Three faces of modernism in Philippine music as represented by

Nikanor Abelardo, Antonio Molina and Lucio San Pedro

By Antonius Priyanto

The term ‘modernism’ depicts a character or quality of thought, expression, or

technique in the arts that aims to break with classical and traditional forms. 1 This
description implies a departure from generally accepted cultural identity of
particular cultural group and particular time, to form a new identity with its own
distinctive character. Thus, the term ‘modernism’ in music especially denotes
newness in the innate or essential qualities or character of artistic expression
through sound. The term ‘modernism’ can also be described as sympathy with or
conformity to modern ideas, practices or standards. In the context of development
of Philippine music in midst of globalization, this description delineates the
tendency of musical practices as to conform to the standard of western music.

We will examine, based on the above description of ‘modernism’, how Philippine

music has gone through process of modernism as represented by the music of
Nikanor Abelardo, Antonio Molina and Lucio San Pedro.

Another important aspect closely related to this topic is the devotion to the interest
of local culture, which can briefly be represented by term ‘nationalist.’ Western
hegemony in global cultural life is fact, especially during the time of cultural
imperialism in the Philippine. That fact plays important role in the development
process of Philippine music. One question raised in my mind, how then local artists
and musician in the third world – the Philippine in this context - react to that
invasion of the cultural product of the first world. This can be a long discussion,
which I am not intended to present in the brief writing. My point is to examine how
the three aforementioned composers react to modernity, which is the western
cultural influence. Have they abandoned their local identity as musician for the sake
1
Oxford American Dictionary, online.
of conformity to the avant-garde standard and idioms or have they rejected the new
language in music? In what extend they conform themselves to the modern
standard? These will be my focus in this paper. I will not redundantly present
historical facts in this paper, as that can be found elsewhere.

Nikanor Abelardo

These questions lingered in my mind when I started to make inquiries about

Nikanor Abelardo: ‘Why is he so important figure in the development of Filipino
music? What is his most significant contribution to the shaping of cultural identity of
the country? How the hegemony of western culture especially in music has
contributed in the shaping of Abelardo’s creative works?

Nikanor Abelardo is truly a nationalist. He did not deny his deep love to his own
traditional music and his admiration to his very own cultural heritage. He dug them
up and transformed them into new level of artistic expression. In Nicanor’s oeuvre,
even in his most modern pieces such as Violin Sonata and Cinderella Overture one
can clearly identify local elements, which can be traced back to the tradition of
Kumintang and Kundiman. The prominence of lyrical melodies even in his
instrumental music shows his adherence to the tradition of vocal music, which is
very prominent in the Philippines, as Philippine music mostly based on story and
tales, depicting character, objects and circumstances. Once he stated:

“The nationalization of our music is so important that it merits more than a passing
notice. It is true that America, with all her progress in music, is still without a national
music. But America can never have one; perhaps thousands of years from now when
conflicting foreign elements have unified into one compact thing, she can produce
music that is somehow distinctly American. What about our kundiman, awit, and
kumintang? Let us dig them up and from them fashion a music that is truly
Philippine.”

So, where is the point of departure then? During Abelardo’s study in UP, he is
exposed to other culture, prominently western music. He studied the music of Lizt,
Wagner and Chopin among others. Abelardo’s exposure to classicism and
romanticism of western music has expanded his musical language. His mastery of
the requirements and dogmas of classicism elaborated with his love to local
tradition brought forth dozens of compositions, which explore local musical
materials with new grammar and vocabulary of ‘modern’ music. The advent of
classical music into the local expressive culture provided another medium for telling
stories with greater sophistication and modernity. In this sense, Abelardo is a
modernist, as his music conforms to the standard and qualities of western classical
music, which is entirely new (and modern) as compared to local tradition. In the
word of Prof. Ramon Santos: “Filipino composers constructed musical pieces with
local materials for the dual purpose of filipinizing classical forms and classicizing local
materials.” 2

Antonio Molina

The Philippine’s First National Artist in Music, Maestro Molina’s contribution to the
nation’s enrichment in the word of music is definitely undeniable. Along with
Nicanor Abelardo, Fransisco Santiago, Juan S. de Hernandez, Julian Hernandez,
Maestro Molina was recognized as a leading figure in Philippine creative music.

Molina is a nationalist modernist in his time. His musical adherence to Philippine

history, culture and folklore is manifested in a modern form of Western-type
concertos, symphonic poems, and suites. The influence of Western classical form
and idioms highlighted in the work of Liszt, Schumann, Tchaikovsky, Saint-Saens
embodied in his instrumental works. His “Songs and Choral Cycles,’ “Misa
Antoniana,” “Bontoc Rhapsody” and Batingaw Choral Symphony actually
represented the entire body of classical works.

The music of Molina is characterized by whole-tone and pentatonic scales, mostly

ninth and eleventh chords, and linear counterpoint. Not surprising Dr. Molina has
often been called as the “Claude Debussy of the Philippines”. He incorporated
2
Ramon P. Santos. Tunugan: Four Essays on Filipino Music. The University of The
Philippines Press, 2005.
extensively the use of local musical elements in most of his symphonic works. He
yearned for bringing the local music to new level of artistic expression, which
encapsulates the life of his people. He stated: “The new tempo of Philippines life
demands that our music take a new direction. The art for art’s sake philosophy
should be combined with that of art for life’s sake. Music must express life. It must
reflect actual happenings and national events; for music, is a way, a historical and
social document. (Banas 1970, 7)

Lucio San Pedro

In an interview with Helen F. Samson3 San Pedro said: “folksongs are like sugar
cane. It is your raw material the basic source of all sweets, candies and even
pastries.” The analogy refers to his treatment of folk element in his composition.
While none of his works carry the actual strains of native songs, most have been
inspired by folk melodies. His Romanticism is innately and directly involved with
the Filipino soul. Example of such compositions are the much performed Suite
Pastorale and Lahing Kayumanggi. Suite Pastorale is a romantic panorama of
Angono, Rizal (San Pedro’s hometown) in five movements, each aptly titled as
“Horizons,” “Sunset in the village,” Under the Ratiles Tree by the Church,” “Lullaby,”
and “Rustic Dance”, respectively. Lahing Kayumanggi on the other hand, projected
the thematic essence of the traditional “Bahay Kubo”, symbolic of the composer’s
effort to glorify the common people as the country’s pillars of honor.

Maestro San Pedro called his musical philosophy "creative nationalism," but instead
of being parochial, his music is universal; it is evocative without being literal. "I do
not believe that nationalism in music can be expressed solely by literally using the
materials of folk songs. The composer, rather, should squeeze from these materials
the essence, style, atmosphere, and the common touch that is Filipino and express it
in terms of his personality, style, and temperament."

3
Helen F. Samson. “L. San Pedro Compares Songs to Sugarcane.” Bulletin Today,
November 29 (1973): p.1
San Pedro has produced a wide-ranging body of works that includes band music,
concertos for violin and orchestra, choral works, cantatas, chamber music, music for
violin and piano, and songs for solo voice. He was the conductor of the much
acclaimed Peng Kong Grand Mason Concert Band, the San Pedro Band of Angono, his
father's former band, and the Banda Angono Numero Uno. His civic commitment
and work with town bands have significantly contributed to the development of a
civic culture among Filipino communities and opened a creative outlet for young
Filipinos.

So, going back to our previous questions. Are these three composers nationalist or
modernist? The three shows us their adherence to local tradition as to bring it into
new level of artistic expression by embracing western standards and idioms, which
is brought about by wave of modernism. In the context of Philippines Music, they
are modernist in their time, and nationalist as well. Their contribution to the
development of Philippine Music laid pivotal role to the further development of the
culture of the nation. They have rediscovered the very identity of Philippine Music
and establish that in the context of contemporary social cultural life.
Resources:

1. Antonio Molina. Anthology of Molina Compositions. Centro Escolar University,

1995.
2. Ramon Pagayon Santos, Ph.D. TUNUGAN: Four Essays on Filipino Music. The
University of The Philippines Press, 2005.
3. CCP Encyclopedia of Philippine Art. Cultural Center of the Philippines, 1984.
4. Helen F. Samson. Contemporary Filipino Composers. Manlapaz Publishing
Company, 1976.
5. Online Registry of Filipino Musical Arts and Their Works.
http://www.opm.org.ph/registry/artist_profile.php?artist_id=628
6. Musika Natin. http://www.musikanatin.com/lucio.php
7. Oxford American Dictionary Online. http://oxforddictionaries.com/?
attempted=true