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 MUSIC:
CONTEMPORARY PHILIPPINE MUSIC
According to National Artist Ramon Santos, PhD, “contemporary music in the
Philippines refers to compositions that have adopted ideas and elements from 20th
century art music in the west, as well as the latest trends and musical styles in the
entertainment industry.”
The modern Filipino repertoire consists of musical pieces that have been written in 20th
century idioms that have evolved out of such stylistic movements as impressionism,
expressionism, neo-classicism, as well as avant garde and new music.
New music are compositions which are improvisational works such as the early
compositions of Dr. Ramon Santos, Radyasyon and Quadrasyon; Josefino “Chino”
Toledo’s Samut-Sari, Pintigan and Terminal Lamentations, and Jonathan Baes’ Wala and Banwa.
20th CENTURY
TRADITIONAL COMPOSERS

With Spain and then America having colonized the Philippines from
the early 1500s to the late 1800s, it was unavoidable that Western
compositional techniques found their way into the works of Filipino
composers. Yet, even 20th century Filipino composers have managed
to retain some traditional elements in their assimilation of Western
techniques. In fact, they have become the strongest foundations of
what we now know as Philippine music. Among the major Philippine
contemporary composers are Francisco Buencamino Sr., Francisco
Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col.
Antonino Buenaventura, Rodolfo Cornejo, Lucio San Pedro,
Rosendo Santos Jr., Alfredo Buenaventura, and Ryan Cayabyab.
FRANCISCO B. BUENCAMINO SR.
(1883 – 1952)

Francisco Beltran Buencamino Sr. was born on November 5, 1883

in Bulacan. He was the son of a musically inclined couple. His
father was Fortunato Buencamino, a church organist and band
master. His mother was Luisa Beltran, a noted singer. He studied
music composition and harmony at
Liceo de Manila. Unfortunately, he was not able to finish. He
taught at the Ateneo de Manila, and at Centro Escolar de
Señoritas whose Conservatory of Music he founded. He also
created the Buencamino Music Academy in 1930 where Nicanor
Abelardo was one of his students. Expanding his career, he
ventured into musical directing and scoring, and composing film
music for Sampaguita Pictures, LVN, and Excelsior.
Buencamino’s compositions include Harana, Pandanggo ni Neneng, Collar
de Sampaguita, Dulces las Horas, Mayon (Fantasia de Concierto), My Soul’s
Lament, Larawan, Mazurka, Boholana, Mi Bandera, Princesa ng Kumintang,
Maligayang Bati, Ang Bukang Liwayway, Pandanggo ni Neneng, Ang Bagong
Balitaw, Himig ng Nayon, Damdamin (Romance), and Pizzicato Caprice.
Many of his piano works have become a staple part of the Philippine
repertoire of today’s young students, especiallyMayon, Larawan, and
Maligayang Bati. He also wrote several zarzuelas and kundimans. He passed
away on October 16, 1952 after which a posthumous award honored him
with the title “Outstanding Composer.”
Francisco Santiago
(1889 – 1947)

Francisco Santiago is known as the “Father of the

Kundiman” and belongs to the “Triumvirate of Filipino
Composers.” He finished his music specialization at the
American Conservatory of Music in Chicago, where he
obtained his Doctorate Degree in 1924.
Santiago’s music was Romantic in style, incorporating
Western forms and techniques with folk materials. He
composed several works such as kundiman, symphonies,
piano concertos, and other music pieces for the piano,
violin, and voice.
Among his famous works are Pakiusap, Madaling Araw, Sakali Man, Hibik
ng Pilipinas, Ano Kaya ang Kapalaran, and Kundiman (Anak Dalita). This
piece was sung before the Royal Court of Spain upon the request of King
Alfonso II. He was also a musical director for films. Among the films whose
music he supervised are Kundiman, Leron Leron Sinta, Madaling Araw,
Manileña, and the movie inspired by his own composition Pakiusap. He
became the first Filipino Director of UP Conservatory Of Music.
NICANOR ABELARDO
(1893 – 1934)
Nicanor Abelardo is one of the “Triumvirate of Filipino
Composers” which includes Antonio Molina and Francisco
Santiago. He studied music at the Chicago Music College and
was influenced by the musical styles of Schoenberg,
Hindemith and Stravinsky. Abelardo developed a style that
combined European romanticism with chromaticism. His
compositions contain hazy tones, dissonance and unusual
chordal combinations found in such works as Cinderella
Overture, Panoramas, and a violin sonata. Although a 20th
century modern composer in style, he is also considered a
composer in the Romantic style. His best-known compositions
include Mutya ng Pasig, Nasaan Ka Irog, Cavatina for
Violoncello, and Magbalik Ka Hirang.
ANTONIO J. MOLINA
(1894-1980)
National Artist For Music
Antonio Molina, the first National Artist for Music, is
considered one of the “Triumvirate of Filipino Composers” which includes Nicanor
Abelardo and Francisco Santiago. He began his music career as an orchestral soloist
at the Manila Grand Opera House. He served as Dean of the Centro Escolar
University Conservatory of Music from 1948 to 1970. He was also a faculty member
of the University of the Philippines’ Conservatory (now College) of Music.
Molina was a product of both the Romantic and Impressionist schools of thought. He
was fascinated by the dynamics and harmonies of Debussy, but retained much of the
Romantic style in his melody. A characteristically impressionist work is his piano work
Malikmata (Transfiguration). The mysteriously exotic chords of this piece gradually
lead to a lyrical melody, with the traditional harmonies abruptly returning to the
initial mood. Molina wrote several compositions for piano, violin, and voice as well
as a Spanish-style opera form known as the zarzuela.
He is best known for his poignantly romantic serenade for violin and piano
Hatinggabi. Subsequent transcriptions of this piece were written for the cello, flute,
piano, and guitar. Other works by Molina include orchestral music -Misa Antoniana
Grand Festival Mass, Ang Batingaw, Kundiman-Kundangan; chamber music - String
Quartet, Kung sa Iyong Gunita, Pandangguhan; and vocal music - Amihan, Awit ni
Maria Clara, and Larawan Nitong Pilipinas. He received the National Artist for
Music award in 1973. He passed away on January 29, 1980.
HILARION RUBIO Y FRANCISCO
(1902 – 1985)

Hilarion Rubio was born on October 21, 1902 in Bacoor, Cavite. A composer, music
teacher, conductor, and clarinetist, he created substantial works for the orchestra. He served as
conductor for opera, ballet, dance recitals, and movie music. His early interest in music came from
the influence of his uncle who was then playing with the Bacoor Band. His first music lessons in
music theory and clarinet were with Fr. Amando Buencamino who taught himsolfeggio and some
musical instruments. When he was eight years old, he was accepted as a member of the Bacoor
Band as a clarinetist. At that time, he made his first composition Unang Katas for his concert with
the band.In his high school years at the North High School (now Arellano High School), Rubio
became a member of several orchestras. He performed with various movie house bands and
orchestras. He was also a member of the Lyric Theater Orchestra, Trozo Band in Benavidesm Street,
and the Band Moderna in Tondo. After he graduated from high school in 1930, he co-founded the
Anak Zapote Band. He later became a bandleader and conductor of the ROTC Band of the
Conservatory of Music, University of the Philippines (UP) and played the violin and timpani with the
UP Junior Symphony Orchestra.
After his student years, Rubio became a conductor of opera at the Manila Music School in 1936. He
became the choirmaster and choral conductor of the Choir Islanders. Also, he assumed the position of
instructor at the Conservatory of Music, University of the Philippines. He was also a lecturer at the
Buencamino Music Academy, La Concordia College, College of the Holy Spirit, Santa Isabel College,
Laperal Music Academy, Manila Music School, St. Theresa’s College, and the Valencia Academy of
Music. He became full professor of the UP Conservatory of Music from 1936-1937. He was appointed
director of the Conservatory of Music, Centro Escolar University in 1944-1945.
During the Second World War, Rubio composed and arranged many works and conducted many
military and civilian brass bands. After the war, he was appointed conductor of the Manila Municipal
Symphony Orchestra. He held various positions, including as Vice President of the PASAMBAP
(Pambansang Samahan ng mga Banda sa Pilipinas), the National Band Association, board and charter
member of the League of Filipino composers, and the first President of the Philippine Bandmaster’s
Association. He was conductor of the National Opera Company for 23 years from 1937 to 1960. Rubio’s
compositions include: Bulaklaken, Theme and Variations for Band, Dance of the Nymphs Rondo,
Florente at Laura (overture), Halik, Danza, Unang Katas, Twopart Invention (piano), Ang Konsyerto
(ballet), Ang Magsasaka, Bukang Liwayway, Concertino in C (marimba and piano), Filipinas Kong Mahal,
Hatulan Mo Ako, Ginintuang Araw, In a Tropical Sea, Light, Narra, Mutya ng Silangan, To the Filipino
Youth, Nela, National Heroes Day Hymn, and Salamisim. He passed away on December 28, 1985
COL. ANTONINO BUENAVENTURA
(1904 – 1996) National Artist for Music
Col. Antonino Ramirez Buenaventura was a renowned composer,
conductor, and teacher. His father Lucio was the chief musician of the
Spanish artillery band in Intramuros and founder of Banda Buenaventura.
As a young boy, he had already demonstrated a passion for music while
learning the rudiments of music and solfeggio and becoming a proficient
clarinet player.
Col. Buenaventura further developed his musical abilities at the
Conservatory of Music, University of the Philippines (UP) at the age of 19.
He received a Teacher’s Diploma in Science and Composition at UP.
Nicanor Abelardo and Francisco Santiago were among his famous
mentors. At the University, Buenaventura led the UP ROTC Band and
established the UP Junior Orchestra which was the first collegiate
orchestra in the country. He pursued further studies at the Institute of
International Education in New York. He was also awarded a study grant
by the UNESCO in 1949. He was a delegate to the general assembly of the
International Society for Music Education held in Montreux, Switzerland
in 1976. He represented the country at the general meetings of the
International Music Council (IMC) in Rome (1962) and Hamburg (1964).
RODOLFO S. CORNEJO
(1909 – 1991)
Rodolfo S. Cornejo was born on May 15, 1909 in Singalong, Manila. Inspired by his
mother’s genuine support, the young Cornejo started formal music lessons at the
age of six. He performed on stage after only two years of music studies. During this
time, he was also invited as organist of the Pasay Catholic Church. His first
composition at age 10 was a piano piece entitled Glissando Waltz. It was followed
three years later by a military march entitled Salute. At the age of 14, 26 of
Cornejo’s compositions were already listed by the United Publishing Company Inc.
Cornejo was the soloist of the Manila Symphony Orchestra, Filipinas Youth
Symphony Orchestra, and UP Symphony Orchestra. Later on, he became the
musical director of the Sampaguita and Vera-Perez Movie Companies. Since 1978,
he held concerts in the United States. He appeared as composer-conductor at the
Seattle Opera House and the Seattle Playhouse. He is listed in “The International
Who’s Who in Music.” Cornejo was also known for his extemporaneous thematic
improvisations based on the letters of people’s names. His compositional output
includes A la Juventud Filipina, Bailes de Ayer, Caprice on a Folksong, Cello Sonata,
Ibong Adarna, Kandingan, Malakas at Maganda, Overture, Okaka, Oriental
Fantasy, Ibong Adarna, Piano Concerto Nos. 1,2,3, Ruby, and Song of the Miners.
He passed away on August 11, 1991.
FELIPE PADILLA DE LEON SR.
(1912 – 1992)
National Artist for Music
Felipe Padilla de Leon was born on May 1, 1912 in Barrio Papaya (now General
Tinio) in Penaranda, Nueva Ecija. He is the son of Juan de Leon and Natalia
Padilla. Felipe de Leon married pianist Iluminada Mendoza with whom he had
six children. Bayani and Felipe Jr., are two of his children. Bayani is a well-known
composer, and Felipe Jr. is a writer and the chairman of the National
Commission for Culture and the Arts (NCCA). De Leon wrote piano
compositions, hymns, marches, art songs, chamber music, symphonic poems,
overtures, band muic, school songs, orchestral works, operas, kundiman, and
zarzuelas. He was known as a nationalist composer who expressed the
Philippines' cultural identity through his compositions. Two operas which are
considered his masterpieces are the Noli Me Tangere (1957) and
El Filibusterismo (1970). These two operas have been staged in the Philippines
and abroad. He also wrote a march during the Japanese regime entitled Tindig,
Aking Inang Bayan, and another march Bagong Lipunan during the martial law.
He wrote the popular Christmas carols Payapang Daigdig (1946), Noche Buena,
and Pasko Na Naman, both in 1965. Felipe de Leon received a posthumous
award as National Artist for Music in 1997. He died on December 5, 1992.
LUCIO SAN PEDRO
(1913 – 2002)
National Artist for Music

Lucio San Pedrowas born on February 11, 1913 in Angono, Rizal. Since his
elementary days, he started composing. He studied the banjo which inspired
him to become a serious musician. He later pursued his music degree at the
University of the Philippines and the Juilliard School in New York, USA. Upon
returning to the Philippines, he became a professor of theory and composition
at the University of the Philippines’ College of Music. His orchestral
compositions are best represented by the Suite Pastorale (1956), a poetic aural
description of his hometown Angono, and his nationalistic symphonic poem
Lahing Kayumanggi (1962). Other compositions include songs, pieces for violin,
cello, and chorus. His works for the symphonic band was where he was most
prolific and productive both as composer and conductor. His musical prowess
was internationally recognized when he was invited to be a judge at the
prestigious Van Cliburn International Piano Competition in 1980. He was
declared National Artist for Music in 1991 and passed away on March 31, 2002.
ROSENDO E. SANTOS JR.
(1922 – 1994)

Rosendo E. Santos Jr. was born on September 3, 1922 in Cavite City. At age 11,
he started composing band marches, instrumental, and vocal scores, as well as
music for Catholic masses.
He studied in Cavite schools and later graduated from the UP Conservatory of
Music where he eventually became a faculty member. He also pursued a
Master of Music degree in theory and composition from the Catholic University
of America in Washington, D.C. After which, he also served on its faculty as well
as in West Virginia University and Howard University.
As a prolific composer, he had composed several piano concerti, sonatas,
symphonies, symphonic poems, five operas in Filipino, numerous band
overtures, and more than 200 marches. He had also written 50 masses in Latin
and 20 in English. He has more than 1,000 musical compositions in the library
of the University of the Philippines. Santos’ last musical work and only ballet
composition, Melinda’s Masquerade, was performed in 1995, a year after his
death. Santos passed away on November 4, 1994 in Swoyersville, Pennsylvania,
USA.
ALFREDO BUENAVENTURA

Dr. Alfredo Santos Buenaventura, composer, conductor and teacher, was born in Sta.
Maria, Bulacan on October 14, 1929. He grew up in a musical environment and became
a band member in his hometown at a young age. He was drawn by his fascination with
trumpets and trombones and became one of its arrangers and conductors. He was one
of twenty boy sopranos of Tiples at Sto. Domingo Church from where he received his
first significant musical training. At that time, he also wrote his first composition, Danza.
A prolific composer, Buenaventura has composed over 50 major works including five
full-length operas, operettas, dance dramas, cantatas, symphonies, concertos, ballets,
overtures, prelude, fugues, and chamber music. His compositions and other creative
works have transcended territorial, racial, and language barriers as these have been
performed abroad by international virtuosi and religious groups. Many of his
compositions are based on Filipino heroes, legends, and epics. He uses native songs,
both tribal and folk, as themes of his music compositions. A number of his
compositions are accompanied by Filipino indigenous instruments. Some of his major
works include the operas Maria Makiling (1961), Diego Silang (1966), Prinsesa Urduha
(1969), cantatas Ang Ating Watawat (1965), Pasko ng Barangay (1964), three piano
concertos subtitled Celebration, Determination, and Exultation, and As a UNESCO
scholar, Santos was awarded the “Philippine Composer of the Century” after receiving
the “Composer of the Year Award” in Manila in 1956 and 1957. He joined the faculty at
Wilkes University, Pennsylvania in 1968. He performed as timpanist, pianist,and
conductor with several orchestral groups.
He conducted church choirs in Maryland, New Jersey, Lehman, Huntsville, and Shavertown United
Methodist Churches in Pennsylvania, USA. He composed the background music for J. Arthur Rank Films at
Pinewood Studios in London, England, where he worked with British composers Malcolm Arnold and Muir
Mathieson. Among Santos’ teachers were famous composers Aaron Copland, Irving Fine, Humphrey
Searle, and conductor Norman Del Mar. A prolific composer, he had composed several piano concerti,
sonatas, symphonies, symphonic poems, five operas in Filipino, numerous band overtures, and more than
200 marches. He had also written 50 masses in Latin and 20 in English. He has more than 1,000 musical
compositions in the library of the University of the Philippines. Santos’ last musical work and only ballet
composition, Melinda’s Masquerade, was performed in 1995, a year after his death. Santos passed away
on November 4, 1994 in Swoyersville,
Pennsylvania, USA.
CIPRIANO “RYAN” CAYABYAB

Ryan Cayabyab is a popular contemporary composer who also has classical

compositions to his credit, such as Misa, Four Poems for Soprano and Piano, and
Te Deum. His compositional style makes much use of syncopation, extended
chords, and chromatic harmony. Among his numerous compositions are the
award-winning Kay Ganda ng Ating Musika (1978), as well as the modern zarzuela
Alikabok (2003), the opera Spoliarium with libretto by Fides Cuyugan-Asensio,
and a variety of choral pieces and song cycles. He also produced a number of
recordings, including the memorable albumOne, where he personally sang the
unaccompanied songs on different tracks to produce 16 voices. Cayabyab was
born on May 4, 1954 in Manila. He obtained his Bachelor of Music degree at the
University of the Philippines’ College of Music. After which, he became a faculty
member for Composition at the same University. He also served as the Executive
and Artistic Director of the San Miguel Foundation for the Performing Arts, which
oversaw the operations and programming of the San Miguel Philharmonic
Orchestra and the San Miguel Master Chorale. At present, he continues to be a
much sought-after professor, musical director, composer, arranger, and conductor
in the Philippine concert and recording scenes. symphonies such as Dakilang Lahi
(1971), Gomburza (1981), and Rizal, the Great Malayan Antagonist (1990).
His minor works numbering more than 50 cover mostly religious songs and hymns for specific
celebrations such as the Sixteenth Centenary of St. Augustine, Mass for the 400th Year of the Augustinian
Recollect, and the Philippine Music Festival. His other creative musical works have been commissioned by
the Cultural Center of the Philippines, Metropolitan Theater, and the National Music Competitions for
Young Artists (NAMCYA). Buenaventura’s compositional style rests mainly on his own set of musical ideas,
wherein he creates a combination of contemporary and conventional materials. He keeps his melodies
simple and understandable but with contemporary harmonies that enhance their complexity. He became
an official organist of the Manila Cathedral in 1960. He became the Dean of the College of Music, Centro
Escolar University. He is a member of the League of Filipino Composers. He received a number of awards
in the music industry. He was twice an awardee of the Republic Cultural Heritage Award and the The
Outstanding Filipino Award (TOFIL) for Music in 1995.
 ACTIVITY
WHAT TO KNOW
1. Form a froup then discuss the lives and musical contributions of the following 20th century Filipino
composers:
a. Francisco Buencamino Sr. g. Rodolfo Cornejo
b. Francisco Santiago h. Felipe Padilla de Leon Sr.
c. Nicanor Abelardo i. Lucio San Pedro
d. Antonio Molina j. Rosendo Santos Jr.
e. Hilarion Rubio k. Alfredo Buenaventura
f. Col. Antonino Buenaventura l. Ryan Cayabyab
NEW MUSIC COMPOSERS
Composers of experimental New Music in the
Philippines include Jose Maceda,
Lucrecia Kasilag, Ramon Santos,Manuel Maramba,
Jerry Dadap, Francisco
Feliciano, Josefino “Chino” Toledo, and Jonas Baes.
They retained the Filipino spirit
by incorporating traditional music forms as well as
indigenous rhythms and instruments
in their compositions.
JOSEMACEDA
(1917 – 2004)
National Artist for Music
Jose Maceda was born in Manila on January 17, 1917. He started his music studies at the
Academy of Music in Manila. Later, he went to Paris to study with Alfred Cortot. He
eventually pursued advanced studies in the USAwith E. Robert Schmitz and earned a
Doctorate Degree in Ethnomusicology from UCLA.
Maceda’s musical style changedwhen he encountered themusic of the indigenous tribes of
Mindoro in 1953.He then embarked on his life’s work, dedicated to the understanding and
preservation of Filipino traditional music. His extensive research and fieldwork resulted in
an immense collection of recorded music taken from the remote mountain villages and far-
flung inland communities in the Philippines. Although his compositional approach tended to
be Western in style, Maceda combined sounds of the environment with ethnic instruments.
His compositions were usually for large groups of musicians. Among his works are Ugma-
Ugma (1963), a work for voice and ethnic instruments; Agungan (1975), a piece for six gong
families;Pagsamba (1968), a musical ritual for a circular auditorium using several ethnic
percussion instruments; Cassettes 100 (1971), a composition for 100 cassette tape
recorders; and Ugnayan (1974), an ethnic piece played at the same time over several radio
stations.
LUCRECIA R. KASILAG
(1918 – 2008)
National Artist for Music