WRITING SAMPLE #1

SONGS AND REVOLUTION :

A STYLISITICAL ANALYSIS OF MUSIC FROM IMPORTANT MOMENTS IN FILIPINO

HISTORY

By

AISHA KASMIR GANZON O’BRIEN

PROFESSOR CHRISTINE SEITZ

MUS 495 : INDEPENDENT STUDY

UNIVERSITY OF NEVADA – LAS VEGAS

6 MAY 2005

TABLE OF CONTENTS

INTRODUCTION AND HISTORICAL OVERVIEW

Introduction 1

History of the Philippines 3

History of Filipino Music 10

STYLISTICAL ANALYSES

KundimanBayan Ko – Constancio de Guzman 20

Pakiusap – Francisco Santiago 25

Folk MusicAnak – Freddie Aguilar 31

Ako’y Isang Pinoy – Florante de Leon 35

Conclusion 37

APPENDICES

Appendix A 39Musical Examples

Appendix B 40Original Scores

Introduction

Music in the Philippines is a force that is a strong, influential aspect of Filipino daily life.

Well before the Spanish arrived, music had everyday uses. The music would vary from province

to province, of course, but there were three main types: the lullaby, occupational songs, and

occasional songs. Occupational songs were often heard in the rice fields, and used to pray for

good fortune, to heal the ill, and pray for a good harvest. Occasional songs are associated with

the cycle of life: birth, marriage, and death. However, because of colonization and the impact of

the Spanish tradition, most of theses songs have disappeared.

Today, Filipinos turn to music mostly for entertainment. A good party revolves around a

guitarist while the others sing along to either popular Filipino music or iconic American songs.

Karaoke and karaoke bars have become a part of Philippine culture. Filipino television more than

illustrates this. At any given moment, one can watch a variety show or vocal competition where

young Filipino talents sing current American pop hits. Also, there is an influx of Filipino

entertainers emigrating to Japan to boost their careers. Because of their ability to mimic

American popular music, Filipino musicans are sought out all over Asia (Lockard, 133). This

tradition of “copying” or using westernized genres stems from the arrival Spanish and the

subsequent colonization of the Philippine Islands.

Although much indigenous music was virtually washed out because of three centuries

under their colonial rule, the emotion and passion of the Filipino spirit in their music is still

evident. The place where it is most obvious is in the works that were used to inspire revolution.

Filipinos would use songs to protest against Spanish colonial rule and later American

occupation and the Marcos dictatorship. Many of these songs became anthems for revolutionary

groups. The almost ironic aspect of these songs is that they are based on westernized forms of

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music. The belief is that it would be able to better reach the Filipino people since this type of

music became so prevalent in culture and society. This thinking proves true in the examples

highlighted in this paper.

Thus, this paper will illustrate how the Filipino people used westernized music forms,

sometimes in combination with indigenous instrumentation and music, to circumvent censorship,

to give a voice to Filipinos against colonialism and dictatorship, and to inspire revolution.

Following this introduction will be a synopsis of the history of Filipinos under colonial and

dictator rule and their revolutions, and the music that was most influential during these times.

Afterwards, the author will be doing a stylistical analysis of four pieces of music that best

illustrate and represent the music during important revolutionary periods: The fight against

Spanish colonial rule and American occupation, and the revolution overturning the Marcos

administration. An analysis of the methods used by the composers to communicate the text and

emotion of these pieces will create a better understanding of the reasons why they inspired a

frustrated population to take to the streets in protest.

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History of the Philippines

In 1521, the Spanish explorer Ferdinand Magellan, on a mission to circumnavigate the

globe, arrived on the islands of the Philippines. His visit ended when a tribe leader, Lapu Lapu,

decapitated him. This event would mark the bitter struggle that would come between the Filipino

people and colonialists. Forty-four years later, another expedition from Spain would make itself

to the islands.

Miguel Lopez de Legazpi’s arrival in 1562 was the first step towards the colonization of

the Philippines, which would last three centuries. During this time, the Spanish would make

Manila, capital of the Philippines today, an international port for the galleon trade between China

and Mexico (Rodell, 11). The Catholic priests, in addition, would spread out to other cities to

start religious conversion and building schools to teach European ideology to the “savage”

indigenous people.

The main goal of the priests was to convert the Filipino people to Catholicism. By 1898,

their goals would be met, as over 80% of the population was Catholic. However, not everyone

was subject to this europeanization. Muslim populations in the south and isolated tribes in

mountainous areas were not affected, but these groups would not make any real efforts to

challenge the Spanish.

From the 17th to 19th centuries, tension continually rose between natives and colonials.

One voice that was the most prominent was that of Jose Rizal. His novel, Noli Me Tangere

(1887), was pointedly anti-Spanish, particularly against the Catholic clergy. Rizal had the idea of

a Philippine national identity separate from the Spanish thinking that had been forced upon them

(Rodell, 13). Another leader who took more violent means to express dissension was Andres

Bonifacio. Bonifacio founded the revolutionary society, the Katipunan, in 1892.

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After Rizal’s execution in 1896, Bonifacio lost his control of the Katipunan society, and

was executed as well. The new leader, Emilio Aguinaldo, was the first to declare the Philippine’s

independence in 1898. The latter events occurred because of the Spanish-American War.

American Commodore George Dewey liberated Manila Bay from the Spanish. Then the Treaty

of Versailles was signed, which not only made the Philippines the first Asian democratic

government, but at the same time, ceded the legal rights of Spain to the United States. Thus, the

independence of the Philippines was rather short lived. The following year, the Philippine-

American war was declared.

Naturally, the Filipino people were enraged with the United States. Rebel forces began to

engage in guerilla warfare with the American troops. Unfortunately, their efforts became futile as

American forces continued to dominate. In 1902, U.S. President Theodore Roosevelt declared

the war over, and the Philippine Assembly first convened in 1907. Although the rebel fighting

was over, the struggle for independence was not.

It would not be until 1948 that another large rebel movement would manifest itself. Until

then, the Philippines became more and more reliant on American economic and military support.

This was apparent after WWII when the Americans had to, once again, liberate the Philippines

from outside forces, this time, and Japanese imperialist armies.

Although in 1946 the United States gave the Philippines back its independence, they

would still be present since they maintained military bases around the northern island, Luzon.

These bases were a controversial topic for many decades. In 1948 a rebel group, the Hukbalahap

(nicknamed the Huk), was formed.

During this time, as the economy began to fall and the disparity between rich and poor

widened, a congressman, Ferdinand Marcos, came onto the political scene. Marcos won the

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presidency by an overwhelming margin. He made promises of land reform and increased food

production. In 1969, Marcos’ re-election campaign “emptied the national treasury and was

widely believed to be the most corrupt in history” (Rodell, 19).

In reaction to Marcos’ spending, the Huk was revitalized. It joined with the Communist

Party of the Philippines and formed the New People’s Army. At the same time, students began to

organize themselves in protests. These protests were given the name “First Quarter Storms.” As

these new groups start forming, massive demonstrations and later bombings began as well. In

reaction to the violence, Marcos declared martial law in 1972.

At first, there was support for martial law because it ended the spontaneous violence.

However, unwarranted arrests and seizures of opposition leaders and anyone linked to them

began to occur. The most famous of these was the secret arrest and imprisonment in 1972 of

Senator Benigno “Ninoy” Aquino, who was the loudest anti-Marcos voice. When Aquino was

released to the U.S. for heart surgery, he stayed at Harvard University until 1983. He returned to

the Philippines that year to face Marcos. Upon his arrival, he was assassinated.

In 1986, pressured by U.S. President Ronald Reagan and political opposition, Marcos

held “snap” elections (Rodell, 23). Controversy surrounding ballot counting led to Marcos’ re-

election. But the election drama would not end there. Upon hearing of their arrest orders,

Minister of Defense Juan Ponce Enrile, and Armed Forces Vice Chief of Staff General Fidel V.

Ramos barricaded themselves in Quezon City with a few armed soldiers. Their arrest seemed

inevitable, until Archbishop Sin asked the Filipino people to rally around these military leaders.

The following events were referred to as “EDSA” (Epitanio de los Santos Avenue).

Hundreds of people, rich and poor, nuns and businessmen, created human barricades in

the street. Their actions would then inspire other military leaders and units to defect (Rodell, 23).

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While all this was happening, Cory Aquino was sworn in February 1986. The Marcos

dictatorship was finally over.

Currently, the Philippines is known officially as the Republic of the Philippines. The

government is much like the American model: one president and vice president, a bicameral

legislative branch, and a judicial branch. Even though the Philippines has reached a point of

normalcy, the government continues to be run by corrupt and unqualified officials.

Jose Rizal

Jose Rizal grew up in a loving family of 11 siblings and two well-educated, prominent

parents. Born in Laguna on June 19, 1861, Rizal witnessed the effects of Spanish colonialism

and especially Spanish religious power. Their control of the Filipino and their neglectful attitudes

towards Filipinos would shape Rizal’s opinion on Catholicism, education and political reform,

and his sense of morality.

One can think of Rizal as a wunderkind: he wrote his first poem (about his love of

Tagalog) at the age of 8, he graduated with bachelor’s degree at 16, he spoke 22 languages

fluently, and mastered some 25 professions from musician and poet to economist and sociologist.

He achieved all of this in only 35 years of his life. But it was be his writing and journalism that

would make him a national hero.

Noli Me Tangere (“Touch Me Not,” 1887) was Rizal’s published novel. Written in

Europe, the story revolves around Ibarra, a young man returning home fresh from his studies in

Europe. Full of ideas, he proposes to the Friars of his town to build a school where Filipinos can

be educated and learn to speak Spanish. But a malevolent friar, Fray Salvi, attempts to sabotage

Ibarra’s efforts. He organizes a revolt in Ibarra’s name in order to get him imprisoned.

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Aside from the drama, which also includes a love story, Noli criticizes keenly the

interrelationship between church and state. Rizal accuses Spanish government of using the

Catholic Church to miseducate and demean the Filipino people, so that they may be free to

legislate as they wish without any opposition. Of course, these ideas came under harsh attacks

from the Spanish government and the Catholic Church. Consequently, Spain exiled Rizal and

threatened to behead him if he returned from Europe.

Others critisized Noli for being full of problems and no solution. What they did not know

was that Rizal had plans for another novel, the El Filibusterismo (The Subversive). This book

offered the answers to the questions in the Noli.

When Rizal did arrive, Spanish officials quickly arrested him and banished him to live in

Dapitan on June 16, 1892. The charge was that they found anticlerical propaganda in his sister’s

luggage. However, Rizal’s time in Dapitan was a rather peaceful one. He was able to teach,

cultivate land, and write music and poetry. However, six years later at the beginning of the

Philippine revolution, Rizal was imprisoned aboard a ship off the coast of Cavite. On September

2, 1896, Rizal was executed. He was only 35.

It is interesting to note that Rizal was actually against this revolution, which was

instigated by Bonifacio and the Katipunan. Rizal believed the only way to influence change in

the Philippines, was peacefully. In this sense, Rizal was more of a reformist than a revolutionary.

The Hukbahalap

Philippine Communist organizations were born out of frustration with oppressive land

policies during the American Regime which lasted from the end of the Spanish-American War

(1898) until the promised date of full Philippine independence (1946). Specifically, farmers were

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growing tired of being exploited by absentee American landlords. These landlords would charge

farmers 50-70% of the harvest for rent and seed. Farmers would be left with little or nothing to

support their families, and often starved.

One of the first of these organizations was the Kapisanang Pambansa ng mga

Magbudukid sa Filipinas (KPMP), or National Peasant's Union, formed in 1924. It was a

collaboration between Philippine Communists and Harrison George, a member of the American

Comintern. Several other Communist organizations appeared after the KPMP: the Worker’s

Party (1927), Partido Komunista ng Filipinas (The Communist Party of the Philippines) (PKP)

(1930), Philippine Socialist Party (1932) and the Worker and Peasant’s Union (WPU). These

organizations sought land reform in order to alleviate the exploitation by Americans on Filipino

farmers. When the Japanese armies started to take over the Philippine Islands, the original

Leaders of the KPMP (Luis Taruc, Isabelo de los Reyes, and Crisanto Evangelista) formed the

Hukbahalap.

Hukbalahap is a shorthand for the phrase “Hukbo ng Bayan Laban sa Hapon,” which

means “Anti-Japanese Army.” The Huk first formed when Japanese armies forced them to seek

refuge in the mountains. During that time, the leaders decided to engage in guerilla warfare to

intimidate Japanese forces and run them out. Eventually they succeeded with the aid of

American troops. But they would have to fight again.

American intelligence suspected Huk leadership to be part of a pro-Japanese effort

known as the “Sakdalistas.” In addition to these suspicions, the president, Sergio Osmena,

undermined the Huks control over certain areas on the island of Luzon. The efforts made by

Osmena, Gen. A. MacArthur, and corrupt government officials led the Huk to go back to

guerrilla tactics in asserting their power on the island. The Huk had two phases of insurrection in

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between 1948 to 1959, where the peak was in 1950. But ultimately, American and Philippine

armies would defeat them.

An interesting aspect of the Hukbahalap is their support for local music. Lockard

describes them as a “singing army.” Local music and updated old songs were used to recruit, in

their propaganda, and in battle hymns (Lockard, 141). One famous song is “Buhay ng Gerilya”

(“Life of a Guerrilla”). Their influence during the 1940s and 1950s was apparent not least

because of their power but because of their ability to connect with the Filipino identity.

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History of Filipino Music

The changes in influence and style in Philippine music can be directly tied to social and

revolutionary movements in Philippine history. Corazon Canave-Dioquino, in her article

“Philippine Music, A Historical Overview,” separates the history of Filipino music into three

traditions: Indigenous, Spanish-European Influenced, and American Influenced. These

separations clearly mark times in Philippine history when a shift in power had occurred. For

example, indigenous music had almost been completely wiped out due to the colonizing forces

from Spain. Three centuries later, American music began to saturate the radio waves and dance

halls. However, for the purposes of this essay, the latter two historical periods will be

emphasized.

Spain conquered more than just land when they colonized the Philippine islands. They

also imposed their own culture, religion and politics. Thus, the music of these three centuries

greatly reflects the power that they had. Beginning in 1565 until the Spanish-American War in

1898, Filipinos were unable to practice their own traditional music. Nor were they allowed to

speak of their devotion to the Philippines. Instead, whenever nationalistic views were expressed,

they had to be dedicated to Spain. This censorship had a profound effect on the music during the

start of colonization, and especially at the end.

Religious music was the first taught to Filipinos; more specifically, Spanish friars

introduced Gregorian chant. Eventually, the Catholic Church would transform traditional folk

music and insert Christian symbology. Examples of this are the pabasa and pasyon (life and

passion of the Christ), salubong (Christ is risen), panuluyan (search for an inn) (Santos, Forms).

Each of these corresponded of course to the religious calendar. This music was also adapted and

interpreted differently in other provinces and cities.

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The pasyon is one of the better known chants played during Lent. It is usually sung in the

homes, or outside in makeshift mangers or barrios. The form is very basic, and is based on

several genres such as opera, folk songs, and plainchant. As noted before, each region had its

own version. Most notable are the Ilokano, the Pampango, the Bicolano, and the Bisayan. The

pasyon takes anywhere from sixteen to twenty hours to complete. However, Spanish influence

was not limited to liturgical music.

Secular music was deeply rooted in Hispanic tradition. Instruments synonymous with

Spanish music were widespread, particularly the guitar. The rondalla is good example of this.

Patterned after the estudiantina and comparasa, the rondalla is a plucked string ensemble (Santos,

Forms). Instruments that were used were the bandurria, laud, octaniva, guitar, and bajo de uñas.

The repertoire consists of a wide variety of genres: marches, pasodoble (in two), medleys,

overtures, concert music, and accompaniments to folk dances. Other forms of music include

dances, based on Spanish dances: carinosa, balitao, pandanggo (fandango), polka, dansa, and

rigodon. Dances that were accompanied by the rondalla are the banduria, laud, octavina, gitara

and bajo. Theater and song also took Spanish forms.

One of the most popular types of songs in the Philippines is the harana. The term harana

refers generally to serenades in Tagalog. The structure of the harana is based on the plosa, the

form of Tagalog poetry. Furthermore, the harana is actually a series of elaborate courtship

rituals. Firstly, the pananapatan would be sung at the window of the lady. It would not be until

the second song that the serenader would be invited into the home. This invitation would also be

sung, known as the pasasalamat. After the thanks and invitation, the courter would ask the lady

to sing a song (pagtumbok), and immediately make a second request (paghilig). When all has

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been said (or sung), the pamamaalam, or goodbye song, would see the young serenader out the

door. Fortunately, not all songs carried such pomp and circumstance.

The sarswela (zarzuela) is an important genre associated with Philippine dissention.

Through the sarswela, and later the kundiman, Filipino people were able to circumvent Spanish

censors. Originally, the sarswela is the Filipino interpretation of the Spanish zarzuela which is a

play with music and dance. It was first introduced to the Philippines in 1879, and by the early

1900s it became widespread. Each province had its own take on the sarswela, and it was played

in their respective dialects.

The sarswela would often begin with an overture. Acts would begin with an intermezzo

and end with a grand tableau. Solos were very light, and lyrical, but for dramatic situations, a

kind of recitative, known as the hablado, was used. Early on, themes revolved around family and

love. Later, when tensions began to rise between the Filipino people and Spanish and American

forces, nationalistic sentiments arose. Often these would be played out as encounters with

opposition forces, where the Filipino would prevail. The most famous composers of sarswela are

Bonifacio Abdon, Alejo Carluen, Franciso Buencamino, and Francisco Santiago.

This trend of Hispanization of Filipino music and way of life would last until the

Americans took over. Although the Americans did not intend to cleanse the Philippines of its

culture and implant their own, the result of their occupation was just as similar. Despite the

American regime formally lasting from 1898 to 1946, its influence is still pervasive today.

Between this time, a great upheaval of Spanish influence took place, and the Filipinos were

indoctrinated in American culture and thought.

The tradition of classical music continued during the American regime. Compositions of

the sarswela, kundiman, stylized folk songs, and instrumental music became even more prolific

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(Canave-Diquino, “Historical Overview”). Nicanor Abelardo created texturally rich instrumental

pieces, and used unorthodox combinations of instruments. Neo-classicism greatly influenced the

great pianist/composer, Lucresia Kasilag. Kasilag also incorporated native instruments in her

music, for example in Her son, Jose and Oriental Suite for Piano and chamber and Philippine

percussion instruments (Santos, “Contemporary Music”). However, not all Filipino music was so

original.

The popularity of American rock’n’roll, pop music, dance, and disco comprise what is

Pinoy pop today. Through low-budget films, Filipinos were exposed to American culture. This

became the most effective way in which American pop culture became the culture in the

Philippines.

Because of these influences, native Filipino music became almost lost. In order to

compete with the rising popularity of American music, Filipinos created translations of the most

popular songs. This was called “tunog lata” or “tinny sound” because of the poor recording

quality. The term “bakya” was coined during this time as a way to describe the lowbrow, or low-

quality type of entertainment enjoyed by many. Often these pieces would use a sort of pidgin

version of Tagalog, or combination of Tagalog and English (Taglish). Songs sung in pure

Tagalog (or what some refer to as “deep Tagalog”) were seen less and less. Lockard observed

this trend in Philippine music as “three centuries in a Spanish convent followed by fifty years in

Hollywood” (121). The emergence of Pinoy music became a great hope for Filipino redemption

in popular music.

Pinoy can be described as a blend of rock, folk and ballad sung in Tagalog. The folk

sound is attributed to the unavailability of synthesizers. But the theme of Pinoy music is much

like that of American folk music. Most often, these musicians would sing about the Filipino

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identity, or lack of it. They would also lament the problems in Philippine society, such as

unemployment, prostitution, and poverty, which they saw as a direct relation to neocolonialism.

Through this music, the reality of their hardships was exposed.

During the declaration of Martial Law by Ferdinand Marcos in 1972, folk music was

banned. Therefore, it was hard to gather support since it was not played at all on the radio waves.

Musicians had to learn to be subtler in their criticism of Philippine institutions. Ironically,

Marcos would later force radio stations to play at least one to three Pinoy songs a day on private

radio stations in order to promote Filipino music.

Some artists who became famous as folk musicians are Florante de Leon and Hector

Bartolome. The artist who became synonymous with Pinoy music is Freddie Aguilar. These

artists’ work would inspire protest in campuses across the islands, and give momentum to anti-

Marcos rebel organizations.

Kundiman

The origins of the word “kundiman” are varied. It could be an alteration of the phrase

“kung hindi man” which means “if it were not so.” This phrase is said to have appeared

frequently in kundiman pieces. Another more sartorial version is that it is named after a pair of

bright red trousers called kundiman. Whatever the etymology of the name is, it now has come to

signify a movement in Philippine history, and the passion of its people.

The first kundiman appeared in the 1800s and lasted until the 1930s. Although they are

still sung and semi-popular today, their popularity was highest between those times. It is

interesting to note that whenever tensions rose between the Philippines and an opposing force,

the kundiman would be seen as much more than just a lover’s plea.

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Traditionally, the kundiman is a courtship song, a type of harana. It would be sung at the

bottom of a young lady’s window, and the intent would be to get this young lady to invite her

serenader inside. Or, at least, acknowledge his efforts. When Western dance music became a

widely used form, the kundiman would be set to its variety of rhythmic pulses, such as in the

danza, the waltz, and the fandango (Besa, “Love Song”). More and more, the kundiman began to

have a more established form.

The form is rather simple: it consists of two sections in contrasting modes. The first

section would be sung in a minor mode, the second section in its parallel major. Often, they

would repeat at the end of each section. Early on, the kundiman text was improvised. Now, it is

usually based on a moving piece of poetry. Poets whose work often appeared as kundimans were

those of Jose Corzaon de Jesus, Deogracias A. Rosario, and Jesus Balmori.

During Spanish colonization, the kundiman song was used to express nationalistic

sentiments of the Philippines. Because of the widespread censorship during this time, singing

about the love of one’s country, and not love for Spain, was forbidden. So, the text of the

kundiman would take a double meaning: a literal one (amorous love for another person), and a

nationalistic one. After Spanish rule, the Filipino people were more free to literally express their

devotion to their country.

The 20th century brought on much change in the Philippine lifestyle, as well as in the

caliber of music. Since the Americans changed the entire education system in the Philippines,

music was incorporated into all levels of education, and most notably in higher education. Thus,

the kundiman became a much more serious work. It became an art song. One could compare it to

the German lieder. Although the sound was very rooted in Western tradition, it was sung in

Tagalog.

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The most popular composers of kundiman come from the 20th century: Francisco

Santiago (1889-1947), Nicanor Abelardo (1893-1934), and Constancio de Guzman. Santiago is

considered one of the most influential composers, and is credited with bringing the kundiman

into art song status. Abelardo is said to have been influenced by Santiago in his own

compositions (Besa, “Love Song”). Constancio de Guzman studied under Abelardo and more

famous for his film scoring.

Famous works of kundiman come from all the different eras of its history. “Jocelynang

Baliwag,” by an anonymous composer, appeared circa 1896. It was most popular among the

rebels of the revolution. The literal interpretation of this song was a love song dedicated to a

beautiful woman named Josefa “Pepita” Tiongson y Lara. But it was really about the struggle for

freedom. Santiago wrote a humorous piece known as “Kundiman of 1800.” The text was

changed to a more grave one which recounted the execution of Jose Rizal. In 1928, the song

“Bayan Ko” by de Guzman became instantly famous and functioned as a second national anthem

of the Philippines. It would be used again in the 1980s in a folk rendition by Freddie Aguilar

against the Marcos Dictatorship.

In Craig Lockard’s book “Dance of Life,” he notes how Filipinos used idiomatic Spanish

music in counter-hegemonic ways (116). The epitome of this observation is the kundiman. It was

not only used during Spanish colonization, but also during the American regime, and somewhat

recently during the Marcos dictatorship. Its evolution is marked by the changing influences on

Philippine culture as well as by the revolutions. This is why the kundiman is so important to

understanding the musical history of the Philippines, but also the history of the country itself.

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Folk Music

Since the 19th century, folk music has been rooted in nationalism. That does not refer to

the nationalism in Italy or Germany during World War II, but to a country’s cultural identity.

Often, modern folk music seeks to create this identity. This is the case in Filipino folk music

circa 1970. But its history is much more rooted in tradition and occupation.

Ethnomusicologist Jose Maceda classified folk music into six genres: lullabies,

didactic/figurative, occupational, occasional, war, and love (qtd in Theissen, 17). None of these

songs were ever written; they were passed on orally. What’s more, each province had their own

interpretation. However, we still are able to document them for they fortunately were not

forgotten.

Types of lullabies include the owiwi, dagdagay, oppia, lagan bata-bata, bua, and

kawayanna. Didactic songs often recounted a debate between a peasant and a wealthy

bourgeoisie where the peasant uses common sense to outwit the rich.

Examples of occupational (work) songs are the dinaweg (boar), the kellangan (shark-

fishing), and the didayu (wine-making). Specific songs include “Magtanim ay Di Biro”

(“Planting rice is no joke”), or “Bayuhan” (Pounding Rice). Interestingly, begging is also

considered a profession, evidenced by “Palimos” (“Beggar’s Song”). Occasional songs were

about the cycle of life: birth, marriage, and death. The balow is sung by a widow to honor her

dead husband, and the didiyaw is a chant.

These songs were sung over five hundred years ago. For three centuries under Spanish

rule, folk music in the Philippines was essentially Spanish folk music. The idea of a Filipino

identity separate from the Spanish would not be brought up until 1887 by national hero Jose

Rizal. Even then and after his death, the bitter struggle by Filipinos to claim the Philippines as

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their own would not be realized until they were given full independence in 1946. This is why it

was not until the 1960s and 1970s that a real movement in nationalistic music began.

An important aspect of folk music is language. For hundreds of years, most people sang

and spoke in Spanish. When the American educational reform in the Philippines began, English

was enforced. Consequently, music was affected by this change. The popular music of the

Philippines was American music. Folk musicians reacted to these trends by dedicating

themselves to singing only in Tagalog. Thus the Pinoy movement was born.

Pinoy has western characteristics based on rock, folk and ballad. But they are not to be

confused with the tunog latas and bakyas (as referred to on page 13) who essentially were

copying American music and trying to exploit their popularity. These artists composed their own

music and words and were aiming towards a more cultivated audience.

Recording studios began to open their arms and ears to more folk musicians, but the

music never seemed to reach real popularity. There were many different types of folk-like music

at this time such as “Manila Sound,” “Pinoy Rock,” or “Pinoy Folk.” Therefore, there was not a

real sense of leadership among these musicians. Nevertheless, it did not stop artists like Freddie

Aguilar and Florante de Leon from having lasting careers. Pinoy truly flourished during the

Japanese occupation and later the Marcos dictatorship.

A major audience for folk musicians was students. These were often the people who

would actively protest against Filipino oppression. Older songs were reset to updated political

texts. The song “Awit Ng Pakikibaka” (“Song of the Struggle”) is an example of this, as well as

“Babaing Walang Kibo” (“Oppressed Women, Unite and Fight”). These songs expressed anti-

Japanese sentiments in reaction the Japanese occupation. During the Marcos administration,

though, protest songs changed to reflect communist or socialist inclinations.

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Many songs dealt with the Filipino identity itself, as well as the social ills of the

Philippines. Kapwa is used frequently to indicate the Filipino individuality as well as

commonality with his brother. “Digoman” (“War”) by Florante deals with this word in terms of

struggles against others, and also in “Ako’y Isang Pinoy” where he celebrates his own language.

Hector Bartolome sang about poverty in his “Buhay Pinoy” (“Filipino Life”) and forced

prostitution in “Nena.”

Despite the proliferation of folk music, most of it was not even played on the radio.

Martial law affected everything from daily life to the music heard on the radio. Marcos did not

want anti-establishment songs infecting the minds of the people. Therefore an underground

music scene was created. After the fall of the Marcos administration, music was free to do as it

wished.

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Stylistical Analysis

Constancio de Guzman – Bayan Ko

Although composing was not his first career choice, Constancio de Guzman was a

prolific musical composer. He wrote over a thousand compositions published and unpublished.

Most of his works appear in movies, whose titles have unfortunately been forgotten. However,

one composition of his stands the test of time.

“Bayan Ko” was written during the Philippine-American war to express the feeling of

imprisionment by the Filipino people. It became an instant hit, and was considered an unofficial

national anthem of the Philippines. His song would be used once again against a modern political

backdrop: the Marcos dictatorship. Freddie Aguilar, a folk singer, re-arranged “Bayan Ko” and

took this song to the streets in protest. Perhaps because of its simplicity or because of its poetry,

“Bayan Ko” has become an anthem for the Filipino people during times of struggle and warfare.

“Bayan Ko” was composed by Constancio de Guzman to a poem by Jose Corazon de

Jesus. This poem reflects the frustrations of a people who have been under constant colonial rule

for over three centuries. The poetry describes the charms of this country, and how foreign lands

were “intoxicated…by her beauty.” The Philippines is described metaphorically as a caged bird

that must be freed. This piece has the typical elements of the kundiman, but also has the

simplicity and directness of a song about revolution.

Ang bayan kong PilipinasLupain ng ginto't bulaklakPagibig ang sa kanyang paladNag-alay ng ganda at dilag.

At sa kanyang yumi at gandaDayuhan ay nahalinaBayan ko binihag kaNasadlak sa dusa.

Ibong mang may layang lumipadKulungin mo at umiiyak

My country, the Philippines:Land of gold, garden of flowersEndowed with love,Gifted with beauty and radiance,

Intoxicated because of her beauty,Foreign lands were drawn to her.My dear country, they came and conquered youAnd you suffered in misery.

A bird that is free to flyPut it in a cage and it cries.

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Bayan pa kayang sakdal dilagAng di magnasang maka-alpasPilipinas kong minumutyaPugad ng luha ko at dalitaAking adhikaMakita kang sakdal laya!Text by Jose Corazon de Jesus

What other country, so full of radianceWould not want to be free?Philippines, my beloved,Nest of tears and suffering,My wish for youIs to set you totally free!Translation by Philippine Study Group of Minnesota

“Bayan Ko” is for voice and piano accompaniment. Its time is 3/4 and has a consistent

moderato tempo. The first section (A) begins in d minor then modulates D major in the second

section (B). The tessitura of the A section lies between F4 and Bb5 and has a range of C#4 to G5.

By contrast, the B section has a range from F4 to F5, with the tessitura being A5 to D5.

This piece can be classified as having parallel periods in both sections, with an

introduction and a conclusion at the end of each. In the A section, the first period and second

period begin with the same melodic and rhythmic statement. These characteristics are exactly the

same in the B section. New material at the end of each period can be called conclusions, as they

reflect the general melodic and rhythmic theme of the piece, but are not entirely similar. The

periods can then be organized into two bar motives.

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Example 1.1

The melody of this piece is rather easy to follow. There aren’t any jarring leaps as

diatonic motion predominates. However, there are 3rds, 4ths, and 6ths that are used sparingly. In

the A section, high notes are sung rarely, while in the B section the high notes are a focal point in

the melody. This shift is mostly guided by the text’s images: the exotic qualities of a strange new

land, its subsequent enslavement (A section) and the cry for freedom (B section).

The overall motion of the piece is sweeping in the A section and lilting in the B section.

There is also rising and falling, more notably in the A section, in the vocal line. Because the

rising and falling occur in mostly stepwise motion, there is also a feeling of tension and release

(Example 1.2). The B section’s movement has a bouncing feeling because of its repetition of

notes (FF-EE-DD) and m2 alternations (A-G#-A-G#-A-C). This movement is also reflected in

the text. The words of the A section are mournings, thus the sweeping-then-lilting motion are

like deep sighs. Flying characterizes the B section with its lilt resembling a bird’s flight through

light winds.

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Example 1.2

Dynamic levels act also as an element that gives more depth to the textual imagery. The

A section begins in piano until the conclusion with the statement “Bayan ko!” where it

crescendos quickly to forte, then just as suddenly it diminuendos. Although the B section begins

in mezzo forte, the gap between dynamic levels is equaled to the A section with a fortissimo at

the end of the piece. However, right before the ff in the B section, there is a measure and half of p

right before the crescendo. It can be assumed that this dramatic drop from mf to p serves to give

even more momentum and drama towards the exclamatory ff.

There are two rhythmic themes used throughout the piece, which are varied only by the

melody (Example 1.2 and 1.3). Differing patterns occur around the cadences. Except in the first

cadence (mm 6-8) of the A section, these new patterns seem to be variants of the predominating

theme. Again, we see how these direct elements combine to make the even more clear and

memorable.

Example 1.3

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Example 1.4

There is no significant juxtaposition between the vocal

line and piano accompaniment, as the piano doubles the voice throughout the entire piece. While

the piano does double, it is not playing just what the voice sings. The melodic line in the

accompaniment is harmonized in thirds or sixths, adding depth to the vocal line. Waltz-like

broken chords in the piano’s bass line dominate in the A section, while alternations between

broken chords and Alberti Bass mark the B section.

Harmonic coloration is important to the message of this piece. The minor mode in the A

section serves the plaintive words of a country conquered and living in misery. The relative

major is used in the B section to exclaim the need for freedom from the bondage of colonialism.

The directness of the chord structure and sequences better cement the message of the text. The

chords follow a simple I-V-I progression, with f#m and g/G making small appearances. There

are no half- or deceptive-cadences in this piece; there are only imperfect or perfect cadences.

These qualities create the simplicity of the song, aiding the political message of the text to cut

through.

Constancio de Guzman chose simplicity over complex chordal figures in bringing this

piece to life, which has become so important to Filipino history. This song is easy to sing, and

easier to remember than even the national anthem of the Philippines. Although it takes much of

its harmonic cues from Spanish influences, the feeling of the Filipino plight is very evident in the

words.

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Francisco Santiago – Pakiusap

Francisco Santiago was born on January 29, 1889. Although his family was poor, he

perservered in continuing his studies in music. A gifted pianist and composer, Santiago became

well known for turning the kundiman into an art song.

His most famous compositions were for the films Manileña, Madaling Araw and

Pakiusap. His song “Anak Dalita” was even performed in front of the king of Spain. Even

though he was not a prolific composer, Santiago’s work is still memorable. From 1930 to 1946

he was the directory for the University of the Philippines Conservatory of Music.

Francisco Santiago wrote “Pakiusap,” meaning “Plead,” for voice and piano. It is another

example of kundiman, but also has influences from the Spanish haranas, or serenade. Santiago

has chosen this poem by Jesus Balmori. A love struck serenader sings to his beloved about his

devotion to her until his death. He pleads for her to open her window and take pity on him.

Although this piece does not obviously talk about revolution, we can see how this suitor’s pleas

can be interpreted as something deeper than just a serenade. One can liken this undying love for

love of one’s country. This suitor promises to put his love in his protective care (mm 29),

disregarding all the other empty promises and dreams of other suitors (mm 25). His pleads and

promises can be seen as metaphorically relfecting the struggles with colonial powers.

Natutulog ka man irog kong matimtimanTunghayan mo man lamang ang nagpapaalamDahan dahan mutya, buksan mo ang bintanaTanawin mo’t kahabagan, ang sa iyo’y nagmamahal

Kung sakali ma’t salat sa yama’t pangarapMay isang sumpang wagas ang aking paglingapPakiusap ko saiyo, kaawan mo akoKahit mamatay, pagibig ko’y minsan lamangImiibig kita magpakailan pa manText by Jesus Balmori

While you’re sleeping my fervent love Look at me while I say goodbye Tread slowly, open your windowLook and have pity for someone who loves you

Even with empty promises and dreamsI promise you my protective careI plead to you, pity meEven while dying, my love is only onceI love you foreverTranslation by Angelita O’Brien

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Typical of kundiman (and haranas), this piece is written in 3/4 time, begins in c minor,

and modulates to C major. However, unlike “Bayan Ko”, the verses are not repeated. This piece

contains a range of D4 to G5 with a tessitura of G4 to C5 in the A section, and B5 to D5 in the B

section. It is interesting to note that the minor section is sung in a lower range than the major

section. This contrast in key and range can be tied to the text. In the A section, the serenader

coaxes his love interest out onto the balcony, making sure to use a hushed voiced. By contrast, in

the B section, he makes his pleads for pity and professes his love.

As for the musical structure, this would be classified as parallel periods (the A section is

in cm and the B section is in CM) with an introduction and a conclusion at the end of the piece

recapitulating the lover’s pleas. The period can be broken down into two eight-bar statements

which contain two measure phrases. Repetition of the beginning theme marks a new phrase

within the period. This holds true until the repeat of the B section, where the phrases of the CM

melody alternate between the piano and voice. Despite its rigidity in structure, the shape of the

phrases is very fluid and lyric.

There is always a continuation in movement even when a note is held. Firstly, the

melodic motion tends to skip and make leaps rather than making whole passages of diatonic

scales. Save for the repetition of the first motive, no other melodic motive is seen again. The

movement is sometimes similar, but not completely. High points in the melody occur in mms 15-

16 (“good-bye,” Ex 2.1), mm 36, 51-52 (“pity me”), and mm 59 (“forever,” Ex 2.2). These three

passages featuring the highest notes in the piece can truly summarize the subject of the song: the

lover’s pleas; his dying and everlasting love.

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Example 2.1

Example 2.2

Dynamics change rather dramatically in this piece. Beginning in piano, it crescendos

suddenly to forte then just as suddenly decrescendos to pianissimo. In some cases, there aren’t

even any crescendo or decrescendo markings between the p and f. This type of dynamic motion

occurs throughout the piece, peaking and quieting sometimes within two measures. Interestingly,

in the final measures we have an f building up to a high G, then a pp smorzando as the song dies

away.

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Most of the emphasis of this piece is on the second beat, taking care to give the correct

stress to the accented syllables of the language. The rhythmic patterns of both the A section and

B section seem to be variations of each other (Ex 2.3 and 2.4). While there are many dynamic

markings, there are only three instances concerning the tempo (mm 25-26, 29-30 and 59). The

first two happen at the beginning of the B section, where the serenader makes his promises to his

loved one. In the beginning of mm 25 and 29 we have a ritardando, and then the following

measure an a tempo. The last tempo marking is an allargando found at the end of the piece. This

has the same effect in the tempo as in the dynamics, that is – dying away.

Example 2.3

Example 2.4

The chord progressions favor I-IV-V-I, with added secondary functions. Another

interesting aspect of the progressions is the cadences. The first period (mm 9-24) ends in a half-

cadence, seemingly modulating into GM. The finale does not end on a V-I perfect cadence, but

on a IV-I plagal cadence (Ex 2.2). There is no true resolution in any of the cadences, which

makes an intriguing color in itself. This piece goes against expectations in almost any way it can.

The accompaniment doesn’t use any specific type of figure. That is to say, Santiago

doesn’t seem to favor either broken chords, block chords, or arpeggiations, but rather

incorporates a mixture of all these elements. Occasionally both the top and bottom voices mimic

the melody line, when making important statements as in the first line of the verse and its

repetition in mm 17 and mm 13 (“look at me”). However, the accompaniment is very full.

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Because the piano melody doubles that of the vocal line, the composer has taken time to

make other piano voices add a lot of tension. In the very first line (mm 9, “While you’re sleeping

my fervent love”), the F# leads into the GM chord. This is repeated again in mm 17 with the

words “Tread slowly.” Both of these couplets are sung in piano and pianissimo respectively,

creating a sorrowful mood. In mm 37 and 53 we find the f#ø7 of G with the words “Even while

dying…” This use of the vii ø7 of the dominant adds another dimension of dissonance, especially

accompanying such fatal words. Other notable secondary functions of V are in mm 14, 15, and

37, and even functions of IV can be found in mm 35. We also find the usage of chromaticism

(mm 35, 47, and 51) interestingly in the base of the accompaniment under the words “Pity me!”

All of these elements combine to make a very dramatic picture.

Example 2.5

Example 2.6

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“Pakiusap,” in only two pages worth of music, renders so much emotion and intensity.

Santiago uses many devices to achieve this: suspensions, chords from the dominant and other

keys, and chromaticism. The fullness of the accompaniment creates a heightened sense of drama,

which is reminiscent of film music from the 1920s and 1930s. However, Santiago is careful not

to lay it on too thickly: he evens out each of these elements, and uses tempo devices very

minimally. Thus we aren’t overwhelmed by the music. Nevertheless, the serenaders emotional

pleads are felt and the message is carried out beautifully.

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Freddie Aguilar – Anak

Freddie Aguilar and his music are synonymous with Filipino nationalism and identity.

Born, as we say, on the wrong side of the tracks, Aguilar witnessed firsthand the struggles poor

Filipinos had to overcome every day. His experience in the slums of Manila and inspiring songs

earned him thousands of fans and a lasting career.

Like Constancio de Guzman, Aguilar’s father had other plans for him. He was supposed

to have finished a degree in electrical engineering, but instead he left his family to become a

musician. Early on, he began with remaking American hits, influenced mainly by Cat Stevens

and James Taylor. Overtime, his music showed a “local flavor” (Lockard, 145).

Aguilar wrote mostly about the social issues facing the Filipino people at the time:

prostitution, poverty, and identity. His song “Magdalena” chronicled the life a girl who had to go

into prostitution to save herself from poverty. “U.S.-Russia” is a more political song about the

superpowers and their egocentric policies.

His worldwide hit, “Anak,” was about his own personal tragedy with his parents.

Wanting a better life for him, Aguilar’s parents sent him to school to pursue a career that they

thought to be more lucrative than music. But Aguilar’s passion drove him to music and away

from his parents. Just before “Anak” had made Aguilar a star, his father died, never to know the

success his musical career would give him.

Aguilar also did a remarkable rendition of Constancio de Guzman’s “Bayan Ko.” This

song would make him more than just a musician, it would make him the voice of a generation.

During the EDSA, protests would be held everyday: in the streets and at universities. “Bayan

Ko” became the theme song for the anti-Marcos movement. Aguilar himself would even take to

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the streets with his guitar and thousands of protestors behind him singing. The most impactful

image was of him singing beside Ninoy Aquino’s coffin after his assassination.

President Marcos blacklisted Freddie Aguilar from radio stations because of his political

and ideological beliefs. He was forced to seek overseas support for his career. But that did not

stop him from dedicating himself to removing Marcos from office. His involvment in the 1986

campaign, which would eventually do just that, is a testament to his passion for the Filipino

people.

Nung isilang ka sa mundong ito Laking tuwa ng magulang moAt ang kamay nila ang iyong ilawAt ang nanay at tatay mo’y‘Di malaman ang gagawinMinamasdan pati pagtulog moAt sa gabi’y napupuyat ang iyong nanaySa pagtimpla ng gatas moAt sa umaga nama’y kalong ka ng iyongAmang tuwang-tuwa sa’yo

Ngayon nga ay malaki ka naNais mo’y maging malaya‘Di man sila payag walang magagawaIkaw nga ay biglang nagbagoNaging matigas ang iyong uloAt ang payo nila’y sinuway mo‘Di mo man lang inisip na ang kanilangGinagawa’y para sa’yo Pagka’t ang nais mo’y masunodAng laway mo ‘di mo sila pinapansin

Nagdaan pa ang mga arawAt ang landas mo’y naligawIkaw ay nalulong sa masamang bisyoAt ang una mong nilapitanAng inyong inang lumuluhaAt ang tanong “Anak, ba’t ka nagkaganyan?”At ang iyong mga mata’y bigland lumuhaNg ‘di mo napapansinPagsisisi at sa isip mo’t nalamanMong ika’y nagkamaliText by Freddie Aguilar

When you were bornYour parents were so happyTheir hands were your lightYour mother and fatherDid not know what to doThey watched over you when you were asleepYour mother stayed awakeJust to feed youAnd in the morning, your father carried youAll day long

Now you’ve grownYou want your freedomEven if they didn’t want you to goThey could not do anythingBut you were stubbornAnd all their advice were not heededYou didn’t even think that whatever they didThey did for youBecause all you think of is yourselfAnd all you want is what you want to do

Days passedAnd you strayedYou were hooked on bad vicesAnd the first person you thought of Is your mother in tearsAnd her question is “What happened to you?”You eyesSuddenly teared up Regret was deep in your heartYou knew you were wrongTranslation by Angelita O’Brien

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“Anak,” sung in a minor, is an autobiographical song about a prodigal son. This song

speaks about a child who has abandoned his family, and is ungrateful for all the sacrifices they

made for him.

The first thing that attracts a listener to “Anak” is the text. Although the melody stays

consistent, the emotion and words speak through. In general, the melody follows the chord

structure. That is to say, when there is a chord change, it is obvious in the vocal line. There are

not any passing tones to connect am to FM.

High points occur when the am is the first chord. It also illustrates some important themes

in the piece as in “your mother and father” or “when you were grown.” These small phrases hint

at the general subject of the piece: a son who abandoned his parents when he grew older.

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The harmonic and melodic structure are in ABAB form. There are only three chords in

this entire song: am, fm, and gm. Looking at these elements, one can see the similarities between

Aguilar and legendary American folk singer, Bob Dylan (a major influence). Even though the

melody and chords stay the same in each verse, it serves to make the story flow.

Like Dylan, Freddie Aguilar uses the music and rhythms to adapt to the vernacular. This

is evident in the complex and changing rhythms (Ex 3.1). Because the Tagalog language relies so

much on accentuation on the right syllable to express meaning of even a single word, it is

important to fit the music to the text. It also avoids comprising the story-telling impression of

folk songs.

Example 3.1

Essentially, simplicity is important to modern folk music. Not only does it fit the

narration, but the singer is free to express emotion however he pleases. If he wishes to accentuate

a certain word, or change the melody to heighten the emotion in a certain part, he is free to do so

because of the flexibility of the harmony. Thus, Aguilar is free to express his sorrow and we feel

it.

“Anak” is a rather sorrowful song. We follow a happy couple being blessed with a son.

They sacrifice everything for him, and love him endlessly. All they wish for him is happiness

and a good life. But as the son grows older, his desire to run free overcomes his better

judgement. He is led to “bad vices” once free. Upon reflection of his life, the son remembers his

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mothers tearful eyes and pleas. He is overwhelmed with emotion and desires to make a better life

for himself and his parents.

This story is typical in all cultures, but especially in Filipino culture where family has

priority above all else. But most importantly, this song is very personal to Aguilar. We can feel

his shame when he quotes his mother saying “My child, what happened to you?” As well, one

can detect a tone of nonchalance in “But all you want is for you to do what you want.”

Personal interpretation is important to all folk music. One has to listen to an artist sing

such songs before really understanding the passion and thought behind it. Freddie Aguilar

perfectly displays this in all his songs, and especially in his most identifiable work, “Anak.”

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Florante de Leon – Ako’y Isang Pinoy

During his career, Florante de Leon tried not to associate himself with any specific

political ideology. Instead, he dedicated his music to addressing, frankly, the situation of the

Filipino people. His intentions were not to become a nationalistic folk singer, but a singer who

only sang in Tagalog.

His most famous songs are “Ako’y Isang Pinoy,” “Laya (“Free”), “Awiting Sariling

Atin” (“Our Own Songs”), and the most famous “Handog” (“Offering”). These works have an

autobiographical quality, often commenting directly on current moments in his life (Curtis,

“Florante is Back”). In the 1988 rock opera “Florante,” he was celebrated for his role in popular

culture.

Because of his political ambiguity, Florante was often accused of being a hypocrite. He

would often play for the Marcos’ campaigns and functions. This was seen as an act of betrayal.

Nevertheless, his music continued to sell. In 1977, Florante was officially rocketed into

superstardom with his ernest hit “Handog.” Even though his career is clouded in some

controversy, he is still considered one of the greatest nationalistic folk song writers of his time.

“Ako’y Isang Pinoy” (“I Am A Filipino”) is a light-hearted tune with a deep message.

Reading the words alone, one would think they were going to hear something serious and

dramatic. When Florante quotes Jose Rizal as saying “ One who does not love their native

language has the stench worse than a rotten fish,” it is easy to imagine an angry climax at these

words. Instead, Florante’s song has a very sing-song quality.

Ako’y isang Pinoy sa puso’t diwaPinoy na isinilang sa ating bansaAko’y hindi sanay sa wikang mga banyagaAko’y Pinoy na mayroong sariling wika

Wikang pambansa ang gamit kong salita

I am a Filipino in heart and mindFilipino born in my countryI am not used to foreign languagesI am a Filipino with my own language

National language is what I use

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Bayan kong sinilangan Hangad kong lagi ang kalayaan

Si gat Jose Rizal nuo’y nagwikaSiya ay nagpangaral sa ating bansaAng hindi raw magmahal sa sariling wikaAy higit pa ang amoy sa mabahong isdaText by Florante de Leon

The country of my birthI always desire for it to be free

Jose Rizal once said One who does not love their native tongueHas the stenchWorse than a rotten fish Translation by Angelita O’Brien

This song is in D major with a 3/4 time signature. Its moderately fast waltz tempo give it

a tripping and light-footed feel. The melody contains the same weightless lyricism. It moves

from chord to chord not in leaps and bounds but in short skips. Technically, “Pinoy” boasts five

different chord changes. This is much more than the average folk or popular song, which usually

only has two or three. Its form is much like that of popular music: Verse-Chorus-Verse-Chorus

(ABAB). Thus it is easy to follow and memorize.

The rhythm manages to stay within the triple meter construct while accomodating the

text. As in most folk songs, the rhythmic patterns change as the syllabic accentuation shifts. A

constant is the guitar accompaniment which continues to strum softly in the background.

Though not as long, or wordy, as other folk songs, “Ako’y Isang Pinoy” still captures a

sense of nationalism. The pride that Florante has for his native tongue is very apparent.

Mentioning Jose Rizal and heeding his words shows that he loves his country and knows enough

about it to be so. The text is rather simple. There does not appear to be any deep metaphor or

allegory. In its directness and simplicity, it plays with the Tagalog language. Usually viewed as

an impassioned and slightly gutteral language, Florante treats it buoyantly.

Perhaps not a revolution inspiring song, “Ako’y Isang Pinoy” still has its importance in

dealing with the Filipino identity. For Florante, language is what Filipinos must cling to in order

to separate themselves from the long effects of cultural colonialism. By treating the language in

such a different manner, Florante demonstrates that Tagalog can be used for anything.

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Conclusion

Philippine music is unique despite its overwhelming influence from Spanish and

American idioms. Rather than being cultural separatists in fighting colonialism, Filipinos

synthesized western music with their ideals and values to create a completely individual style.

Essentially, it is the sentiment that is unmistakably Filipino.

Since practically none of the indigenous music was either written down or studied by the

Spanish upon their arrival, it is difficult to have a truly Filipino idiom. We can guess and

speculate on how the music was played, and how it sounded, but we no way of having a

conclusive representation.

Even after the Philippines gained independence when Spanish forces ceded political

control to the Americans, they were placed under another regime. Although the American regime

was much more supportive of Philippine efforts in music and culture, their presence was felt in

every aspect. Not least of all, the forms of entertainment Filipinos enjoyed were strictly

American. But the revolutionary words of folk music were gaining support.

Bob Dylan, Cat Stevens, and James Taylor were compelling influences on Filipino

musicians who wanted to create an identity for themselves. Americans sang about the ironies of

American culture, war, and peace. Filipinos sang about the poverty they saw everyday, the

tragedies of their lives, and the effects of colonialism on their culture. Filipino artists also

dedicated themselves to singing in their own language. Though the music was western, the

subject was uniquely Filipino.

The reasons that Filipinos chose to utilize Western music are many. Firstly, they had no

way of carrying the indigenous traditions since the Spanish strictly forbade any sort of local

music. Instead, Filipinos sang chants and Spanish folk tunes in their own dialects. It is interesting

38

to note that the friars and government officials did not find this at all subversive. Secondly,

during the Spanish colonization, Filipinos had to sing Spanish music. But Filipinos inserted their

own metaphors into songs to reflect their true feelings about their colonizers. Third, since these

types of music were so popular, Filipino musicians used them to their advantage in order to reach

a wider audience. This is a particular experience to the Filipinos and Philippine history.

In effect, Filipinos were ingenious in using their colonizers’ music in subverting power,

circumventing censors, and gaining wide appeal. Western forms were only secondary in their

compositions. The message they were sending of frustration, pain, nationalism, and brotherhood

is of greatest importance. Consequently, what emerged was music rich in emotion, spirit, and

culture.

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APPENDIX A

MUSICAL EXAMPLES

Example Measure Song1.1 5-8 Bayan Ko 1.2 22-23 “1.3 Rhythmic example “1.4 Rhythmic example “2.1 15-16 Pakiusap 2.2 59-60 “2.3 Rhythmic example “2.4 Rhythmic example “2.5 37-38 “2.6 51-52 “3.1 Rhythmic example Anak

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APPENDIX B

SAMPLES CUT TO MAKE FILE SMALLER

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#3

Freddie Aguilar Anak

Am Nung isilang ka sa mundong ito FLaking tuwa ng magulang moG AmAt ang kamay nila ang iyong ilawAmAt ang nanay at tatay mo’yF‘Di malaman ang gagawin G AmMinamasdan pati pagtulog mo F GAt sa gabi’y napupuyat ang iyong nanay AmSa pagtimpla ng gatas mo F GAt sa umaga nama’y kalong ka ng iyong AmAmang tuwang-tuwa sa’yo

(Am) FNgayon nga ay malaki ka na(F)Nais mo’y maging malayaG Am‘Di man sila payag walang magagawaAm Ikaw nga ay biglang nagbagoFNaging matigas ang iyong ulo G AmAt ang payo nila’y sinuway mo F‘Di mo man lang inisip na ang kanilang G AmGinagawa’y para sa’yo F Pagka’t ang nais mo’y masunod G Am

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Ang laway mo ‘di mo sila pinapansinAm Nagdaan pa ang mga arawFAt ang landas mo’y naligawG AmIkaw ay nalulong sa masamang bisyo(Am)At ang una mong nilapitan F Ang iyong inang lumuluha G AmAt ang tanong “Anak, ba’t ka nagkaganyan?” F GAt ang iyong mga mata’y bigland lumuha AmNg ‘di mo napapansin F Pagsisisi at sa isip mo’t nalamanG AmMong ika’y nagkamali

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#4

FloranteAko'y Isang Pinoy D A G DAko'y isang Pinoy sa puso't diwa G F#m7 Em A7Pinoy na isinilang sa ating bansa D A G DAko'y hindi sanay sa wikang mga banyaga G F#m7 Em D-A-G-A-Ako'y Pinoy na mayroong sariling wika.

G F#m7 Em A7 DWikang pambansa ang gamit kong salitaG F#m7Bayan kong sinilangan Em E AHangad kong lagi ang kalayaan.

D A G DSi Gat Jose Rizal nuo'y nagwika G F#m7 Em A7Siya ay nagpangaral sa ating bansa D A G DAng hindi raw magmahal sa sariling wika G F#m7 Em A D-A-G-A-Ay higit pa ang amoy sa mabahong isda.

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