PHILIPPINE CHORAL MUSIC: A CONDUCTOR’S GUIDE TO SELECTED WORKS COMPOSED BETWEEN 1900 AND 2010
by
Eliezer Garanchon Yanson Jr.
Bachelor of Music Bob Jones University, 1998
Bachelor of Theology
Baptist Bible Seminary & Institute, 2001
Master of Music Bob Jones University, 2000
____________________________________________
Submitted in Partial Fulfillment of the Requirements
For the Degree of Doctor of Musical Arts in the
School of Music
University of South Carolina
2010
Accepted by:
Larry Wyatt, Major Professor
Samuel Douglas, Committee Member
Tina Milhorn-Stallard, Committee Member
Gary Beckman, Committee Member
Timothy Mousseau, Dean of the Graduate School
UMI Number: 3433197
All rights reserved
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Copyright © 2010 by Eliezer G. Yanson Jr. All rights reserved
ii
iii
FOREWORD
This document is part of the dissertation requirement for the Doctor of Music Arts degree
in Performance. The major portion of the dissertation consists of four public recitals.
Copies of the recital programs are bound at the end of this paper, and recordings of the
recitals are on file in the Music Library.
To our daughter, Isabella, and especially to my wife, Martha
iv
ACKNOWLEDGEMENTS
Having earned all of my music degrees from American institutions, I had
never really studied music from the country of my birth, the Philippines. This project
opened my eyes to the wonderful music Filipino composers have to offer. It also
made me grateful for my rich heritage and colorful culture.
I would like to express my deepest appreciation to my professor and
committee chair, Dr. Larry Wyatt, for his supervision, guidance, and advice. His
instructive comments and evaluation were very helpful in making my work of quality
scholarship. I would also like to thank my committee members, Dr. Samuel Douglas,
Dr. Tina Milhorn-Stallard, and Dr. Gary Beckman. Each individual provided insights
and suggestions that guided and challenged my thinking, substantially improving the
finished product.
Additionally, I would like to express gratitude to Dr. Joel Navarro of Calvin
College, who assisted me in creating the framework for this dissertation. I would also
like to thank Mr. Jared Mongcal, my research assistant in the Philippines, for
acquiring materials needed for this project.
My sincerest appreciation goes to the publishers, organizations, and
composers for granting me permission to include their music in my dissertation: All
Together Now, ASTRUM Music Publications (Slovenia), University of the
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Philippines Center for Ethnomusicology Department, Silliman University
Foundation, Ramon Santos, Josefino Chino Toledo, Ryan Cayabyab, and Nilo Alcala.
I would like to thank my parents and siblings for their encouragement and
support. My deepest gratitude goes to my wife, Martha, who took this journey with
me. I am grateful for her understanding, love, support, and assistance.
Finally, I praise and thank God for His goodness, faithfulness, mercy, and
grace He has shown me through all these years. Soli Deo Gloria!
ABSTRACT
The Philippines is a country that possesses unique choral traditions, excellent
choirs, and fascinating composers. Along with deep tribal roots, the musical practices
of the Philippines are heavily influenced by European and American traditions. This
fusion of influences creates a style that is distinctly Filipino. Performances of
Philippine choral music on international stages have caught the attention of choral
enthusiasts, resulting in the publication of some of these works. Many other works
remain unpublished. This research, geared towards the choral conductor and music
educator, provides historical information on Philippine choral traditions, a discussion
of performance practice, and a guide to Philippine diction. An important aspect of
this research is an annotated choral works list, both published and unpublished, on
selected Philippine choral literature. This list aims to help the discriminating
conductor choose from a wide array of literature for concert programming. Among
the compositions featured are the masterworks of Marcelo Adonay, Lucio San Pedro,
Felipe de Leon, Lucrecia Kasilag, Jose Maceda, Francisco Feliciano, Ramon Santos,
Josefino Chino Toledo, Federico Razon, Ryan Cayabyab, John Pamintuan, and Nilo
Alcala.
vii
TABLE OF CONTENTS FOREWORD iii DEDICATION iv ACKNOWLEDGEMENTS v ABSTRACT vii LIST OF MUSICAL EXAMPLES ix GLOSSARY xi
CHAPTER 1: INTRODUCTION 1
Purpose of the study 3 Need for the study 3 Limitations of the study 3 Methodology 4 Literature Review 5
CHAPTER 2: STREAMS OF PHILIPPINE CHORAL TRADITIONS 8
The First Stream: European Choral Tradition 9 The Second Stream: Departure from European Style 24 The Third Stream: Incorporation of Indigeneity with Modernity 36 The Fourth Stream: Eclecticism 47
CHAPTER 3: ANNOTATED CHORAL WORKS LIST 62
CHAPTER 4: CONCLUSION AND RECOMMENDATIONS 97
BIBLIOGRAPHY 102 APPENDICES
Philippine Diction Issues 104
A List of Philippine Choirs 105 Books, Thesis, and Dissertations on Philippine Ethnomusicology 108
viii
LIST OF MUSICAL EXAMPLES Example 2.1 Du Mont’s motive as applied to Adonay’s Kyrie 12
Example 2.2 Adonay, Pequeña Misa Solemne, “Gloria,” mm. 1-9 12
Example 2.3 Adonay, Pequeña Misa Solemne, “Gloria,” mm. 10-24 13
Example 2.4 San Pedro, Suite Pastorale, “Sa Ugoy ng Duyan,” mm. 1-8 16
Example 2.5 San Pedro, Suite Pastorale, “Sa Ugoy ng Duyan,” mm. 9-16 17
Example 2.6 De Leon, Payapang Daigdig, mm. 1-13 19
Example 2.7 De Leon, Payapang Daigdig, mm. 69-78 20
Example 2.8 San Pedro, Payapang Daigdig, mm. 1-16 21
Example 2.9 Magdamo, arr. Ili-ili, Tulog Anay, mm. 20-25 23
Example 2.10 Maceda, Ugma-Ugma, mm. 1-43 26
Example 2.11 Maceda, Ugma-Ugma, mm. 156-159 28
Example 2.12 Kasilag, De Profundis, “Out of the Depths,” mm. 1-14 31
Example 2.13 Kasilag, De Profundis, “The Beatitudes,” mm. 1-16 32
Example 2.14 Kasilag, De Profundis, “To Our God,” mm. 1-8 33
Example 2.15 Feliciano, Pamugun, mm. 50-55 35
Example 2.16 Santos, Ding Ding Nga Diyawa 38
Example 2.17 Santos, Ding Ding Nga Diyawa 39
Example 2.18 Santos, Ding Ding Nga Diyawa 40
ix
x
Example 2.19 Toledo, Alitaptap, mm. 1-2 42
Example 2.20 Toledo, Alitaptap, mm. 3-5 43
Example 2.21 Federizon, Gabaq-an, mm. 1-2 45
Example 2.22 Federizon, Gabaq-an, mm. 3-14 46
Example 2.23 Federizon, Gabaq-an, mm. 15-17 47
Example 2.24 Cayabyab, Misa, “Kyrie,” mm. 1-12 50
Example 2.25 Cayabyab, Misa, “Kyrie,” mm. 35-37 51
Example 2.26 Pamintuan, Pater Noster, mm. 1-14 54
Example 2.27 Pamintuan, Pater Noster, mm. 15-34 55
Example 2.28 Alcala, Papanok A Lakitan, mm. 9-16 57
Example 2.29 Alcala, Papanok A Lakitan, mm. 93-96 58
GLOSSARY
agung: term for knobbed gong with deep, slightly turned in rims; found in
southern Philippines. Also spelled agong. gabbang: a bamboo xylophone with 3 to 22 keys of graduated lengths (depending on
the tribe) mounted on a trapezoidal box; found in southern Philippines among the Yakan, Samal, Tausug, and Palawan tribes.
gandingan: large (c. 50 cm. in diameter) bossed gongs with shallow, slightly turned in
rims; found among the Maguindanao tribe of southern Philippines. kubing: term for Jaw harp in southern Philippines. It is kuding in northern
Philippines. kulintang: a row of 5-11 bossed gongs of graduated sizes laid on a wooden frame;
found in southern Philippines. tongatong: bamboo stamping tube
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CHAPTER 1
INTRODUCTION
The emergence of Philippine choral music to the international choral scene was
not an immediate process. Philippine choirs introduced choral music by Filipino
composers through performances, not only in their native land but in Europe, the United
States, and Asia. In Europe, most Philippine choirs compete in the continent’s most
prestigious choral competitions, such as the International Guido d’Arezzo Polyphonic
Contest (Italy), Béla Bartok International Choir Competition (Hungary), Cesare Augusto
Seghizzi Competition (Italy), Tolosa Choral Competition (Spain), Tours Vocal
Competition (France), and the International May Choir Competition (Bulgaria).1 The
grand prize winner of each of these competitions competes the following year in the
European Grand Prix for Choral Singing.
Among the Philippine choirs that competed in the European Grand Prix for
Choral Singing are the Philippine Madrigal Singers, University of Santo Tomas Singers,
and the Ateneo College Glee Club. Only the Philippine Madrigal Singers have emerged
as the Grand Prize winner, not once, but twice in 1997 and 2007. These choirs always
include choral music by Filipino composers in their repertoire, thereby, introducing
Philippine choral music to audiences, fellow competitors, and adjudicators.
1 In 2008, the C.A. Seghizzi Competition ceased its participation in the European Grand Prix. It was replaced by the International Choral Competition Maribor (Slovenia).
1
The Philippine Madrigal Singers’ first exposure to the international choral scene
was in 1969, when they were invited to perform at the International University Choral
Festival at Lincoln Center in New York.2 In 1993, they presented a concert at the national
convention of the American Choral Directors Association (ACDA) in San Antonio,
Texas. The only other Philippine choir that has sung at an ACDA national convention is
the Philippine Chamber Singers - Los Angeles. This community-based singing
organization performed an all-Filipino program in Miami in 2007. Aside from these two
ensembles, many college and university-based choirs tour the United States regularly,
such as the University of the Philippines Concert Chorus, University of the Philippines
Singing Ambassadors, University of Santo Tomas Singers, and the Ateneo Chamber
Singers. These choirs perform in states where there is a huge Filipino population such as
California, Hawaii, New York, New Jersey, Texas, and Illinois.
In Asia, Philippine choirs often are invited to tour and participate in choral
competitions and festivals. Japan, South Korea, Taiwan, and Indonesia are among the
Asian countries that have been frequented by Philippine choirs. During the 7th World
Symposium of Choral Music, held in Kyoto, Japan, the Philippines’ San Miguel Master
Chorale was among the choirs invited to perform.
With these worldwide performances, works by Filipino composers have caught
the attention of choral conductors and music educators. Composers such as Francisco
Feliciano, Josefino Toledo, Robin Estrada, Federico Razon, Joel Navarro, Fidel Calalang,
John Pamintuan, Nilo Alcala, and Ryan Cayabyab have written choral works that have
2 Paul Cutts, "Cultural Ambassadors." Choir & Organ 7, no. 1 (January 1999): 25. Academic Search Premier, EBSCOhost (accessed April 25, 2009).
2
been performed not only by Philippine choirs, but choirs from other countries as well.
Several of these works have been published, but many have not.
Purpose of the Study
The purposes of this study are threefold: First, to expose the four streams of
Philippine choral traditions from the late nineteenth century to the present; second, to
introduce choral conductors and music educators to choral literature by Filipino
composers written between 1900 and 2010; and third, to provide a guide to performing
Philippine choral music through a discussion of performance practices and linguistic
issues.
Need for the Study
Non-Philippine choirs have been performing works by Filipino composers in
school concerts, music festivals, competitions, and conventions on almost every
continent. Since resources on Philippine choral music are very limited, there is a need to
provide choral conductors and music educators resources to help them in performing
Philippine choral music.
Limitations of the Study
The biographies of the composers presented in this study are not exhaustive but a
brief sketch of their education, career highlights, and present occupation, if applicable.
The compositions featured are not in-depth analyses, but an overview of the
compositional styles of each composer.
3
Methodology
The methods for this research have been heavily based on historical research,
interviews, correspondence, and acquisition of manuscript copies and published scores
from the composers or publishers. Unpublished manuscript copies that are housed in
Philippine libraries, as well as publications only distributed in the Philippines and Asia,
were accessed in person by this author. A guide to Philippine diction is discussed in the
appendix.
The annotated works list is arranged alphabetically by composer. It is provided in
this format:
Composer: Names and Dates
Title: Includes date of composition. Translations of titles provided in parenthesis. Life: A brief biographical sketch for each composer.
Duration: Approximate duration based on available recordings.
Text: Source of text supplied, which may include author, title, and dates. Language: More than one language indicates a polylingual
composition. Languages in parenthesis indicate the translation(s) provided.
Voicing: Choral forces are listed by abbreviations for voice parts. Soloists: Soloists are identified by voice parts.
Accompaniment: “Unaccompanied” if no instruments are employed.
Publisher: The name of publishing company and the date of publication are provided, if known. Pub. No: Publisher’s order number is provided when available.
4
Notes: Information on premiere performance in the Philippines and first international performance and information about the composition. Performance Issues: Descriptive analysis, evaluation, and supplementary data of the work. Selected Discography: Information on recordings, if available.
Selected Online Performance: Information on audio and video demonstrations online, if available.
The format was adapted from three sources: a monograph published by the
American Choral Directors Association, Twentieth Century Choral Music: An Annotated
Bibliography of Music Appropriate for College and University Choirs3; Jonathan Green’s
A Conductor’s Guide to Nineteenth-Century Choral-Orchestral Works4; and Shannon
Jeffrey’s doctoral dissertation, The Choral Music of Trond Kverno: An Annotated Works
List5.
Literature Review
Scores
Only a handful of the scores addressed in this study are published in the United
States, Europe, and the Philippines. The remainder of the scores is manuscript copies.
These scores (published and unpublished) are either available from the composer, the
University of the Philippines College of Music Library, the Cultural Center of the
Philippines Library or interlibrary loan.
3 Gordon Paine, ed., Twentieth Century Choral Music: An Annotated Bibliography of Music Appropriate for College and University Choirs (Lawton, Oklahoma: American Choral Directors Association, 1997). 4 Jonathan D. Green, A Conductor’s Guide to Nineteenth-Century Choral-Orchestral Works (Lanham, Maryland: The Scarecrow Press, 2008). 5 Shannon Jeffreys, “The Choral Music of Trond Kverno: An Annotated Works List” (DMA diss., University of South Carolina, Columbia, 2007).
5
Encyclopedias
Biographical information and works list on most of the featured composers in this
study are found in The New Grove Dictionary of Music and Musicians and Die Musik in
Geschichte und Gegenwart [Music in History and the Present]. Other biographical
information of composers not found in the sources listed above has been attained through
personal correspondence or through their web page. The Garland Encyclopedia of World
Music contains comprehensive articles on the history and development of Philippine
instrumental and vocal music.
Books
Books written on Philippine choral music are limited and are mostly accessible
only through Philippine libraries and interlibrary loan. The principal authors are Ramon
Santos, Jose Maceda, Francisco Feliciano, Corazon Dioquino, and Elena Rivera Mirano.
Choral scholar, Nick Strimple, in his book Choral Music in the Twentieth Century briefly
discusses choral compositions by Filipino composers.6
Journal Articles
Ramon Santos, Jose Maceda, Francisco Feliciano, Corazon Dioquino, Jonas Baes,
and Joel Navarro are the Philippines’ leading experts in Philippine choral music. Their
articles are available in Philippine and Asian journals, and in JSTOR. The Cultural
Center of the Philippines Library also houses journal articles written by many of these
authors.
6 Nick Strimple, Choral Music in the Twentieth Century (Milwaukee: Hal Leonard Corporation, 2005).
6
Dissertations
While a number of dissertations have been written on Philippine music, mostly on
ethnomusicology, only two doctoral dissertations have been written on Filipino choral
composers and their compositions.7 Katherine Domingo’s dissertation focuses on the
Mass settings of Marcelo Adonay, Bonifacio Abdon, Francisco Buencamino, and Ryan
Cayabyab. Joel Navarro’s dissertation is on Ramon Santos’ selected choral compositions.
Choral Anthologies & Hymn Collections
Verne de la Peña, one of the Philippines’ leading scholars, has compiled three
volumes of Philippine choral music. These anthologies are available through the
publisher and interlibrary loan. Composer and scholar Francisco Feliciano assembled a
hymnal containing original songs composed by Filipino and Asian composers. This
collection is also available through the publisher and interlibrary loan.
7 Refer to Appendix C for further study on Philippine ethnomusicology.
7
8
CHAPTER 2
STREAMS OF PHILIPPINE CHORAL MUSIC
Music in the Philippines existed long before Ferdinand Magellan and his crew set
foot on Philippine soil in 1521. Evidences of vocal and instrumental music were recorded
by Antonio Pigafetta, who acted as Magellan’s assistant.8 When the Spaniards finally
settled in 1565, changes in politics, religion, and music took place. The Philippine Islands
became a colony of Spain, thus introducing Catholicism, the Spanish language,
Ecclesiastical Latin, western European lifestyle and music, and the Spanish zarzuela.9
Through the Treaty of Paris in 1898, Spain relinquished the Philippines to the
United States, marking the end of over three centuries of Spanish rule. With the
Philippines becoming a colony of the United States, changes in governance and education
were implemented. English was taught as well as evangelical Christianity. American
music such as jazz, big band, Sunday school songs, hymns, gospel songs and Negro
spirituals was introduced.
In 1941 Japan invaded and occupied the Philippines during World War II. That
caused General Douglas MacArthur to flee in 1942, while giving hope to the Filipino
people with his famous line, “I shall return.” MacArthur returned two years later,
8Corazon Canave-Dioquino, “The Lowland Christian Philippines,” in Southeast Asia, ed. Terry E. Miller Sean Williams, vol. 4 of The Garland Encyclopedia of World Music (New York: Garland Publishing, 1998), 839. 9 Zarzuela is a theatrical play with music and dance.
liberating the Philippines from Japan. On July 4, 1946, the United States renounced its
sovereignty over the Philippines, giving the Philippines its true independence.
The history of the Philippines brought a unique choral tradition that can be
categorized into four streams: 1) European choral tradition, 2) departure from the
European style, 3) incorporation of indigeneity with modernity, and 4) eclecticism.
The First Stream: European Choral Tradition
Choral music during colonial times was heavily influenced by the western
European tradition, which was first introduced by the Spanish friars. They introduced
Gregorian chants and polyphony and provided music education to Filipinos which
included vocal and instrumental instruction as well as studies in theory and counterpoint.
Marcelo Adonay
One of the earliest composers who benefited from music education by the
Spaniards was Marcelo Adonay. He was born in Pakil, Laguna on February 6, 1848.10 At
the age of eight, Adonay was sent to be educated by the Spanish friars of the Augustinian
order at the San Agustin Church in Intramuros where he learned the piano, organ, violin,
and music theory.11 His training as a tiple (boy soprano) and assistant to the chapel
organist provided valuable exposure to plainchant and European polyphonic music of the
15th and 16th centuries. Adonay was basically a self-taught composer, but it was under the
tutelage of Manuel Arostegui, a prominent Augustinian music professor, that Adonay
honed his compositional and conducting skills. In 1870, he was appointed conductor of
10 Pakil is approximately thirty-seven miles south of Manila. 11 Intramuros means “walled city” in Spanish. It is literally a walled fortress built to serve as the center of political, military, and religious power for Spain.
9
the church orchestra, a post he held until 1914. As orchestra director, he led performances
of Beethoven’s Missa Solemnis in 1887, Antonio Reparaz’s Missa a 3 voces in 1891, and
Hilarion Eslava’s Miserere Grande in 1893.12 A well-loved musician, both by Filipinos
and foreigners, Adonay died on February 8, 1928.
Pequeña Misa Solemne
Marcelo Adonay’s largest and most important work is a mass entitled, Pequeña
Misa Solemne sobre motives de la Misa Regia del Canto Gregoriano. Filipino scholars
and musicians refer to this monumental work as Pequeña Misa Solemne. Adonay
composed the mass between 1901 and 1903, and it was premiered on August 28, 1904 at
the San Agustin Church.
This mass follows the typical five-moment structure of the Mass Ordinary: Kyrie,
Gloria, Credo, Sanctus, and Agnus Dei. It is scored for tiple, contralto, tenor, and bass
and includes solo parts for four soloists. The instrumental parts are for flute, two clarinets
in B-flat, two bassoons, two trumpets in B-flat, three trombones, two horns in F, timpani,
and full strings. This orchestration is a testament to Adonay’s knowledge of nineteenth-
century Western European orchestras and, perhaps, a tribute to one of his favorite choral-
orchestral works, Beethoven’s Missa Solemnis. Table 1 shows a comparative
investigation of the instrumentation for Beethoven’s Missa Solemnis and Adonay’s
Pequeña Misa Solemne.
12 Elena Rivera Mirano, et al., The Life and Works of Marcelo Adonay, Volume I (Quezon City: University of the Philippines Press, 2009), 25.
10
Table 1. Instrumentation for Missa Solemnis and Pequeña Misa Solemne
Beethoven’s Instrumentation for Missa Solemnis
Adonay’s Instrumentation for Pequeña Misa Solemne
2 Flutes 2 Oboes
2 Clarinets 2 Bassoons
Contrabassoon 4 Horns
2 Trumpets Alto trombone
Tenor trombone Bass trombone
Timpani Organ
Violins I, II Violas Cellos Basses
Flute 2 Clarinets 2 Bassoons
2 Horns 2 Trumpets
3 Trombones Timpani
Violins I, II Violas Cellos Basses
The complete title of the mass suggests that Adonay used motives from a
Gregorian chant, but in reality, it is based on a composition by Henry Du Mont (1610-
1684).13 The opus referred to is Cinq messes en plain-chant, a group of chant-like style
masses written in 1669.14 Du Mont’s motive is used in four of the five movements. In the
Kyrie and Sanctus movements, Du Mont’s motive is used in its entirety. Example 2.1
illustrates Du Mont’s motive in the Kyrie. Only half of the motive is used in Gloria. The
Agnus Dei is the only movement that does not utilize Du Mont’s motif. Additionally, the
music in Kyrie and Sanctus are identical.
13 Corazon Canave Dioquino, The Life and Works of Marcelo Adonay, Volume I. ed. Elena Rivera Mirano (Quezon City: University of the Philippines Press, 2009), 131. 14 Laurence Decobert. "Du Mont, Henry." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/08315 (accessed August 2, 2010).
11
Example 2.1. Du Mont’s motive (top) as applied to Adonay’s own Kyrie
The Renaissance practice of intoning a chant by the priest before the choir sings is
adapted by Adonay. In Gloria (Ex. 2.2) a bass soloist sings the Du Mont motive before
the chorus exults in jubilating “Gloria in excelsis Deo.”
Example 2.2. Adonay, Pequeña Misa Solemne, “Gloria,” mm. 1-9.
Adonay’s choral writing, as seen in example 2.3, also speaks of his knowledge in
textual painting. The tessitura of the singing parts is reasonably high to portray the
meaning of the text, “Glory to God in the highest.”
12
Example 2.3. Pequeña Misa Solemne, “Gloria,” mm. 10-24.
In a 1925 interview conducted by Ignacio Manlapaz, Adonay acknowledged his
fondness of Bach’s Mass in B-Minor.15 Bach’s sectionalization of the text in his massive
work may have served as a model for Adonay’s management of the text for his own
masterwork. Table 2 reveals how both composers organized the Gloria text.
15 Elena Rivera Mirano, et al., The Life and Works of Marcelo Adonay, Volume I (Quezon City: University of the Philippines Press, 2009), 24.
13
Table 2. Sectionalization of text in Gloria
Bach Adonay Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis
Chorus Gloria in excelsis Deo Bass solo with chorus
Laudamus te, benedicimus te,glorificamus te
Soprano II solo
Et in terra pax hominibus bonae voluntatis
Tenor solo with chorus
Gratias agimus tibi propter magnam gloriam tuam
Chorus Laudamus te, benedicimus te, adoramus te, glorificamus te
Chorus
Domine Deus, rex coelestis, pater omnipotens, domini fili unigenite, Jesu Christe altissime, domine Deus, agnus Dei, filius patris
Soprano I and Tenor duet
Gratias agimus tibi, propter magnam gloriam tuam. Domine Deus, rex celestis, pater omnipotens, domini fili unigenite, Jesu Christe
Tenor solo
Qui tollis peccata mundi, miserere nobis, Suscipe deprecationem nostram
Chorus Domine Deus, Agnus Dei, filius Patris
Chorus
Qui sedes ad dexteram patris, miserere nobis
Alto solo Qui tollis peccata mundi, miserere nobis. Suscipe deprecationem nostrum Qui sedes ad dexteram patris, miserere nobis.
Bass solo with chorus
Quoniam tu solus sanctus, tu solus dominus, tu solus altissimus, Jesu Christe
Bass solo Quoniam tu solus sanctus, tu solus dominus, tu solus altissimus, Jesu Christe
Bass solo with chorus
Cum sancto spiritu in gloria Dei patris. Amen
Chorus Cum sancto spiritu in gloria Dei patris. Amen
Chorus
LUCIO SAN PEDRO
Known as a nationalist composer, Lucio San Pedro was born in Angono, Rizal on
February 11, 1913.16 He received a Music Teacher’s Diploma in composition and band
conducting from the University of the Philippines (UP) College of Music in 1938. He
taught theory at the UP College of Music and also became the composition and
16 Angono is approximately twelve miles east of Manila.
14
conducting department chair. In 1947 San Pedro furthered his composition studies at the
Juilliard School of Music. A prolific composer, San Pedro has written works for
orchestra, band, choir, and voice. Due to his musical contributions, San Pedro was
proclaimed National Artist for Music in 1991. He died of cardiac arrest on March 31,
2002, at the age of eighty-nine.
Sa Ugoy ng Duyan
Sa Ugoy ng Duyan (The Swaying of the Hammock) is the fourth movement of
San Pedro’s tone poem, Suite Pastorale, depicting the life of his native, pastoral town of
Angono. One of the most performed works, Sa Ugoy ng Duyan, is a Tagalog lullaby for
four-part mixed voices written between 1947 and 1948.17 Dedicated to his mother, this
choral piece was first performed in August 1956 by the Manila Symphony Orchestra and
Chorus.
The structure of Sa Ugoy ng Duyan is AA'BA"B"A"' with A"' quoting only a
portion of the opening A. The B sections also quote the last two measures of A. The
musical terms used are in the traditional Italian, except, as indicated in example 2.4, for
the mood of the piece which is in Tagalog. San Pedro instructs the piece to be performed
as katamtaman at malumanay na galaw which means “moderate and graceful.” In
measures 14 and 16, (Ex. 2.5), the predominant features of this lullaby are the two
sixteenth grace notes and the Neapolitan chord.
17 Tagalog is the basis for Filipino, the national language. Tagalog is mostly spoken by the people of Manila and surrounding provinces.
15
Example 2.4. San Pedro, Suite Pastorale, “Sa Ugoy ng Duyan,” mm. 1-8.
16
Example 2.5. San Pedro, Suite Pastorale, “Sa Ugoy ng Duyan,” mm. 9-16.
17
FELIPE DE LEON
Felipe De Leon, Sr. was born on May 1, 1912, in Peñafranda, Nueva Ecija, where,
as a child, he was exposed to band music and learned how to play the horn and
trombone.18 He received his degree in conducting from the University of the Philippines
Conservatory of Music and taught at various colleges and universities in the Philippines,
such as the University of the Philippines Conservatory of Music, St. Scholastica’s
College, and Centro Escolar University.19 He was the founder of the Filipino Society of
Composers and served as the organization’s president until 1985. De Leon’s musical
output includes compositions for band, orchestra, chamber music, violin, piano, opera,
theater, choir, and voice. He is also known for translating the Philippine National Anthem
from the original Spanish to Tagalog. De Leon died in 1992. The Philippine government
posthumously granted De Leon the National Artist for Music award in 1997.
PAYAPANG DAIGDIG
One of the most performed choral works of De Leon is Payapang Daigdig
(Peaceful World). It was written as a response to the destruction the city of Manila
suffered during World War II.20 The piece (Ex. 2.6), written in D major with Tagalog
text, opens with a lyrical, soothing melody sung by a soprano soloist. After eight
measures the choir joins, humming a four part harmony to support the soloist.
18 Peñafranda is approximately fifty-two miles north of Manila. 19 The Conservatory of Music was elevated to a College of Music in 1968 under Eliseo Pajaro. 20 Filipino Music Resource Reviews, “Felipe Padilla de Leon,” http://www.filipinomusica.com/felipe-padilla-de-leon.html (accessed July 23, 2010)
18
Example 2.6. De Leon, Payapang Daigdig, mm. 1-13.
The overall structure of the composition is ABCA. The B section is a tenor solo in
C minor. Section C consists of the tenors and basses singing most of the melody with the
19
sopranos and altos singing “tra la las” in C major. In example 2.7, the return to A is a
hymn-like setting in four parts and is back to the original key of D major.
Example 2.7. De Leon, Payapang Daigdig, mm. 69-78.
20
Modern arrangements of Payapang Daigdig, such as Lucio San Pedro’s widely
used setting illustrated in example 2.8, omit sections B and C. The original A section is
structured as binary with the first eight measures as A and the last eight as B.
Example 2.8. San Pedro, Payapang Daigdig, mm. 1-16.
21
PHILIPPINE FOLK SONGS
Many Philippine folk songs incorporate the western European tradition in terms
of form, such as strophic or binary, and tonality, which is usually based on a minor key.
Ili-Ili Tulog Anay is a fine example. Priscilla Magdamo arranged this Ilonggo folksong
from central Philippines, known as the Visayas Islands.21 This lullaby resembles lullabies
from Spain or any Latin American country. Magdamo is a well-known musicologist who
has traveled extensively to different parts of central and southern Philippines for the
preservation of folk songs. She is a former faculty member of Silliman University, the
Philippines’ first Protestant and American private school.
ILI-ILI TULOG ANAY
Ili-Ili Tulog Anay is an unaccompanied lullaby setting in modified strophic form
(A A' A"). The SATB vocal parts act as the accompaniment for the soloists. In A, the
soprano sings the stanza in G minor. In A', the soprano soloist is joined by a second
soprano providing the harmony. In A", the key changes to C minor and the stanza is sung
by an alto soloist accompanied by a soprano obbligato. As seen in example 2.9, the
obbligato sounds like a baby’s cry and provides a challenge to the singer. Aside from
singing a high C as the first note, the whole obbligato section is sung piano.
21 Also called Hiligaynon, this language is spoken by people from Western Visayas in Central Philippines.
22
Example 2.9. Magdamo, arr. Ili-ili, Tulog Anay, mm. 20-25.
23
The Second Stream: Departure from European Style
Composers belonging to this stream began to find their own identity by departing
from the European trend. These composers also took the challenge presented by Eliseo
Pajaro, former composition faculty at the University of the Philippines College of Music.
He declared:
The Filipino composer is, at present, faced with the problem of finding his identity and proper place in the society in which he lives. He has only to pause and draw his lesson from the pages of history to realize that, like his fellow-composers in other lands, he should lead his people in developing a feeling of national consciousness and pride. He should utilize the potentialities and richness of our country’s musical resources – our folk music and our national heritage, history and tradition – in order that his creative efforts may not only serve as his personal and private venue but more significantly, that it may become the composite voice of his people in its quest for a national musical identity.22
Among the composers who represent this category are Jose Maceda, Lucrecia
Kasilag, and Francisco Feliciano. Ethnomusicology became a favorite subject as these
composers, led by Maceda, journeyed extensively to learn the music of various tribal
groups. They also immersed themselves into learning the music of other neighboring
Asian countries such as Indonesia, Malaysia, and India.
JOSE MACEDA
Known as the first Filipino avant-garde composer, Jose Maceda was born on
January 31, 1917, in Manila where he learned to play the piano as a child. His talent led
him to further his piano studies in France, where he studied with Alfred Cortot at the
École Normale de Musique de Paris. Maceda continued his education in the United States
22 Eliseo M. Pajaro, “The Filipino Composer and His Role in the New Society” (lecture, University of the Philippines, Quezon City, March 7, 1974).
24
and graduated with a bachelor’s degree in music from Queens College, a master’s degree
in musicology from Columbia University and a doctor of philosophy from UCLA. Prior
to pursuing a doctorate, Maceda studied anthropology at the University of Chicago and
ethnomusicology at Indiana University. Instrumental in introducing avant-garde music to
Philippine audiences, Maceda accomplished this feat by organizing concert programs that
featured compositions by European and American composers such as Varèse, Boulez,
Messiaen, Cage, De Leeuw, and Xenakis.
UGMA-UGMA
Maceda’s interest in indigenous music is not limited to his native Philippines, but
includes music from other Asian countries such as Indonesia, Malaysia, Burma, Thailand,
Vietnam, Japan, and China. In his avant-garde composition entitled, Ugma-Ugma or
“Structures for Musical Instruments and Voices,” nearly all the instruments used are pan-
Asian: a Japanese mouth organ known as shō; an Indonesian metallophone called gender;
Chinese P’ai pan clappers; and Philippine ethnic instruments such as kulintang, gabbang,
agung, gandingan, tongatong, and kubing. As shown in example 2.10, the opus also
features rattles, scrapers, a buzzer, a clapper, carabao (water buffalo) horns, whistles,
chimes, bells, and bamboo sticks. The vocal parts are scored for soprano, alto, tenor, and
bass and require at least twenty voices.
25
Example 2.10. Maceda, Ugma-Ugma, mm. 1-43.
26
In describing the form of Ugma-Ugma, Ramon Santos portrays it as “a series of
mass structures similar to those of Varèse and generated according to different levels of
order and disorder, predictability and unpredictability as well as thinness and thickness of
sound spaces and colors.”23 The composition, which was premiered in Los Angeles,
California in 1963, is not about pitch but is about the different sounds each instrument
and voice produces. Maceda was more concerned with the “timbral and coloristic
properties rather than for melodic and harmonic purposes.”24
Maceda’s treatment of the human voice is very descriptive throughout the piece.
Each vocal part is given different nonsense syllables, words, and consonants to utter,
either in a whisper, falsetto, or normal vocal inflection, depending on the given dynamic
level. It is not until near the conclusion of the piece, as illustrated in example 2.11, that
Maceda features the SATB chorus a cappella singing “ei” in falsetto utilizing twenty
varied rhythms.
23 Ramon P. Santos, TUNUGAN: Four Essays on Filipino Music (Quezon City: University of the Philippines Press, 2005), 135. 24 Francisco Feliciano, Four Asian Contemporary Composers (Quezon City: New Day Publishers, 1983), 83.
27
Example 2.11. Maceda, Ugma-Ugma, mm. 156-159.
28
LUCRECIA KASILAG
Hailed as the grand dame of Philippine music, Lucrecia Kasilag was born in San
Fernando, La Union on August 31, 1917. 25 She received her undergraduate degrees from
St. Scholastica’s College and Philippine Women’s University. She furthered her music
studies and earned a Master of Music degree from the Eastman School of Music, where
she studied composition with Wayne Barlow. A prolific composer, Kasilag’s musical
output includes works for orchestra, choir, piano, guitar, and ethnic instruments. In 1989,
Kasilag was named National Artist for Music. She died in 2008.
Kasilag’s compositional style is a fusion of Western and Eastern musical
elements. She incorporates the Classical and Romantic styles and experiments with
twentieth-century compositional techniques. Her music usually contains traditional and
extended tertian sonorities, quartal and quintal harmonies, parallel fourths and fifths,
constant shifting of harmonies, triplets, and multi-meters.
DE PROFUNDIS
De Profundis is a requiem for SATB soloists, double choir, and orchestra. The
text is not from the traditional requiem liturgical mass but from Biblical passages taken
mostly from The Living Bible, New English Bible, and New Jerusalem Bible.26 The
instrumentation is for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, tuba, harp
timpani, percussion, violin I and II, viola, cello, and double bass. The whole opus is
divided into ten movements including an orchestral prelude. The chorus sings in the next
25 San Fernando is approximately 145 miles north of Manila. 26 Lucrecia R. Kasilag, De Profundis (Manila: Lucrecia R. Kasilag, 1978); In the fourth movement, “Out of the Depths: De Profundis,” the text is based on Psalm 130:1-4 (New English Bible), not Psalm 129 (Latin Vulgate).
29
nine movements reinforced by the second choir in movements two, eight, and ten. The
soloists only sing in movements two through six and join together to form a quartet for
movements seven and eight.
Kasilag’s use of extended tertian harmonies is evident in measure 10 of the fourth
movement, as demonstrated by example 2.12. Here, Kasilag utilizes a thirteenth chord in
root position. This same chord is portrayed four other times throughout this movement,
which is scored for alto solo and four-part men’s chorus. The introduction of the
thirteenth chords is preceded by a measure of seventh chords. Measure 9 illustrates the
major seventh chords used in “Lord, hear my.” The F minor seventh chord is used in
“Lord” and “hear,” while “cry” utilizes the D-flat major seventh chord. When the chorus
intones “cry,” as shown in measure 10, the thirteenth chord shown is C minor seventh,
major ninth, minor thirteenth chord. This two-measure petition occurs three times in the
whole movement, exercising the identical method. Additionally, parallel fourths and
fifths, as seen in measures 3-5, are ubiquitously present. Shown in measures 11-14 are
triplet figures, a common Kasilag feature, which are also utilized in the accompaniment
and vocal parts.
30
Example 2.12. Kasilag, De Profundis, “Out of the Depths,” mm. 1-14.
The fifth movement (Ex. 2.13) demonstrates Kasilag’s technique of constantly
shifting of harmonies. In this movement for bass solo and chorus, the soloist’s starting
pitch is usually a fifth above the given chord, as illustrated by the A minor chord in
measure 2 and B-flat major in measure 10. In measure 16, however, Kasilag features a G
31
suspended fourth, thirteenth chord, with the root as the soloist’s pitch. The first choral
interjection (m.6) is a D minor ninth chord while the second choral entrance (m.14) is a
D-flat major seventh chord in third inversion. These harmonic shifts are, perhaps,
Kasilag’s unique way of introducing each beatitude. This movement also shows Kasilag’s
unconventional use of second inversion chords.
Example 2.13. Kasilag, De Profundis, “The Beatitudes,” mm. 1-16.
32
Kasilag’s neoclassic approach is tested in the ninth movement (Ex. 2.14). The
whole movement is in F major, binary in form, and has a fugato. The subject is
introduced by the sopranos with a tonal answer by the altos.
Example 2.14. Kasilag, De Profundis, “To Our God and Father Be Glory,” mm. 1-8.
33
FRANCISCO FELICIANO
Francisco Feliciano was born in Morong, Rizal on February 19, 1942.27 He
earned his Bachelor of Music degree in composition from the University of the
Philippines College of Music where he studied with Eliseo Pajaro. Feliciano fu
composition studies in Germany under the tutelage of Heinz Zimmermann and Korean-
born composer, Isang Yun. Yun’s compositional style of incorporating Korean musical
elements encouraged Feliciano to do the same with Filipino components. Feliciano
graduated with a Master of Music and Doctor of Musical Arts from Yale University.
Among his composition professors at Yale was Krzystof Penderecki. Feliciano’s choral
works, such as Pamugun and Pokpok Alimpako have been performed at international
choral festivals and competitions as well as national and division conferences of the
American Choral Directors Association (ACDA).
rthered his
28 At present, he is the director of the
Asian Institute for Liturgy and Music (AILM) in Quezon City, Philippines.
PAMUGUN
Pamugun (Sparrow) is a virtuosic piece about a conversation between a hunter and a
sparrow. The sopranos and altos represent the hunter, while the sparrow is represented by
the tenors and basses. This tête-à-tête is illustrated in example 2.15. The language used is
Maguindanao, one of the languages in Southern Philippines.
27 Morong is approximately 18 miles east of Manila. 28 1994 ACDA North Central Division Convention (Rapid City, SD); 2007 ACDA National Convention (Miami, FL); 2010 ACDA Southern Division Convention (Memphis, TN).
34
Example 2.15. Feliciano, Pamugun, mm. 50-55.
Each voice part also includes an ostinato that permeates the piece. Renowned
choral conductor and music educator Charlene Archibeque writes her observation upon
hearing this piece:
In June, 2001 at the Marktoberdorf, Germany, International Chamber Choir Competition, we heard Pamugun performed by the Ateneo de Manila College Glee Club from the Philippines. The
35
audience was blown away. When we decided we wanted to add the piece to our program called “For the Birds,” I made a voice tape for each part and sent the singers home over semester break with instructions to memorize their parts. We then had sectional rehearsals for each voice part before we ever tried to put the piece together – very slowly at first, then increasing the tempo as the words got into the speech mechanism.29
The Third Stream: Incorporation of Indigeneity with Modernity
Composers representing this stream intentionally incorporate indigeneity with
modernity by using traditional instruments like bamboo and metal idiophones;
chordophones; traditional concepts of time and space; and music-making by
communities. The leading composers of this category are Ramon Santos, Josefino Chino
Toledo, and Ruben Federizon.
RAMON SANTOS
Ramon Santos was born on February 25, 1941 in Pasig, Metro Manila, where he
learned music from his mother, Amada. Having been educated at Catholic schools for
both elementary and high school, Santos was exposed to Gregorian chants, motets, and
masses. He graduated with a Bachelor of Music degree in composition and conducting
from the University of the Philippines Conservatory of Music, a Master of Music from
Indiana University and a Doctor of Philosophy from the State University of New York in
Buffalo. Among his composition teachers were Lucio San Pedro, Thomas Beversdorf,
Roque Cordero, Ramon Fuller, and William Kothe. His musical output consists of music
29 Archibeque is the former Director of Choral Activities at San Jose State University, where she taught for thirty-five years; Francisco F.Feliciano, Pamugun (Santa Barbara: Santa Barbara Music Publishing, 2002), 2.
36
for orchestra, stage, voice, choir, and chamber instrumental groups.30 As a proponent of
ethnomusicology, Santos has written music for various ethnic instruments such as gongs
and bamboo instruments.31 Aside from composing, Santos is one of the foremost Filipino
music scholars, whose books and articles on Philippine music have been published
worldwide. In addition, he is a frequent lecturer on ethnomusicology at various music
conferences both in the Philippines and abroad.
DING DING NGA DIYAWA
One of Santos’ avant-garde compositions is Ding Ding Nga Diyawa, an SATB
piece for sixteen voices (four singers per part), six timpani, kulintang, tamtam, and
agong. The Western elements in this piece are the timpani and the adapted twentieth-
century compositional devices such as modern notation symbols, speaking parts, and
traces of minimalism. This composition was premiered by the Philippine Madrigal
Singers in 1969, during the International University Choral Festival held at Lincoln
Center in New York City.32
The composition, written in Maranao utilizing the International Phonetic
Alphabet, is divided into three sections.33 The first section, as illustrated in example 2.16,
mixes singing and speaking parts supported by the random reverberations produced by
the timpani, kulintang and tamtam. The whole segment is measured in seconds, a similar
technique found in Krzysztof Penderecki’s Threnody for the Victims of Hiroshima. 30 Lucrecia R. Kasilag, The League of Filipino Composers: 1996 Directory and Selected Works (Manila, Philippines, 1996), 15. 31 Jonas Baes, “Composers in the Philippines: ‘Counterstreams in a Post-Colonia Epoch,’” in Asian Composers in the 20th Century, ed. Japan Federation of Composers. (Tokyo, Japan: Hirakawa Kogyosa, 2002), 278-79. 32 Marjorie Evasco, A Life Shaped By Music: Andrea Ofilada Veneracion and the Philippine Madrigal Singers. ( Makati City, Philippines:Bookmark, 2001), 86. 33 Maranao is mostly spoken in Lanao in Southern Philippines.
37
Example 2.16. Santos, Ding Ding Nga Diyawa
38
Part two, as shown in example 2.17, demonstrates Santos’ sole use of the time
signature and features a metronome marking of 60 to a quarter note.
Example 2.17. Santos, Ding Ding Nga Diyawa
Section three segues into rhythmic motivic chants that climax into the chorus
reciting “pambalain na barit” (“to build a castle”), as demonstrated in example 2.18. This
39
recitation shows Santos’ own instruction of “randomized rhythm and varying degrees of
volume.” The piece culminates with all the voices in unison singing “walay a dato ato”
(“for the sultan”).
Example 2.18. Santos, Ding Ding Nga Diyawa.
40
In his doctoral dissertation on Ramon Santos’ choral works, Joel Navarro clearly
summarizes Santos’ compositional style in Ding Ding Nga Diyawa. Navarro concludes:
While the compositional ideas of space and microtonality are served through technical means, it is clear that the aesthetic properties of the work are very much influenced by Philippine indigenous rhythms and social customs of celebratory chanting. In a very real sense, Santos is now settling within himself deep issues of national identity and traditional music systems, vis-à-vis a modern and foreign technology of music composition.34
JOSEFINO CHINO TOLEDO
Composer-conductor Josefino Chino Toledo earned his Bachelor of Music in
composition from the University of the Philippines College of Music, where he studied
with Eliseo Pajaro, Lucio San Pedro, and Ramon Santos. Toledo continued his studies in
the United States where he graduated with a Master of Music degree in composition from
the Cleveland Institute of Music (CIM). Among his teachers at CIM were Donald Erb
and John Rinehart. An accomplished conductor himself, Toledo has conducted the
Manila Symphony Orchestra and the Philippine Philharmonic Orchestra. At present, he is
the music director of the Metro-Manila Community Orchestra as well as Professional
Chair in Music Composition at the University of the Philippines College of Music.
A prolific composer, Toledo has written works for orchestra, band, theater, ballet,
voice, choir, guitar, and chamber instrumental groups.35 In 1997, Toledo wrote a
commissioned piece, Sigaw (Scream), for the renowned New Juilliard Ensemble.
Toledo’s works are regularly performed in various international music festivals, not only
in Asian countries, but also in the United States, Canada, Brazil, Israel, New Zealand,
34 Joel Navarro, “A Style Study of Selected Choral Works of Ramon Pagayon Santos” (DMA dissertation, Michigan State University, 2005), 70. 35 Lucrecia R. Kasilag, The League of Filipino Composers: 1996 Directory and Selected Works (Manila, Philippines, 1996), 17.
41
Italy, and Germany. Toledo’s compositions incorporate a mixture of western and
Southeast Asian elements.
ALITAPTAP
In Alitaptap, Toledo utilizes footbells, bamboo stomping tubes (tongatong) and
stones in this ultra rhythmic piece about a firefly. As illustrated in example 2.19, Toledo
wisely uses the exact rhythm of the word, alitaptap, in the way it is spoken, which is
similar to musique mesurée.
Example 2.19. Toledo, Alitaptap, mm. 1-2.
42
The piece also involves spoken words, shouting, and whispering. Glissandos are a
common feature in the solos, as seen in example 2.20.
Example 2.20. Toledo, Alitaptap, mm. 3-5.
43
RUBEN FEDERIZON
Ruben Federizon was born on January 16, 1952, and was educated at the
University of the Philippines, where he received his Bachelor of Music degree. He
furthered his education at San Francisco State University and the University of British
Columbia. Among his compositions are works for orchestra, chamber groups, choral,
ballet, and theatre.
GABAQ-AN
Chromaticism and mixed meters are among the compositional techniques
Federizon used in Gabaq-an. The indigenous elements used are the bamboo clappers and
fingerbells. The opening segment, shown in example 2.21, creates an eerie feeling of a
destructive event about to happen by an evil spirit and segues into a prayer for protection
by the baritone soloist, beginning in measure 2. The chant-like prayer is mostly chromatic
with occasional major second and major and minor third leaps. Illustrated in example
2.22, the prayer intensifies as the tenors and basses echo the prayer in three and four-part
harmony, chanting “Magbabaya.” The harmonic tension is created via the D minor
chord, D minor chord with an added major second, and E augmented seventh chord.
44
Example 2.21. Federizon. Gabaq-an, mm. 1-2.
45
Example 2.22. Federizon, Gabaq-an, mm. 3-14.
The tension heightens when the women enter with the motive (Example 2.23)
with the men responding in a quasi harmonic palindrome.
46
Example 2.23. Federizon, Gabaq-an, mm. 15-17.
The text of the Gabaq-an is macaronic, using the languages of Cebuano and
Binukid.36 The author, Chim Zayas, wrote the text in response to the social conditions
brought by the Martial Law during President Ferdinand Marcos’ dictatorial rule.
Ironically, this piece was premiered in 1977 at the Cultural Center of the Philippines, the
pet project of the First Lady, Imelda Marcos.37
The Fourth Stream: Eclecticism
Composers belonging to this stream show their versatility in various
compositional styles by crossing over the previous streams. The principal composers in
this category are Ryan Cayabyab, John Pamintuan, and Nilo Alcala. Many works of these
composers, along with others who fall into this stream, show resemblance to
compositions by Morten Lauridsen, Randall Stroope, Arvo Pärt, and Eric Whitacre.
36 Gabaq-an is pronounced as [gabaʔ-an], with the “q” acting as a glottal stop; Cebuano is spoken in Eastern Visayas and Mindanao.; Binukid is the tribal language of the people from Bukidnon. 37 Chim Zayas, e-mail message to author, July 12, 2010.
47
RYAN CAYABYAB
Recognized as the Philippines’ most prolific living composer, Ryan Cayabyab
was born in Manila on May 4, 1954. The son of opera singer Celerina Pujante, music has
always been part of Cayabyab’s life. Celerina, however, discouraged her children from
becoming musicians like herself. She died when Cayabyab was only six years old. In
college Cayabyab majored in Accounting at the University of the Philippines and at the
same time worked as an accompanist for the Development Bank of the Philippines choral
ensemble. Cayabyab’s talent was noticed by then senator and former Philippine vice
president, Salvador Laurel, who encouraged Cayabayab to major in music and provided
financial assistance. Cayabyab transferred to the College of Music in the same institution
and earned a Bachelor of Music degree in composition.38
Cayabyab is successful writing in any style or genre: pop, jazz, classical, sacred,
opera, and movie music.39 His choral works are among the most performed in concerts,
festivals, and competitions in the Philippines and abroad. Among his choral works that
have garnered successful performances are Misa, Misa 2000, Anima Christi, Tsismis, and
Da Coconut Nut.
MISA
Misa was written in 1983, as part of Cayabyab’s music degree requirements at the
University of the Philippines. It is an unaccompanied work for double chorus and five
soloists with duration of approximately thirty-five minutes. The text is in Latin from the
38 Katherine Domingo, “Filipino Musical Identity in the 20th Century: An Analysis of Four Mass Settings by Marcelo Adonay, Bonifacio Abdon, Francisco Buencamino, and Ryan Cayabyab” (D. Mus. diss. Indiana University, 2005), 81-82. 39 Lucrecia R. Kasilag, The League of Filipino Composers: 1996 Directory and Selected Works (Manila, Philippines, 1996), 3.
48
Mass Ordinary. Cayabyab’s eclecticism is evident throughout this sacred work, as he
incorporates various compositional techniques, such as Moroccan-inspired chant in
Kyrie, call-and-response in Gloria, minimalism and aleatory in Credo, interlocking
rhythms in Sanctus, and mellifluous harmonies in Agnus Dei. For all solo passages in
four of the five movements, Cayabyab begins each solo with the perfect fifth interval.
This feature is not present in Sanctus.
Of all the movements in Misa, the most performed movement in competitions and
festivals is Kyrie. Illustrated in example 2.24, the Kyrie opens with a mezzo-soprano solo
in free, flowing meter with a grace note filled vocal line. The alto solo employs the same
notes used by the mezzo-soprano solo but in a different rhythm, thus creating a
heterophony. Both solos are based on a D pentatonic scale. Cayabyab intended the solos
to be sung in a plainsong style, as imprinted in the score, “pure, simple tones.” Many
performances, however, intone the chant with an ethnic slant, partly because of the
appoggiaturas present. This practice never bothered the composer.40
Cayabyab uses the ABCCBA structure in this movement, creating a chiastic
design. The choral parts call for two choirs, which, for the most part, sing identically. In
section C (Ex. 2.25), choir two mostly sings in A, each voice singing an octave apart,
while choir one sings in parallel third inversion major seventh chords. This invocation
also produces a pleading character, painting the text, “Christ, have mercy.”
40 Ryan Cayabyab, e-mail message to author, July 19, 2010.
49
Example 2.24. Cayabyab, Misa, “Kyrie,” mm. 1-12.
50
Example 2.25. Cayabyab Misa, “Kyrie,” mm. 35-37.
51
Example 2.25. Continuation
JOHN PAMINTUAN
John Pamintuan, born in Manila on August 14, 1972, received degrees in medical
technology and chemistry prior to enrolling at the University of Santo Tomas
Conservatory of Music, where he studied voice and piano. To supplement his education,
Pamintuan studied composition privately with National Artist Lucio San Pedro.
52
Pamintuan is a former conductor and director of the voice program at the Young People’s
Chorus of New York City. An award winning composer, Pamintuan’s works have been
performed in prestigious choral competitions and festivals by some of the world’s best
choirs. During the 2007 European Grand Prix for Choral Music, Pamintuan’s Pater
Noster was among the works performed by the grand prize winner, the Philippine
Madrigal Singers.
PATER NOSTER
Pamintuan’s gift of melody is exposed in this lyrical setting of Pater Noster. It
has a chant-like opening in four parts sung by the tenors and basses using the I-IV-V-I
chord structure. Pamintuan’s ability in utilizing a Renaissance technique of text painting
is evident in measures 8-11 (Ex. 2.26). Here, the composer uses a rising melody picturing
cælo (heaven) and a dropping melodic figure for terra (earth). The parallel movements of
the altos support the visualization of Pamintuan’s intentions. The chromaticism from
measures 17-22, as shown in example 2.27, portrays a penitent quality suitable for the
words, et dimitte nobis debita nostra (and forgive us our sins). This tension-filled portion
of the piece builds toward a climax in measure 23.
53
Example 2.26. Pamintuan, Pater Noster, mm. 1-14.
54
Example 2.27. Pamintuan, Pater Noster, mm. 15-34.
55
NILO ALCALA
Nilo Alcala was born in Manila on February 23, 1978. He holds two
undergraduate degrees, one in development communications and the other in
composition. For his music degree, Alcala studied at the University of the Philippines
College of Music. Among his teachers were Ramon Santos and Josefino Chino Toledo.
Alcala went on to receive a master’s degree in composition from Syracuse University,
where he studied with Nicolas Scherzinger, Gregory Mertl, and Daniel Godfrey. A
versatile composer, Alcala has written works for orchestra, voice, instruments, film, and
choir. In 2009, he won the POLYPHONOS choral composition competition Young
Composer Award by the Esoterics, a vocal ensemble based in Seattle, Washington.
PAPANOK A LAKITAN
Based on a Maguindanaon chant, Papanok A Lakitan is a polyrhythmic and
polymodal piece.41 Illustrated in example 2.28, the alto, tenor, and bass parts have
independent ostinatos imitating the intricate rhythm of a kulintang ensemble. These vocal
parts are based on different modes. The alto is in B-flat Lydian and only utilizes four
notes. The tenor part employs the first three notes of a Phrygian or Locrian mode built on
G. The bass also utilizes the first four notes of the Phrygian or Locrian mode in D.
Measure 13 (Ex. 2.28) shows the first four measures of the eight-measure chant, which is
based on a three-note system – G, B-flat, and E-flat – although E-flat only occurs once.
41 Maguindanao is the main language spoken in the province of Maguindanao in Southern Philippines.
56
Example 2.28. Alcala, Papanok A Lakitan, mm. 9-16.
Alcala incorporates an appealing way of not making the chant sound repetitive.
He changes the intervals of the phrase, papanok a lakitan, when it is repeated, as
demonstrated in measures 13-16 of example 2.28. Table 3 shows the intervallic
relationships of the chant sung by the soprano and alto.
57
Table 3. Intervallic relationships between soprano and alto
MEASURE 13 MEASURE 14 pa- pa- nok a la- ki- Tan m3 P4 m3 P4 m3 m3 P4
MEASURE 15 MEASURE 16 pa- pa- nok a la- ki- Tan M2 M2 m3 M2 P4 P4 P4
The piece also features a common compositional practice of a kulintang
ensemble. Shown in example 2.29, each voice part enters individually in their own
melody and rhythm until all the voices interlock, creating a layered sound. This
characteristic is similar to that of the Indonesian gamelan ensemble.
Example 2.29. Alcala, Papanok A Lakitan, mm. 93-96.
58
Example 2.29. Continuation.
59
Example 2.29. Continuation
60
The four streams discussed in this chapter epitomize choral music in the
Philippines from colonial times to the present. Spanish and European influences played
an important role in the compositional output of the first mainstream composers.
Digressing from the European trend, choral works of the second mainstream reflect the
composers’ own style by embracing modern compositional methods as well as
incorporating Asian and Filipino elements. This integration is further broadened by the
composers of the third mainstream. Tribal music became a preferred theme along with
the use of indigenous instruments. Composers belonging to the fourth mainstream
demonstrated their versatility in writing music that encompasses all of the previous
mainstreams. Their eclecticism is a testament of the education they received from their
foreign-trained Filipino teachers and from studies with European and American
professors.
61
62
CHAPTER 3
ANNOTATED CHORAL WORKS LIST
Whenever a Philippine choir performs music by a Filipino composer, the
frequently asked question is, “How can I get the music?” Music publishing in the
Philippines has always been a challenge because of weak copyright laws. Photocopying
without the permission of copyright owners (local and foreign) is practiced, despite the
government’s warning to adhere to the Intellectual Property Code.42 This problem is one
of the reasons self-publishing has become the norm for composers in which consumers
purchase music directly from the composer or online company. Self-publishing is also a
means of obtaining the whole profit, compared to the meager pay composers receive from
local publishers.43
The purpose of this chapter is to provide choral conductors and music educators
an annotated works list of selected Philippine choral music. These choral works are
among the most performed pieces, not only by Philippine choirs, but by other choirs from
various countries. Information on how to acquire these compositions is provided, as well
as notes about the work and performance practice. Printing errors in published editions
and pronunciation issues are also addressed. Diction problems, especially in words with
glottal stops, are supplied using the International Phonetic Alphabet.
42 International Intellectual Property Alliance. “The Philippines: 2010 Special 301 Report.” International Intellectual Property Alliance, http://www.iipa.com/rbc /2010/ 2010SPEC301PHILIPPINES.pdf (accessed August 25, 2010). 43 Joel Navarro, “Asian Choral Music” (lecture, American Choral Directors Association-Michigan Convention, Central Michigan University, Mount Pleasant, MI, October 31, 2009).
The annotated works list is arranged alphabetically by composer and follows the format
below:
Composer: Names and Dates
Title: Includes date of composition. Translations of titles provided in parenthesis. Life: A brief biographical sketch for each composer.
Duration: Approximate duration based on available recordings.
Text: Source of text supplied, which may include author, title, and dates. Language: More than one language indicates a polylingual
composition. Languages in parenthesis indicate the translation(s) provided.
Voicing: Choral forces are listed by abbreviations for voice parts (including divisi) Soloists: Soloists are identified by voice parts.
Accompaniment: “Unaccompanied” if no instruments are employed.
Publisher: The name of publishing company and the date of publication are provided, if known. Pub. No: Publisher’s order number is provided when available.
Notes: Information on premiere performance in the Philippines and first international performance and information about the composition, if known. Performance Issues: Descriptive analysis, evaluation, and supplementary data of the work. Selected Discography: Information on recordings, if available.
Selected Online Performance: Information on audio and video demonstrations online, if available.
63
Composer: Nilo Alcala (b. 1978)
Title: Bagbagto (2008) Life: Alcala received his undergraduate degree in composition from the
University of the Philippines, where he studied with Jonas Baes, Christine Muyco, Josefino Chino Toledo and Ramon Santos. In 2009, he graduated from Syracuse University with a masters degree in composition. His major professors were Nicholas Scherzinger, Gregory Mertl, and Daniel Godfrey. Aside from choral music, Alcala also writes music for orchestra, instruments, voice, and film.
Duration: 3:30
Text: Traditional chant from the Bontoc, one of the Igorot ethnic groups. Language: Bontoc Voicing: SSAATTBB Soloists: None
Accompaniment: Unaccompanied; with percussion (wooden sticks and/or stones)
Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected]) Notes: Commissioned by the Children’s Museum and Library, Inc. (CMLI) as the
Voices in Harmony 2008 contest piece. Premiere performance was on November 29, 2008. USA premiere by Syracuse University Singers, April 21, 2009. The composer wishes for a non-ethnic vocal sound when performing this piece.
Performance Issues: Difficult work. Rhythmic. Mixed meter. Polymeter.
Involves tone clusters, stomping, slapping, and speaking parts. The word bagbagto has a glottal stop at the end [bagbagtoʔ].
Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=p2e9_Wm2S0M
64
Composer: Nilo Alcala (b. 1978) Title: Dayo Dayo Kupita [Friend, Friend, It is Morning] (2005) Life: See page 62 Duration: 4:00
Text: Traditional Maranao play chant Language: Maranao Voicing: SSAAATTBB Soloists: None
Accompaniment: Unaccompanied
Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected]) Notes: Written for and premiered by the Philippine Madrigal Singers at the
Cultural Center of the Philippines in 2005. European premiere was in July 2006 at the Florilège Vocal de Tours in France and U.S. premiere was in 2005. Both European and U.S. premieres were sung by the Philippine Madrigal Singers.
Performance Issues: Use of interlocking rhythms and superimposed patterns. Bitonality in the slow middle section. The end is imitative of the sound of the kulintang (a set of small graduated bossed gongs).
Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=S1dPIiC_jV4
65
Composer: Nilo Alcala (b. 1978)
Title: Kaisa-isa Niyan (Only One) [2006] Life: See page 62 Duration: 2:40
Text: Maguindanaoan children’s game Language: Maguindanao Voicing: SSAATTBB Soloists: None
Accompaniment: Unaccompanied
Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected]) Notes: First performed by the Philippine Madrigal Singers on March 14, 2007 at
the composer’s degree recital at the University of the Philippines College of Music. European premiere was in Paris, France on June 26, 2007. The U.S. premiere was on September 9, 2007 in New York City. Both European and U.S. premieres were sung by the Philippine Madrigal Singers.
Performance Issues: Features intricate ostinati and textures inspired by the
kulintang ensemble; uses body percussion sounds. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=Ixrcc7DZtuE
66
Composer: Nilo Alcala (b. 1978)
Title: Song of Dawn (2006) Life: See page 62 Duration: 6:40
Text: Anuraj Manibhandu Language: English Voicing: SSAATTBB Soloists: None
Accompaniment: Unaccompanied
Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected]) Notes: Written for the Bangkok Voices. Premiered by the Philippine Madrigal
Singers on March 14, 2007 at the composer’s degree recital at the University of the Philippines College of Music. European premiere was in 2007 during the European Grand Prix for Choral Singing held in Arezzo, Italy. The U.S. premiere was on September 8, 2007. Both European and U.S. premieres were performed by the Philippine Madrigal Singers.
Performance Issues: Impressionistic. Mixed meter, polyrhythmic; involves whispering, glissando.
Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=tF86swBpjG4
67
Composer: Nilo Alcala (b. 1978)
Title: Song of the Night (2009) Life: See page 62 Duration: 10:00
Text: Mawlana Jalal-ad-din Rumi; English Translation by Anna and Adam Czerniawscy.
Language: English Voicing: SSAATTBB Soloists: SAT
Accompaniment: Unaccompanied
Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected]) Notes: Commissioned by The Esoterics, a Seattle-based vocal ensemble. This
composition made Alcala the winner of the 2009 POLYPHONOS Young Composer Award. Premiered on October 17, 2009 in Seattle, Washington by The Esoterics; Eric Banks, director.
Performance Issues: Impressionistic. Mixed meter, polyrhythmic; involves
glissandi. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=xjejbPKn7js
68
Composer: Jude Edgard Balsamo (b. 1977)
Title: Angele Dei (Angel of God) [2005] Life: Balsamo received his musical training from St. Scholastica’s College and
the University of Santo Tomas. He has studied composition under Lucio San Pedro, Ramon Santos, and Jonas Baes. An eclectic composer, Jed, as he is fondly known, is equally at home in any style and genre such as classical, pop, theatre, TV, and film music.
Duration: 4:30
Text: Reginald of Canterbury Language: Latin Voicing: SATB (with divisi) Soloists: None
Accompaniment: Unaccompanied
Publisher: All Together Now! Inc. Pub. No: Music available at www.musicamanila.com
Notes: Written for Mark Carpio and the Philippine Madrigal Singers. This piece was composed between 2002 and 2004. The completed 2004 version was revised in 2005 and is the most performed edition.
Performance Issues: Tonal work filled with mellifluous harmonies. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=6_A-kJRP5D0
69
Composer: Fidel Calalang, Jr. (b. 1963)
Title: Pater Noster (Our Father) Life: Calalang graduated from the University of Santo Tomas Conservatory of
Music with a bachelor’s degree in piano performance. He is founder and director of the UST Singers, a choral group with multiple awards in international competitions including the 1995 and 2010 Choir of the World titles (Llangolen). Calalang is currently head of the Conducting Department at the UST Conservatory of Music where he teaches piano, conducting, and choral music.
Duration: 5:00
Text: Matthew 6: 9-13 Language: Latin Voicing: SATB (with divisi) Soloists: None
Accompaniment: Unaccompanied
Publisher: Unpublished Pub. No: Manuscript copy available at [email protected] Notes: The original text is in Filipino (Ama Namin). Joel Navarro provided the
Latin edition. Performance Issues: Tonal, mixed-metered composition with extended tertian
harmonies. Selected Discography: University of Santo Tomas Singers, Fidel Calalang, dir. JB
Music JB-98/116. CD. 1998. Selected Online Performance: http://vimeo.com/2487838
70
Composer: Ryan Cayabyab (b. 1954)
Title: Anima Christi (Soul of Christ) [1999] Life: Regarded as the Philippines’ most prolific living composer, Cayabyab
received his Bachelor of Music degree in composition from the University of the Philippines College of Music. Cayabyab is successful in writing in any style or genre: pop, jazz, classical, sacred, opera, and movie music. His choral works are among the most performed in concerts, festivals, and competitions in the Philippines and abroad.
Duration: 6:00
Text: 14th century prayer Language: Latin Voicing: SATB Soloists: None
Accompaniment: Unaccompanied
Publisher: Ryan Caybyab Pub. No: Music available through [email protected]
Notes: Written for Chorus Paulinus, Arnold Zamora, director. Premiered on April 14, 2000 by the same group in Manila. Chorus Paulinus also gave the work’s first international premiere on May 6, 2000 in Santa Clara, California.
Performance Issues: Homophonic work characterized by traditional diatonic
harmonies in AABA form. Selected Discography: Cayabyab, Ryan. The Sacred Works of Ryan Cayabyab.
San Miguel Foundation for the Performing Arts. CD. 2000. Selected Online Performance: http://www.youtube.com/watch?v=Zk8C8zwsBgk
71
Composer: Ryan Cayabyab (b. 1954)
Title: Aquésta Me Guiaba, Oh Noche, Que Guiaste (1990) Life: See page 69. Duration: 5:00
Text: Silverio de Santa Teresa Language: Spanish Voicing: SATB Soloists: None
Accompaniment: Unaccompanied
Publisher: Ryan Cayabyab Pub. No: Music available through [email protected] Notes: Premiered by the Philippine Madrigal Singers. Performance Issues: Homophonic gebrauchmusik with mellifluous harmonies.
Use of Castillan Spanish is recommended. Selected Discography: Cayabyab, Ryan. The Sacred Works of Ryan Cayabyab.
San Miguel Foundation for the Performing Arts. CD. 2000. Selected Online Performance: http://www.youtube.com/watch?v=4v6oiWoekZ4
72
Composer: Ryan Cayabyab (b. 1954)
Title: Da Coconut Nut (2002) Life: See page 69. Duration: 3:30 Text: Ryan Cayabyab Language: English Voicing: SATB (with divisi) Soloists: Tenor
Accompaniment: Unaccompanied
Publisher: Santa Barbara Music Publishing, Inc. Pub. No: SBMP 834
Notes: Popularized by a Filipino teen group, Smokey Mountain. The choral arrangement was adapted from the composer’s 2001 recording, “One More,” where he sang all sixteen voices.
Performance Issues: Although written in English, the use of the five pure vowels
([a],[ɛ],[i],[o],[u]) and the rolling of the “r” are recommended.
Selected Discography: Cayabyab, Ryan. Great Original Pilipino Music. BMG
Records Pilipinas. CD. 2004. Selected Performance: http://www.youtube.com/watch?v=rrCMv2sZALk
73
Composer: Alejandro Consolacion II (b. 1980)
Title: Alleluia (2002) Life: Consolacion received his music education from St. Scholatica’s College,
where he studied composition with Manuel Maramba and Jonas Baes. His choral works are among the most performed by Philippine choirs. An accomplished organist, Consolacion earned a performance diploma in organ from the Associated Board of the Royal Schools of Music.
Duration: 6:00
Text: Traditional Latin Language: Latin Voicing: SATB Soloists: None
Accompaniment: Unaccompanied
Publisher: Holy Measures Pub. No: Available at www.holymeasures.com
Notes: Written for and premiered by the Asian Youth Choir in 2002. The opening measures sound like Thompson’s Alleluia, which Consolacion used as a basis for his own composition.
Performance Issues: Mostly homophonic work filled with lush harmonies. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=6O0DcNukdyk
74
Composer: Alejandro Consolacion II (b. 1980)
Title: Mary’s Lullay (2002) Life: See page 72. Duration: 3:45
Text: Jennifer Wallum Language: English Voicing: SATB Soloists: Soprano
Accompaniment: Organ
Publisher: Holy Measures Pub. No: Available at www.holymeasures.com
Notes: String accompaniment is also available from the composer ([email protected])
Performance Issues: Accessible work suitable for Christmas Selected Discography: None available Selected Online Performance:
http://www.holymeasures.com/songs/preview.php?my=1177
75
Composer: Alejandro Consolacion II (b. 1980)
Title: Pater Noster (2004) Life: See page 72. Duration: 6:45
Text: Matthew 6:9-13 Language: Latin Voicing: SATB Soloists: 2 Sopranos
Accompaniment: Unaccompanied
Publisher: Holy Measures Pub. No: Available at www.holymeasures.com
Notes: Originally written for SSAA, but was transcribed for SATB as a gift to the University of the East Chorale; Anna Abeleda, conductor.
Performance Issues: Composition is characterized by traditional diatonic
harmonies. Selected Discography: None available Selected Online Performance:
http://www.holymeasures.com/songs/preview.php?my=1171
76
Composer: Jerry Dadap, Jr. (b. 1962)
Title: Cordero de Dios (Lamb of God) [2003] Life: Dadap, Jr. is an accomplished composer and classical guitarist. He has
collaborated with numerous chamber music groups, vocalists, and choral groups for projects in the Philippines and in the United States. He was born in the Philippines in 1962. At a young age, he was taught solfeggio by his father Jerry A. Dadap, a renowned Filipino composer. Dadap, Jr. graduated from the University of the Philippines with a bachelor’s degree in Physics, and obtained a Ph.D. in Physics at the University of Texas in Austin. Additionally, he has done postdoctoral work at Columbia University. An accomplished guitarist, Dadap, Jr. studied classical guitar with Bayani de Leon and later with Adam Holzman at the University of Texas. Dadap, Jr. is a former member of the Philippine Madrigal Singers, the internationally acclaimed and prize-winning choir, where he developed his passion for writing choral music. At present, he is employed at Columbia University as a Research Scientist in the Department of Applied Physics and Applied Mathematics.
Duration: 7:00 Text: John 1:29 Language: Spanish Voicing: SATB (with divisi) Soloists: None
Accompaniment: Unaccompanied
Publisher: Manuscript copy from the composer ([email protected]) Notes: Premiered by the Philippine Madrigal Singers in 2004. Performance Issues: Contains mixed meters, pedal tone, and extended tertian
harmonies. Selected Discography: None available
77
Composer: Jerry Dadap, Jr. (b. 1962)
Title: Missa Caelestis (2002) Life: See page 75. Duration: 35 minutes
Text: Mass Ordinary , Matthew 6: 9-13, Tridentine Mass, Traditional Latin Language: Latin Voicing: SATB Soloists: None
Accompaniment: Unaccompanied
Publisher: Manuscript copy from the composer ([email protected]) Notes: The mass was premiered by the Philippine Madrigal Singers in December
2003 at the Manila Cathedral during the ensemble’s 40th Anniversary concert. Comprised of nine movements, including the standard five movements of the Mass Ordinary. The added movements are Mysterium Fidei, Amen, and Pater Noster.
Performance Issues: Contains mixed meters, bitonality (Gloria), and intricate rhythms. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=WFPu2K4CfKQ
78
Composer: Robin Estrada (b. 1970)
Title: Awit Sa Panginoon (Song for the Lord) [2002] Life: Estrada received his bachelor’s degree in music from the University of the
Philippines College of Music. He obtained his Master of Music from the San Francisco Conservatory of Music and is a doctoral candidate at the University of California at Berkeley. Estrada’s works have been performed at festivals, competitions, and conferences such as Asian Composers League, American Choral Directors Association, and the European Grand Prix for Choral Singing.
Duration: 4:30
Text: Psalm 30:1-3 Language: Tagalog Voicing: SATB Soloists: SAT
Accompaniment: Unaccompanied
Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected])
Notes: Written for the Ateneo Chamber Singers, Jonathan Velasco, director.
Performance Issues: Beginning SA duet in pasyon style.44 Involves recitation and vocal
oscillations. Mixes Western and Eastern vocal techniques. Selected Discography: Ateneo Chamber Singers. Awit sa Panginoon. CD. 2004. Selected Online Performance: http://www.youtube.com/watch?v=ktpBGSYEOQI
44 The Pasyon style of singing is raw and involves more of the chest voice.
79
Composer: Robin Estrada (b. 1970)
Title: Et apertum est templum (And the Temple Was Opened) [2006] Life: See page 77. Duration: 8:00 Text: Revelation 11:19; 12:1 Language: Latin Voicing: SSSAAATB Soloists: Various solo parts for SSA in different places
Accompaniment: Unaccompanied
Publisher: Unpublished Pub. No: Manuscript copy available from the composer ([email protected]) Notes: A commissioned work by the San Francisco Choral Artists, (Megan
Solomon, artistic director) Performance Issues: This avant-garde piece features Western and Eastern
compositional elements such as recitatives, pointillism, Balinese scales, and vocal oscillations.
Selected Discography: Umawit Sa Kagalakan [Sing for Joy] The Ateneo Chamber
Singers' 2nd U.S. Tour, September 18 - October 12, 2008, Jonathan Velasco, dir. CD. 2008.
Selected Online Performance: http://www.youtube.com/watch?v=_yKBj7PhsgM
80
Composer: Francisco Feliciano (b. 1941)
Title: Pokpok Alimpako (1981) Life: Feliciano earned his Bachelor of Music degree in composition from the
University of the Philippines College of Music, where he studied with Eliseo Pajaro. Feliciano furthered his composition studies in Germany, where he studied with Heinz Zimmermann and Korean-born composer, Isang Yun, whose compositional style of incorporating Korean musical elements encouraged Feliciano to do the same with Filipino components. Feliciano graduated with a Master of Music and Doctor of Musical Arts from Yale University, where he studied composition with Krzystof Penderecki. At present he is the director of the Asian Institute for Liturgy and Music (AILM), a training center for church musicians he founded in 1980. AILM is located in Quezon City, Philippines.
Duration: 3:00 Text: Traditional children’s chant Language: Maranao Voicing: SATB Soloists: None
Accompaniment: Unaccompanied
Publisher: Earthsongs Pub. No: S-174
Notes: Official contest piece for the National Music Competition for Young Artist (NAMCYA) in 1981.
Performance Issues: Involves interlocking rhythms, a typical feature in a
kulintang ensemble. A bright, child-like voice is needed when singing the motif.
Selected Discography: One World, Many Voices, vol. 3. Earthsongs. CD. 2003. Selected Online Performance: http://www.youtube.com/watch?v=XlqxWMyv7kI
81
Composer: Francisco Feliciano (b. 1941)
Title: Silence My Soul Life: See page 79. Duration: 3:30 Text: Rabindranath Tagore Language: English Voicing: SATB Soloists: Soprano
Accompaniment: Percussion (high bell and gong)
Publisher: Asian Institute for Liturgy and Music Pub. No: From The AILM Collection: Hymns, Psalms, and Songs for
Worship. Contact [email protected]. Notes: Minimalist work. Men sing a sustained fifth throughout the
composition. Aleatoric. Performance Issues: Works best if choir surrounds the audience for a multi-
dimension effect. The C major key is only a suggestion. Solo is suited for a singer with a lyric quality.
Selected Discography: Jubilate! Capella Spring Tour 2006, Joel Navarro, dir.
Calvin College. CD. 2006. Selected Online Performance: http://www.youtube.com/watch?v=C-9cdB1WmbM
82
Composer: George Hernandez (b. 1954)
Title: Caturog Na Nonoy (Sleep Now, Nonoy) [1976] Life: Hernandez received his Bachelor of Music degree in piano and choral
conducting from the University of the Philippines College of Music. He furthered his music education at San Francisco State University, where he studied choral conducting, piano, and organ. He earned additional music degrees in Vocal and Instrumental Accompaniment and Voice Performance from San Francisco Conservatory of Music. Hernandez’s modern arrangements of Filipino folk songs are among the most performed, not only in the Philippines, but in other Asian countries as well as in the United States.
Duration: 3:00
Text: Traditional Language: Bicolano Voicing: SATB Soloists: Alto
Accompaniment: Unaccompanied
Publisher: Pavane Publishing Pub. No: P1288
Notes: A lullaby from the Bicol region in Southern Luzon. This arrangement was first performed by the Saringhimig Singers in 1976.
Performance Issues: Falsetto singing needed for tenor and bass in some parts. Selected Discography: Ateneo de Manila College Glee Club, Joel Navarro,
director. JB Music JB-00/165. CD. 2000. Selected Online Performance: http://www.youtube.com/watch?v=ISyEMn0ZsXk
83
Composer: George Hernandez (b. 1954)
Title: Paruparong Bukid (Field Butterfly)[2008] Life: See page 81. Duration: 2:30
Text: Traditional Language: Filipino Voicing: SATB (with divisi) Soloists: Soprano obbligato
Accompaniment: Unaccompanied
Publisher: Pavane Publishing Pub. No: P1364
Notes: This folk song is an adaptation of the Spanish song, Mariposa Bella, composed during the latter years of the Spanish-era in the Philippines.45 The Filipino adaptation is similar to its Spanish original, but with added humor.
Performance Issues: The word, gitna, has a glottal stop at the end,[gitnaʔ]. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=zTzJ2cEv5LE
45 Pepe Alas, “’Paru-Parong Bukid’ Is Actually a Poor Translation of Mariposa Bella,’” Filipino eScribbles, entry posted October 14, 2009, http://filipinoscribbles.wordpress.com/2009/10/14/paru-parong-bukid-is-actually-a-poor-translation-of-mariposa-bella/(accessed July 26, 2010)
84
Composer: George Hernandez (b. 1954)
Title: Rosas Pandan (1994) Life: See page 81. Duration: 2:30 Text: Traditional Language: Cebuano Voicing: SATB (with divisi) Soloists: Soprano obbligato
Accompaniment: Unaccompanied
Publisher: Pavane Publishing Pub. No: P1286
Notes: This Cebuano folk song was written as a festival song for the Catalunya International Choral Festival in Spain in 1994, and was sung by the participating choirs from Spain, Russia, Czech Republic, Germany, and Italy.
Performance Issues: Discrepancy of text in the published edition. In measures 7-8,
“gika pa intawon” should be written as “gikan pa intawon.” In measures 10-11, “maki-uban-uban”should be written as “makig-uban-uban.” In measures 16-17, “sa kong ginakawan” should be written as “sa ‘kong ginikanan.” Omit the slur in measure 16 and move it to the first beat of measure 17. The syllable, “ni” of “ginikanan,” should be on the second half of beat three in measure 16, and the syllable “ka” should fall on the first beat in measure 17. In measures 22-23, “tikiding” should be written as “tikading.” In measure 26, “manindot ba og” may be replaced with “manindot pang mo.” In measure 28, “yamong” should be written as “yamog.” In measure 32, “intawnu” should be replaced with “intawon.” In measure 33, replace “Nonoy” with “Dodong.” In measure 34, replace “si” with “kang.”
Selected Discography: University of Santo Tomas Singers, Fidel Calalang, Jr., dir. JB
Music JB-99/130. CD.1999. Selected Online Performance: http://www.youtube.com/watch?v=SycdeUw825U
85
Composer: Joy Nilo (b. 1970)
Title: Amami (Our Father) [2000] Life: Recognized as the “Theme-Song Man” of the Philippines because of
writing theme songs for plays and films, Joy graduated from the Asian Institute of Liturgy and Music, where he studied composition under Francisco Feliciano.
Duration: 18:00
Text: Matthew 6: 9-13 Language: Ilocano Voicing: SATB (with divisi) Soloists: ST
Accompaniment: Unaccompanied
Publisher: Holy measures Pub. No: Available at www.holymeasures.com
Notes: A six-movement piece written for the composer’s father, Rev. Jeremias Nilo.
Performance Issues: Congregation sings with the choir in the sixth and final
movement Selected Discography: None available
86
Composer: Joy Nilo (b. 1970)
Title: Amahan Namo (Our Father) [2009] Life: See page 84. Duration: 5:00
Text: Matthew 6: 9-13 Language: Cebuano Voicing: SATB (with divisi) Soloists: Soprano
Accompaniment: Unaccompanied
Publisher: Holy Measures Pub. No: Available at www.holymeasures.com
Notes: This piece was written for and premiered by the University of the Visayas Chorale in 2009.
Performance Issues: The following words contain glottal stops: namo [namoʔ];
unta [untaʔ]; maghari [maghariʔ]; kanamo [kanamoʔ]; yuta [jutaʔ]; sala [salaʔ]; nakasala [nakasalaʔ]; dili [diliʔ].
Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=9L_nIuNhlkg
87
Composer: Joel Navarro (b. 1955)
Title: The Lord Is My Shepherd (1986) Life: Navarro received his bachelor’s and master’s degrees in choral conducting
from the University of the Philippines College of Music. He earned his Doctor of Music Arts in choral conducting from Michigan State University. As former director of the Ateneo de Manila University Glee Club, he led the group in garnering top awards in choral competitions in Europe such as Tolosa, Arezzo, Cork, Tours, and Marktoberdorf. At present, Navarro is associate professor of music at Calvin College, where he directs the Capella, the Oratorio Society, and the Campus Choir.
Duration: 3:30
Text: Psalm 23 Language: English Voicing: SSAATTBB Soloists: None
Accompaniment: Unaccompanied
Publisher: All Together Now! Inc. Pub. No: Music available at www.musicamanila.com
Notes: Originally set as an SSSSAAAA piece, which was premiered in 1984 by the Ateneo de Manila College Glee Club in Manila. The 1986 SSAATTBB version was premiered in Manila by the Ateneo de Manila College Glee Club in 1991.
Performance Issues: A composition with mixed meters and mellifluous
harmonies. Selected Discography: Ateneo Chamber Singers. Awit sa Panginoon. CD. 2004. Selected Online performance: http://www.youtube.com/watch?v=irpc9ToNXNM
88
Composer: Fabian Obispo
Title: Mamayog Akun (Mamayog, My Dear) Life: Obispo was born in the Philippines and came to the United States to finish
his Bachelor of Music degree in composition at Manhattan School of Music, where he studied with Giampaolo Bracali. In addition, he studied with Lucio San Pedro during his years at the University of the Philippines College of Music, where he became a resident composer of the Philippine Madrigal Singers, for which he composed Mamayog Akun. At present, he works as a freelance theatre composer/sound designer for major theaters in the US. Among his many honors are the Barrymore, Helen Hayes, American Theatre Wing, NAACP, and the Bay Area Theatre Critics Circle awards and nominations.
Duration: 2:00
Text: Traditional Language: Maranao Voicing: SATB Soloists: None
Accompaniment: Unaccompanied
Publisher: All Together Now! Inc. Pub. No: Music available at www.musicamanila.com
Notes: This Muslim folksong from the Island of Mindanao was premiered by the Philippine Madrigal Singers at the Cultural Center of the Philippines in Manila in 1969. The same ensemble gave the U.S. premiere during the Second International University Choral Festival held at the Lincoln Center in New York City.
Performance Issues: The word “akun” is pronounced [əkyn]. Selected Discography: Asian choral works. 1. Singapore Youth Choir, Jennifer
Tham, dir. CD. 2000. Selected Online Performance: http://www.youtube.com/watch?v=GeUE2I38glI
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Composer: Eudenice Palaruan (1968)
Title: Pasigin (Fishnet) (1988) Life: Palaruan received his music education in composition and choral
conducting from the University of the Philippines College of Music. He furthered his studies at the Berliner Kirchenmusikschule in Germany and studied Conducting Pedagogy under Martin Behrmann. At present, Palaruan is a professor in the conducting department of the University of the Philippines College of Music. He is a former member of the Philippine Madrigal Singers and former conductor of the San Miguel Master Chorale.
Duration: 2:45
Text: Traditional Language: Ilonggo Voicing: SATB (with divisi) Soloists: None
Accompaniment: Unaccompanied
Publisher: All Together Now! Inc. Pub. No: Music available at www.musicamanila.com
Notes: This is a fishing song from the Visayas Islands in central Philippines. Performance Issues: “Kla” should be sung with a brighter tone quality. Selected Discography: None available Selected Online Performance:
http://www.youtube.com/watch?v=EoDUsWePQ5M
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Composer: John Pamintuan (b. 1972)
Title: Crucifixus (2007) Life: Pamintuan received degrees in medical technology and chemistry prior to
enrolling at the University of Santo Tomas Conservatory of Music, where he studied voice and piano. To supplement his education, Pamintuan studied composition privately with National Artist Lucio San Pedro. Pamintuan is a former conductor and director of the voice program at the Young People’s Chorus of New York City. An award winning composer, Pamintuan’s works have been performed in prestigious choral competitions and festivals by some of the world’s best choirs.
Duration: 5:45 Text: Taken from the Credo portion of the Mass Ordinary Language: Latin Voicing: SATB (with divisi) Soloists: None
Accompaniment: Unaccompanied
Publisher: ASTRUM Music Publications (Slovenia) Pub. No: AS 32.0001/04
Notes: Composed in Colorado for the University of the East Chorale (Anna Abeleda-Piquero, director) as part of their competition repertoire during the 2007 Busan International Choral Competition in South Korea. Crucifixus is the fourth song in Maior Caritas, op. 5 choral cycle.
Performance Issues: A piece with a pervading rhythm depicting nails driven through Christ’s hands and feet.
Selected Discography: Philippine Madrigal Singers. Maior Caritas: The Choral
Works of John Pamintuan. MDy Productions. CD. 2009 Selected Online Performance: http://www.youtube.com/watch?v=Fb4nWSu2WIs
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Composer: John Pamintuan (b. 1972)
Title: O magnum mysterium Life: See page 89. Duration: 3:00 Text: Traditional Latin Language: Latin Voicing: SATB Soloists: Soprano
Accompaniment: Guitar
Publisher: ASTRUM Music Publications (Slovenia) Pub. No: AS 32.0001/07
Notes: O Magnum Mysterium is the seventh song in the Maior Caritas, op. 5 choral cycle.
Performance Issues: Simple yet beautiful work. Soprano solo is suited for a
voice with a lyric quality. Selected Discography: Philippine Madrigal Singers. Maior Caritas: The Choral
Works of John Pamintuan. CD. 2009
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Composer: Lucio San Pedro (1913-2002)
Title: Kaming Magmamani (We Peanut Vendors) [1970] Life: San Pedro received a Music Teacher’s Diploma in composition and band
conducting from the University of the Philippines College of Music in 1938. He taught theory at the UP College of Music and also became the composition and conducting department chair. In 1947, San Pedro furthered his composition studies at the Juilliard School of Music. A prolific composer, San Pedro has written works for orchestra, band, choir, and voice. For his musical contributions to the Philippine music scene, San Pedro was proclaimed National Artist for Music in 1991. Known as a nationalist composer, San Pedro died of cardiac arrest on March 31, 2002, at the age of eighty-nine.
Duration: 3:00 Text: Traditional Language: Aklanon Voicing: SATB (with divisi) Soloists: None
Accompaniment: Piano
Publisher: Manlapaz Publishing Pub. No: Out of print. Music available through interlibrary loan.
Notes: Arranged in 1970 and premiered the same year by the University of the Philippines Chanteclairs.
Performance Issues: May be performed unaccompanied. “Pakita” is pronounced
[pakitaʔ]. Selected Discography: Kokopelli (Musical group). Spirit. CD. 2006.
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Composer: Lucio San Pedro (1913-2002)
Title: Pamunulawen (1971) Life: See page 91. Duration: 2:30
Text: Traditional Language: Ilocano Voicing: SATB Soloists: None
Accompaniment: Piano
Publisher: Manlapaz Publishing Pub. No: Out of print. Music available through interlibrary loan.
Notes: Folk song from Ilocos region in northern Philippines. First performed in 1974 by the University of the Philippines Concert Chorus.
Performance Issues: None Selected Discography: None available
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Composer: Ramon P. Santos (b. 1941)
Title: Tuksuhan (1967) Life: Having been educated at Catholic schools for both elementary and high
school, Santos was exposed to Gregorian chants, motets, and masses. He graduated with a Bachelor of Music degree in composition and conducting from the University of the Philippines Conservatory of Music, a Master of Music from Indiana University and a Doctor of Philosophy from the State University of New York in Buffalo. Among his composition teachers were Lucio San Pedro, Thomas Beversdorf, Roque Cordero, Ramon Fuller, and William Kothe. His musical output consists of music for orchestra, stage, voice, choir, and chamber instrumental groups. As an ethnomusicologist, Santos has written music for various ethnic instruments such as gongs and bamboo instruments. Aside from composing, Santos is one of the foremost Filipino music scholars, whose books and articles on Philippine music have been published worldwide. In addition, he is a frequent lecturer on ethnomusicology at various music conferences, both in the Philippines and abroad.
Duration: 2:00
Text: Traditional Language: Tagalog Voicing: SATB Soloists: None
Accompaniment: Unaccompanied
Publisher: UP Madrigal Series Pub. No: Music available at [email protected]
Notes: Premiered by the Philippine Madrigal Singers at the Second International University Choral Festival in 1969 in New York City.
Performance Issues: Words with glottal stop: daliri [daliriʔ]; sampo [sampoʔ]; naligo [naligoʔ].
Selected Discography: Lincoln Center for the Performing Arts, and International
Choral Festival. The Second International University Choral Festival. Lincoln Center for the Performing Arts. LP. 1969.
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Composer: Josefino Chino Toledo (b. 1959)
Title: Ako ang Daigdig (I Am the World) [1987] Life: Toledo earned his Bachelor of Music in composition from the University
of the Philippines College of Music, where he studied with Eliseo Pajaro, Lucio San Pedro, and Ramon Santos. Toledo continued his studies in the United States where he graduated with a Master of Music degree in composition from the Cleveland Institute of Music. Among his teachers at Cleveland were Donald Erb and John Rinehart. A prolific composer, Toledo has written works for orchestra, band, theatre, ballet, voice, choir, guitar, and chamber instrumental groups. In 1997, Toledo wrote a commissioned piece, Sigaw [Scream] for the renowned New Juilliard Ensemble. Toledo’s works are regularly performed in various international music festivals not only in Asian countries but also in the United States, Canada, Brazil, Israel, New Zealand, Italy, and Germany.
Duration: 4:30
Text: Alejandro Abadilla Language: Tagalog Voicing: SSSAAATTTBB Soloists: SAAT
Accompaniment: Unaccompanied
Publisher: Manuscript copy from the composer ([email protected]) Notes: Also available in an abridged version. Performance Issues: An avant-garde piece that features speaking parts,
glissando, intricate rhythms, and extreme dynamics. Selected Discography: Ateneo de Manila College Glee Club. Tagumpay Nating
Lahat. JB Music JB 06/230. CD. 2006. Selected Online Performance: http://www.youtube.com/watch?v=wZsqyPQwgj0
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CHAPTER 4
CONCLUSION AND RECOMMENDATIONS
The United States of America is a heterogeneous society. Different ethnicities are
represented and scattered all over the fifty states. The Asian community in the United
States, according to the U.S. Census Bureau’s 2004 American Community Survey, is
estimated to be 13.5 million or 4.7 percent of the U.S. population. The same survey also
lists Filipinos as the third largest Asian group in the United States, behind the Chinese
and Asian Indians.46
The majority of the Filipino population in the United States resides in California,
Hawaii, New Jersey, New York, Illinois, Texas, and Nevada.47 Because of the Filipino
demographics in these states, many Philippine-based choirs frequent these places when
they tour the United States, bringing with them a plethora of Philippine choral music.
American choral conductors and music educators who attend these concerts are
introduced to choral works by Filipino composers. This cultural exchange may be the
reason choirs in these states include Philippine choral works in their concert repertoire.
But for the majority of the states within the union, Philippine choral music remains a
mystery, unless the choir director or music educator is Filipino or is a regular attendee of
46 U.S. Census Bureau, “The American Community- Asians: 2004,” under “American Community Survey Reports,” http://www.census.gov/prod/2007pubs/acs-05.pdf (accessed July 19, 2010) 47 Migration Information Source, “US in Focus,” under “Filipino Immigrants in the United States,” http://www.migrationinformation.org/USfocus/display.cfm?ID=777 (accessed July 20, 2010)
conferences – such as the American Choral Directors Association and the World
Symposium on Choral Music, where Filipino choral works have been featured.
According to Joel Navarro, professor of music at Calvin College, choral music
from Asia is “under represented” in choral concerts by American choirs compared to
repertoire from Africa and Latin America.48 Could the lack of exposure and knowledge
of repertoire contribute to this issue? Could it be that the musical language of Asian
choral music is hard to grasp for the western European trained ear? Could the modal,
pentatonic, and hybrid scales sound too mystical? Could the ethnic instruments and the
mixture of western and eastern influences portray esotericism?
Perhaps inaccessibility of the music is a major factor. Of the forty-six choral
works featured in this research, only six compositions are published in the United States,
three in Slovenia, and the remainder are either out of print or available only through
interlibrary loan, an independent online publishing company, or from the composer.
Filipino composers, whose works are still unpublished, are more than willing to share
their music with choral pedagogues.
But America is changing and so is its musical landscape. The idea of
multiculturalism has become more popular in recent years. The altruism we witness of
welcoming and accommodating other nationalities, regardless of their ethnic origin,
religion, and upbringing, hopefully will continue to transpire in the field of choral music.
World music is a tool to build bridges and connect with another culture.
48 Joel Navarro, “Asian Choral Music” (lecture, American Choral Directors Association-Michigan Convention, Central Michigan University, Mount Pleasant, MI, October 31, 2009).
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This study revealed that music belonging to the First Stream embodies the
romantic period in terms of tonality, form, and harmonic functions. Composers even
exposed some sense of nationalism in their music, just like their European counterparts.
This changed, however, when composers began to adapt modern and avant-garde
techniques in their music, as epitomized by the Second Stream composers. After further
studies in Europe and the USA, they composed music that mixes western sounds with
Asian sonorities. Composers representing the Third Stream further developed this trend
by cultivating the music of the pre-colonial past. Music of the indigenous tribes became a
favorite compositional tool in creating a diverse and unique sound. The composers
representing the Fourth Stream showed eclecticism in combining all the preceding
mainstreams. Many of their compositions can be described as neo-renaissance and
Impressionistic. Most composers returned to traditional tonalities and utilized extended
tertian harmonies, creating works that are similar to the leading British and American
composers, such as Rutter, Chilcott, Lauridsen, Stroope, and Whitacre.
Philippine choral music, nonetheless, encompasses styles that can be European,
American, Asian, tribal, or a mixture of eastern and western influences. Its music is
reflective of the influences the country received from Spain and the United States. The
ethnicity is reflective of music by the tribal folk. These influences make music from the
Philippines unique and diverse. Therefore, a choral conductor or music educator is
presented with a variety of Philippine choral music suitable for many concert repertoire
needs.
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Recommendations
Aside from communicating with Filipino composers, connecting with Filipino
choral conductors or Philippine choral music scholars residing in the United States is
highly recommended. Associating with these conductors and scholars aids in learning
more about performance practice and emerging Philippine choral repertoire. Provided
below is a list with contact information of the selected Philippine and American
conductors and scholars who are experts in Philippine choral music:
Joel Navarro, DMA Associate Professor of Music, Calvin College [email protected] George Hernandez Director, Saringhimig Singers (San Francisco, California) [email protected] Gelo Francisco Director, Philippine Chamber Singers-Los Angeles, California [email protected] Katherine Doming, D.M. Director, Bloomington Peace Choir (Bloomington, Indiana) [email protected] Gene Peterson, D.M.A. Associate Director of Choral Activities, The University of Tennessee-Knoxville [email protected] André de Quadros Professor of Music, Boston University [email protected]
Choral music of major composers such as Bach, Mozart, and Schubert has
become a staple in any concert. Conductors lean on music by these great masters because
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of its educational value, ingenuity, and beauty. On the other hand, conductors also seek
for fresh and unique works for their choirs and audiences. Choral music from the
Philippines falls into the latter category. They are a product of western and eastern
thought, beautifully and scientifically crafted, and performance worthy.
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BIBLIOGRAPHY Books and Articles Baes, Jonas. “Composers in the Philippines: ‘Counterstreams in a Post-Colonial Epoch.’”
In Asian Composers in the 20th Century, edited by the Japan Federation of Composers. Tokyo, Japan: Hirakawa Kogyosha, 2002.
Dioquino, Corazon Canave. “An Overview of Philippine Music with Special Focus on
the Music of the Maguindanao.” In ASEAN Composers Forum on Traditional Music, edited by Khunying Maenmas Chavalit, 165-220. Bangkok, Thailand: ASEAN Committee on Culture and Information, 2003.
Evasco, Marjorie. A Life Shaped by Music: Andrea Ofilada Veneracion and the Philippine Madrigal Singers. Makati City, Philippines: Bookmark, 2001.
Feliciano, Francisco. Four Asian Contemporary Composers. Quezon City: New Day Publishers, 1983.
Maceda, Jose. “A Concept of Time.” In Arcana II: Musicians on Music, edited by John Zorn. New York: Hips Road, 2007.
______, ed. The Musics of Asia. Manila: UNESCO National Commission of the
Philippines, 1971. Pajaro, Eliseo M. The Filipino Composer and His Role in the New Society. Quezon City,
Philippines: University of the Philippines Press, 1976. Samson, Helen F. Contemporary Filipino Composers. Quezon City, Philippines:
Manlapaz Publishing Company, 1976. Santos, Ramon P. “Philippine Traditional Musics: Sources and Resources in
Contemporary Musical Life.” In Forum Papers: Presentations at the 2nd ASEAN Composers Forum on Traditional Music on Traditional Music, 11-24 April 1993, Singapore edited by Joseph Peters. Singapore: National Arts Council, 1994.
______. TUNUGAN: Four Essays on Filipino Music. Quezon City, Philippines:
University of the Philippines Press, 2005. Encyclopedias Tiongson, Nicanor, ed., Cultural Center of the Philippines Encyclopedia of Philippine
Art. Manila: Cultural Center of the Philippines, 1994. s.v. “Philippine Music,” by Jose Maceda, Corazon Dioquino, and Ramon Santos.
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______. Cultural Center of the Philippines Encyclopedia of Philippine Art. Manila: Cultural Center of the Philippines, 1994. s.v. “American Colonial and Contemporary Traditions,” by Ramon Santos.
Williams, Sean and Terry Miller, eds., Garland Encyclopedia of World Music: Southeast
Asia. New York and London: Garland Publishing Company, 1998. s.v. “Art Music in the Philippines,” by Ramon Santos.
Choral & Hymn Collections Feliciano, Francisco, ed. The AILM Collection: Hymns, Psalms, and Songs for Worship.
Quezon City, Philippines: Asian Institute for Liturgy and Music, 2005.
de la Peña, Verne. The NAMCYA Anthology of Philippine Choral Music. Intramuros, Manila: National Commission for Culture and the Arts, 2003.
______. Mga awiting bayan para sa korong Pilipino: 15 new choral works and arrangements in various Philippine languages. Intramuros, Manila: National Commission for Culture and the Arts, 2007.
Magdamo, Priscilla. Folk Songs of the Visayas. Vol. 3. Dumaguete City, Philippines: Silliman Music Foundation, 1958.
San Pedro, Lucio. The Choral Works of Lucio D. San Pedro. Quezon City, Philippines: Manlapaz Publishing Company, 1975.
Dissertations Domingo, Katherine. “Filipino Musical Identity in the 20th Century: An Analysis of Four
Mass Settings by Marcelo Adonay, Bonifacio Abdon, Francisco Buencamino, and Ryan Cayabyab.” D.Mus. diss., Indiana University, 2005.
Castro, Christi-Anne. “Music, Politics, and the Nation at the Cultural Center of the
Philippines.” PhD diss., University of California Los Angeles, 2001 Navarro, Joel. “A Style Study of Selected Choral Works of Ramon Pagayon Santos.”
D.M.A. diss., Michigan State University, 2005.
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APPENDIX A
Philippine Diction Issues
The modern Philippine alphabet, based on the Latin alphabet, consists of the standard 26 letters and two additional consonants. The two other consonants are ñ and ng. The vowel sounds are similar to Latin, Spanish, and Italian.
Vowel IPA Diphthong IPA /a/ [a] /ay/ [aɪ] /e/ [ɛ] /oy/ [ɔɪ] /i/ [i] /uy/ [ʊi] /o/ [o] /iw/ [iʊ] /u/ [u] /aw/ [aʊ] /ey/ [ɛɪ]
Consonant Issues
Consonant IPA Note /g/ [g] Always treated as hard; [h]
in borrowed Spanish words /j/
[dʒ] or [h]
[dʒ] is usually used in borrowed English words; [h] in borrowed Spanish words
/ñ/ [ɲ]
/ng/ [ŋ] Becomes [naŋ] when used as a separate word
/r/ [ɾ] Always flipped/rolled
/t/ [t] Always dental
The glottal stop ʔ This can be problematic because no symbol is used for words that require a glottal
stop. Words with and without a glottal stop may have two different meanings.
Mga This is a two-syllable article in plural form and is pronounced as [mɐɳa].
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APPENDIX B
Philippine Choirs
Philippine choirs are among the most awarded choirs in choral competitions and festivals around the world. The following ensembles travel to the United States frequently to give concerts, mostly in states where a large Filipino population exists such as Hawaii, California, New York, New Jersey, Illinois, Texas, and Nevada.
Philippine Madrigal Singers
Mark Carpio, choirmaster www.philippinemadrigalsingers.com
Selected Awards Grand Prize, 2007 European Grand Prix for Choral Singing Grand Prize, 2006 Tours Vocal Competition, France Grand Prize, 1997 European Grand Prix for Choral Singing Grand Prize, 1996 Tolosa Choral Competition, Spain Selected Discography Philippine Madrigal Singers. Acclamation. Sony BMG. CD. 2006. Philippine Madrigal Singers. Maior Caritas: The Choral Works of John Pamintuan. CD. 2009
University of Santo Tomas Singers Fidel Calalang, director www.ust-singers.com
Selected Awards
Choir of the World, 2010 Llangollen International Musical Eistenfodd, Wales, U.K.
Best Choir, 2004 World Choral Festival, Puebla, Mexico Festival Choir of the Year, 2002 International Choir Festival, The
Netherlands Grand Prize, 1998 International Choral Competition, Gorizia, Italy
Selected Discography University of Santo Tomas Singers. Journey On: The Best of
International, Filpino, and Popular Songs. CD. 2005. University of Santo Tomas Singers. Celebrate. CD. 2004.
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Ateneo Chamber Singers
Jonathan Velasco, director www.ateneochambersingers.ph
Selected Awards
First Prize (Polyphony Category), 2006 Tolosa Choral Contest, Spain
Philippine Representative, 2006 Polyfollia International Choral Festival, France
Selected Discography Ateneo Chamber Singers. Awit sa Panginoon. CD. 2003.
University of the Philippines Concert Chorus Jai Sabas-Aracama, director www.upconcertchorus.org
Selected Awards Prix du Public, 2008 Montreux Choral Festival, Switzerland
First Place (Folksong Category), 2003 International Polyphonic Contest, Italy
University of the Philippines Singing Ambassadors
Edgardo Manguiat, director Selected Awards Grand Prize, 2008 International Choral Festival, Sopot, Poland Grand Prize, 2001 International Polyphonic Contest, Arezzo, Italy
Himig Singers
Alvin Aviola, director www.himigsingers.org
Selected Awards
Asian Champion (Mixed Vocal Ensemble Category), 2007 Asian Choir Games, Jakarta, Indonesia
First Place (Mixed Choir Category), 1997 International Youth and Music Festival, Vienna, Austria
Selected Discography Himig Singers. Mga Awiting Pilipino. CD. 2000. Himig Singers. Paskung-Pasko. CD. 2000
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United States-based Philippine choirs
The following Philippine choirs are based in California, one of the states where many Filipinos reside:
Philippine Chamber Singers of Los Angeles Gelo Francisco, director www.pcsla.org
Saringhimig Singers George Hernandez, director www.saringhimig.org
University of Santo Tomas Alumni Singers Allan Diona Sims, director www.ustsingersalumni.com-a.googlepages.com
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APPENDIX C
Books, Theses, and Dissertations on Philippine Ethnomusicology
The Philippines is home to over a hundred tribal groups. Each tribe has its own customs, traditions, language, and music. Provided below are books, theses, and dissertations on ethnomusicology of selected Philippine ethnic groups. Books Buenconsejo, José S. Songs and Gifts at the Frontier: Person and Exchange in the
Agusan Manobo Possession Ritual, Philippines. Vol. 4 of Current Research in Ethnomusicology. New York: Routledge, 2002.
Cadar, Usopay Hamdag. Context and Style in the Vocal Music of the Muranao in
Mindanao, Philippines. Iligan City: Coordination Center for Research and Development, MSU-Iligan Institute of Technology, 1985.
Theses & Dissertations Baes, Jonas. “Modes of Appropriation in Philippine Indigenous Music: The Politics of the
Production of ‘Cultural Difference’.” PhD diss., University of the Philippines, 2004.
Buenconsejo, José S. The Ted-Em Among the (Agusan) Manobo, Mindanao, Southern
Philippines: Musical and Textual Characteristics of an Improvised Discourse Sung in in-and-Out Group Performance Context. Ann Arbor, Mich: University Microfilms International, 2001. Microfilm.
Cadar, Usopay Hamdag. “The Maranao Kolintang Music; An Analysis of the Instruments,
Musical Organization, Etymologies, and Historical Documents.” Master’s thesis, University of Washington, 1971.
Chongson, Mary Arlene Pe. “Pasyon and Holy Week: A Study of Music, Acculturation,
and Local Catholicism in the Philippines.” PhD diss., University of Texas at Austin, 2000.
Maceda, José Montserrat. The Music of the Magindanao in the Philippines. Ann Arbor,
Mich: University Microfilms, 1981. Microfilm. Mora, Manolete. “Interpreting Utom: An Ethnographic Account of the Musical
Instrumental Practice of the T'boli of Mindanao, Philippines.” PhD diss., Monash University, 1990.
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Nicolas, Arsenio Magsino. “Musical Exchange in Early Southeast Asia: The Philippines and Indonesia, CA. 100 to 1600 CE.” PhD diss., Cornell University, 2007.
Prudente, Felicidad A. Musical Process in the Gasumbi Epic of the Buwaya Kalingga
People of Northern Philippines. Ann Arbor, Mich: University Microfilms International, 1987. Microfilm.
Trimillos, Ricardo D. Tradition and Repertoire in the Cultivated Music of the Tausug of
Sulu, Philippines. Ann Arbor, Mich: University Microfilms, 1972. Microfilm.