early works in the 1980s were
influenced by Maceda in the use of large
numbers of performers.
• 1990s, he experimented with various
methods by which the audience became
integral in the performance.
• Baes’ musical compositions include:
• Imagined Community
• After Benedict Anderson for four bamboo scrapers
• Bamui trail caller
• Sarunai for oboe
• Khaen for mouth organ
• about a hundred iron nail chimes distributed
among the audience;
• 1997/2001;
• WALA (Nothingness) for seven or hundreds of
men’s voices 1997/2001;
• DALUY (Flow)interval music for five animator-
percussionists and about a hundred bird whistles
distributed among the audience, 1994;
• IBO-IBON (birdwoman)for dancer wearing
small bells, two large wind chimes passed
around the audience, four animatorcallers,
and iron nail chimes played by the audience
(1996);
• SALAYSAY, for solo voice, three
percussionists, and pairs of pebbles
distributed among the audience;
• PATANGISBUWAYA (and the crocodile
weeps) for four sub-contrabass recorders or
any blown instruments 2003;
 • PANTAWAG (music for calling people) for
15 bamboo scrapers, 15 palm leaves, and 20
muffled “forest” voices 1981; and
• BASBASAN (blessing) for 20 bean-pod
rattles and 20 muffled men’s voices 1983.
• Gawad Chancellor para sa
Pinakamakusay na Mananaliksik (Hall of
Fame, 2003) UP.
• Current Associate Professor, in
Composition and Theory at the UP College
of Music as well as an ethnomusicologist,
cultural activist, and writer.