CONTEMPORARY TRADITIONS
CLASSICAL MUSIC
THE LARGE REPERTOIRE OF MUSIC FOR STAGE INCLUDES THE MAJOR OPERAS, LIKE LADISLAO BONUS SANDUGONG
PANAGUINIP (DREAMED ALLIANCE), JOSE ESTRELLAS LAKAMBINI (MUSE) AND VENI, VIDI, VICI (I CAME, I SAW, I
CONQUERED), GAVINO CARLUENS GAYUMA (LOVE POTION), FELIPE PADILLA DE LEONS NOLI ME TANGERE
(TOUCH ME NOT) AND EL FILIBUSTERISMO (SUBVERSION); ELISEO PAJAROS BINHI NG KALAYAAN (SEED OF
FREEDOM) AND BALAGTAS AT CELIA (BALAGTAS AND CELIA); ALFREDO BUENAVENTURAS MARIA MAKILING,
DIEGO SILANG, PRINCESA URDUJA (PRINCESS URDUJA), AND HINALAWOD; AND FRANCISCO FELICIANOS LA
LOBA NEGRA. FOR THE STAGE TOO ARE THESES THEATER WORKS AND BALLETS: LUCRESIA KASILAGS
DULARAWAN AND AMADA; ANTONINO BUENAVENTURAS KULAS NA BATUGAN (KULAS, THE LAZY); RYAN
CAYABYABS RAMA, HARI (KING RAMA) AND KAPINANGAN; JERRY DADAPS TOMANEG AT ANIWAY (TOMANEG AT
ANIWAY); RUBEN FEDERIZONS VISION OF FIRE; ELISEO PAJAROS MIR-I-NISA; AND RAMON SANTOS SIKLO
(CYCLE), AWIT (SONG) AND DARAGANG MAGAYON (BEAUTIFUL MAIDEN). THE YEARLY PHILIPPINE MUSIC FESTIVAL
OF THE LFC FEATURED A PROGRAM OF NEWLY COMMISSIONED BALLET WORKS IN COOPERATION WITH THE CCP
DANCE COMPANY (NOW THE BALLET PHILIPPINES), IN ADDITION, FILIPINO ADAPTATIONS OF FOREIGN OPERAS AND
OTHER STAGE WORKS HAVE BEEN PRODUCED: BIZETS CARMEN PUCCINIS GIANNI SCHICHI (JUANCHO GANCHO),
VERDIS LA TRAVIATA BY ROLANDO TINIO, AND STRAVINSKYS BALLET-CANTATA LES NOCES (THE WEDDING) BY
RAMON SANTOS. THE LITERATURE FOR SOLO PIECES AND CHORAL WORKS ALSO INCREASED WITH THE EMERGENCE
OF OUTSTANDING SOLO ARTISTS AND CHORAL GROUPS. THE INITIAL SUCCESSES OF THE UP MADRIGAL SINGERS
INSPIRED SOME COMPOSERS TO WRITE CHORAL PIECES IN MADRIGAL STYLE, THE FIRST BEING RAMON SANTOS
TUKSUHAN (TEASING) AND TULA-TULA (POETICA), WHICH WERE FOLLOWED BY F. OBISPOS TELEBONG. THE
NAMCYA WAS RESPONSIBLE FOR THE COMMISSIONING AND PUBLICATION OF A SUBSTANTIAL BODY OF SOLO PIECES
AND SHORT CHORAL WORKS WHICH HAVE BEEN USED AS A CONTEST PIECES E.G., BERNANDINO CUSTODIOS
RITUAL DANCE, KASILAGS DERIVATION V, BAYANI DE LEONS KIMKIM (CLENCHED), AND RAMON SANTOS
KLNTANG AND ABOT-TANAW (AS FAR AS THE EYES CAN SEE) III FOR SOLO PIANO; SAN PEDROS SA MUNDONG
IBABAW (ON THIS EARTH), R. SANTOS HANDOG SA INA (OFFERING TO MOTHER) FOR CHILDRENS CHOIR; AND
JOSEFINO TOLEDOS AT MAGING ANG KWERDAS AY HUMIHINGI NG KAPAYAPAAN PARA SA MUNDO (AND
EVEN THE STRINGS ARE BEGGING FOR WORLD PEACE) AND ALFREDO BUENAVENTURAS PANAGHOY
(LAMENTATION) FOR SOLO VIOLIN.
SEMICLASSICAL REPERTOIRE
ANOTHER TYPE OF REPERTOIRE DEVELOPED DURING THE
AMERICAN PERIOD EVOLVING FROM THE CLASSICAL
MUSIC TRADITION AND THE MUSIC FOR THEATER AND
MASS MEDIA THAT HAD BEEN INTRODUCED BY THE
AMERICANS MAY BE CALLED SEMICLASSICAL. THIS
REPERTOIRE INCLUDES STYLIZED FOLK SONGS AND FOLK
SONG ARRANGEMENTS, LOVE SONGS AND BALLADS,
MUSIC FROM THE FILIPINO SARSWELA, PATRIOTIC HYMNS
AND MARCHES, AND BAND AND RONDALLA MUSIC.
OTHER IMPORTANT PUBLICATIONS CAME OUT IN THE 1950S AND THE 1960S.
THE FILIPINO FOLK SONGS, 1950, EDITED BY EMILIA REYSIO-CRUZ
CONTAINS CHORAL ARRANGEMENTS OF THE TAGALOG CHICHIRITCHIT,
BAHAY KUBO, LERON LERON SINTA, THE VISAYAN DANDANSOY, AND SI
NANAY, SI TATAY NAMASOL SA DAGAT (MY MOTHER , MY FATHER WENT
AFISHING), THE PAMPANGO ATIN CUPUNG SINGSING (I HAVE A RING, THE
ILOCANO TI AYAT TI MAYSA NGA UBING (THE LOVE OF A YOUNG MAIDEN),
AND THE IGOROT CHUA-AY. IN THE SAME YEAR, THE SELECTED SONGS OF
THE PHILIPPINES, COMPILED BY BERNABE ROXAS SOLIS, WAS PUBLISHED IN
NEW YORK BY THE SOLEDO MUSIC SOCIETY, IT CONTAINED AY KALISUD (AH,
MISERY) AND LULAY AMONG OTHERS. IN 1953, EDUCATORS CORAZON
MACEDA AND CRISPINA GARCIA PUBLISHED PHILIPPINE CHORUSES FOR
ALL OCCASIONS, A COMPILATION OF CHORAL ARRANGEMENTS OF FOLK
SONGS BY LUCIO SAN PEDRO, FRANCISCO SANTIAGO, FRANCISCO
BUENCAMINO, FELIPE PADILLA DE LEON, ANTONIO MOLINA, AND CORAZON
MACEDA. IN THE LATTER PART OF THE 1950S, PRISCILLA MAGDAMO AUTHORED
SEVERAL PAMPHLETS OF VISAYAN FOLK SONGS WHICH SHE HERSELF
COLLECTED FROM THE FIELD.
THE END
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