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entitled Trenodya ke Lean at sa iba pang pinaslang, pinapaslang, at papaslangin pa dahil sa dahilang walang kadahilanan (Threnody for Lean and those who have been slain, are being slain, and will be slain for reasons which have no reason). Together with his colleague Arlene Chongson, Verne de la Peña has expanded the idea of the drone in most of his compositions: N(y)uma for 36 voices and Asian Instruments, N(y)uma II for four celli, and Yahyah for Ifugao whistle flutes. He has also composed several interesting multimedia works such as Quadratos for three dancers and one flutist, Agueda for a singing dancer or dancing singer; the puppet theater Si Suan, Si Suan (It’s Suan, It’s Suan); and the mask play Pagpili ng Ministro (Appointment of Minister). Conrado del Rosario develops materials that are derived from tonal intervals and pitch cells from native musical structures into rich and highly polished sound textures, as in his Cycles and Twilight Temples. At the start of the decade of the 1990s, works by Filipino composers have been featured in major festivals outside the country for their distinctive contributions to new music literature. These include Jose Maceda’s Strata, Dissemination, and Distemperament (commissioned by the Suntory Company of Japan and premiered in Tokyo by the New Japan Philharmonic Orchestra on 24 May 1992), Ramon P. Santos’ Ba-dw Sa Kapoon-an (Ba-dw to the Divinities), Gong-an (On Gongs), and Time-Space; Francisco F. Feliciano’s Voices and Images (commissioned by the Singapore National Arts Council and premiered at the Arts Festival on 7 June 1992 with the composer conducting the Singapore Symphony Orchestra); Verne de la Peña’s Seven Songs of the Book of Revelation and N(y)uma II; and Chino Toledo’s Trenodya No. 4 for flute and piano. Bayani M. de Leon’s neoromantic piece Sugatang Perlas (Wounded Pearl), a work for singers, dancers and chamber ensemble, was premiered in New York’s Town Hall in April 1992. 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. 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. This body of music has been widely disseminated in lowland centers of population and is usually heard on semiformal musical events like open-air concerts, programs, parades, singing contests, the electronic media, and, on some occasions, in formal concerts. Folk Songs. The field collection of folk songs undertaken in the 1920s and the 1930s yielded a substantial body of regional songs from the language groups all over the country. Initially transcribed in Western staff notation, many of them were arranged for chorus and published as educational materials for the school system. These songs were later popularized in musical performances that called
for native music, including folk dance presentations. One of the first anthologies that contained Filipino folk songs is the Progressive Music Series, where traditional tunes such as “Comintang de la Conquista” (Comintang of the Conquest) and “Cachucha” were harmonized by Norberto Romualdez. The book also contains more recently composed songs that have now become part of the folk literature, e.g., “ La Flor de Manila ” (The Flower of Manila) by Dolores Paterno and “Nena’s Lullaby” by Francisco Buencamino. 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 Cu Pung 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 Soledy 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 D. San Pedro, Francisco Santiago, Francisco Buencamino, Felipe Padilla de Leon, Antonio J. Molina, and Corazon Maceda. In the latter part of the 1950s, Priscilla V. Magdamo authored several pamphlets of Visayan folk songs which she herself collected from the field. Entitled Songs of the Visayas and published by the Silliman University Foundation, the pamphlets contained transcriptions and choral arrangements of Ilongo, Aklanon, Cebuano, and Waray songs, like “Laylay Agolaylay,” “Ahay Tuburan” (Ah, Spring), “Ili-ili Tulog Anav” (Go to Sleep, My Darling Baby), “Ahay Mariposa” (Ah, Butterfly), and “Mamugon Ako”(I am Asking You). While many of these folk songs were initially transcribed for educational use, many of them were arranged as medleys and short pieces for chorus, band, and rondalla ensembles, e.g., Medley of Filipino Folk songs by Felipe Padilla de Leon, Pinagkawing Himig Pilipino (Medley of Filipino Airs) by Hilarion F. Rubio, Balitaw Series for Rondalla by Jerry A. Dadap, Echoes From the Philippines for band by Antonino Buenaventura. The collection of folk songs has been an ongoing task of both scholars and teachers all over the country. They have been transcribed in thesesanthologies, such as the theses on Gaddang folk songs by Mauricia Borromeo, Cuyunon songs by Felicidad Prudente, songs of the Banao of western Kalinga by Natalia Saboy, and Tinguian songs by Rosita Brillantes. Music for Theater. Early Philippine theater forms such as the komedya and the sarswela served as sources of light entertainment music. Although music played an incidental role in the komedya, it nevertheless fulfilled certain functions such as opening the entire presentation, accompanying the dances, fight scenes, entrances and exits of principal personalities, providing background to sentimental scenes, and a break from the straight dialogue format with some sung parts (Tiongson
Page 1 and 2: THE AMERICAN COLONIAL AND CONTEMPOR
Page 3 and 4: mostly Filipino compositions and fo
Page 5 and 6: La Loba Negra (The Black She-wolf)
Page 7 and 8: interesting to note that one of the
Page 9 and 10: Among the active Filipino classical
Page 11 and 12: chromatic harmonic writing, the kun
Page 13 and 14: Percussion and Winds, 1958; The Leg
Page 15: Bayani M.de Leon, son of Felipe Pad
Page 19 and 20: The Filipino sarswela went out of f
Page 21 and 22: Stage), which was first aired on ra
Page 23 and 24: and the Banda Arevalo. Band activit
Page 25 and 26: commercial profit for both entrepre
Page 27 and 28: Daughter,” Filipino composers wro
Page 29 and 30: Pinoy Disco. Pinoy disco began with
Page 31 and 32: Apostol, and Pete Canzon. John Lesa
Page 33 and 34: Magazine, 5 May 1981, 42-43. Hilari

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