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Kundiman Love Songs From The Philippines - Their Development From
Kundiman Love Songs From The Philippines - Their Development From
Summer 2015
Recommended Citation
Anderson, Quiliano Niñeza. "Kundiman love songs from the Philippines: their development from folksong
to art song and an examination of representative repertoire." DMA (Doctor of Musical Arts) thesis,
University of Iowa, 2015.
https://doi.org/10.17077/etd.hivytk5h
by
August 2015
2015
CERTIFICATE OF APPROVAL
__________________________
D.M.A. ESSAY
__________________
_____________________________________
_____________________________________
Stephen Swanson
_____________________________________
William La Rue Jones
_____________________________________
Susan Sondrol Jones
_____________________________________
William Theisen
ACKNOWLEDGEMENTS
I would like to acknowledge my voice professor and mentor, Dr. John Muriello for
guiding me during my research on Kundiman art songs. I have learned much about this scholarly
work and have been inspired to do more research in this topic. Secondly, I would like to thank
Dr. José Uriarte, D.M.A. graduate in Piano Performance from the University of Minnesota and
private piano instructor at McPhail Center for the Arts, Minneapolis, MN, for his language
expertise and contributions in proof-reading my text translations of the Kundiman art song
selections in my essay.
I would also like to thank Dr. Colleen Jennings for her encouragement and making it
possible for me to become acquainted with Dr. Raymond Leslie Diaz, a Senior Lecturer at the
University of the Philippines and Voice Faculty member at St. Scholastica’s College in Manila.
His unique knowledge and experience with the International Phonetic Alphabet system as it
relates to the Tagalog language has given me a deeper insight in transcribing the special nuances
Last but not least, I would like to thank my mother, Mrs. Josie Anderson, for inspiring me
and exposing me to numerous Filipino folk songs and Kundiman songs since I was a child in the
Philippines. She has been a great resource on my Tagalog language translations. Her love for
ii
PUBLIC ABSTRACT
In the Philippines, a type of love song known as the Kundiman had existed since the early
19th century. But in the early 20th century Kundiman had developed into art song. The term
Kundiman comes from the Tagalog phrase “kung hindi man” or “if it were not so”. Written in
the Tagalog language, these folksongs were subtly patriotic but typically disguised as love songs.
Filipinos, in their long struggle against an oppressive Spanish regime, saw it as a tool that would
ultimately unite Filipino revolutionaries to wage war against the Spaniards in 1896 during the
Spanish-American War.
Kundiman Art Song.” While his masterpiece is considered to be his Concerto in B flat minor for
pianoforte and orchestra, one of his most significant piece is his song “Kundiman, (Anak-
Dalita)”, the first Kundiman art song. Santiago regarded the Kundiman art song as something
“that expresses the lofty sentiment of love, and even heroism in a melancholy mood.” Given the
cross-fertilization of Spanish and Filipino cultures in the 19th century, Kundiman art songs were
typically a blend of melodic material from native folksong and European music traditions. The
result is a song characterized by smooth flowing lines and beautiful melodies. The piano
merely harmonizing with the vocal line in thirds and sixths. One other significant early
composer of Kundiman art songs was Nicanor Abelardo (1893-1934). His songs, together with
those of Santiago’s became models for other Filipino composers such as Constancio De Guzman
(1903-1982) and Miguel Velarde, Jr. (1913-1986) in the decades following Abelardo’s death.
The purpose of this essay is to shed some light on this unique genre of song, and provide
the tools necessary to study and perform these representations of Filipino culture and history. To
iii
do this, I have provided brief background information on the origins of Kundiman art song. I
have also provided a guide to pronunciation, grammar and the idiosyncracies of the Tagalog
dialect. Finally, this essay contains a performance guide for 20 representative Kundiman art
songs, including original texts, literal and prose translations, International Phonetic Alphabet
In researching and analyzing these songs I have gained an understanding of the aesthetic
appeal of Kundiman art songs. More importantly, these songs are not widely known in the
classical world. But because of their unique connection to Filipino history and culture, they
deserve serious attention. These songs would indeed make a great addition to a recital program.
iv
Table of Contents
v
7. “Pahimakas” by Nicanor Abelardo / text by Jose Corazon De Jesus .............................. 62
8. “Bituing Marikit” by Nicanor Abelardo / text by S. Angeles ......................................... 68
9. “Himutok” Music and text by Nicanor Abelardo ............................................................ 73
10. “Ikaw Rin…!” Music and text by Nicanor Abelardo ...................................................... 79
11. “Kundiman” by Bonifacio Abdon / text by Pat Mariano ................................................ 82
12. “Bayan Ko” (My Country) Music and text by Constancio De Guzman ......................... 88
13. “Babalik Ka Rin” Music and text by Constancio De Guzman ........................................ 93
14. “Ang Tangì Kong Pag-íbig” Music and text by Constancio C. De Guzman .................. 97
15. “Dáhil Sa Iyó” by Miguel Velarde, Jr. / text by Dominador Santiago .......................... 102
16. “Lahat Ng Araw” by Miguel Velarde, Jr. / text by Dominador Santiago ..................... 108
17. “Ugoy Ng Duyan” by Lucio San Pedro / text by Levi Celerio ..................................... 113
18. “Hindî Kitá Malímot” Music and text by Josefino Cenizal .......................................... 118
19. “Ang Una Kong Pag-íbig” Music and text by Francisco Buencamino ......................... 123
20. “Ulila Sa Pag-íbig” by J.S. de Hernandez / text by Deogracias A. Rosario .................. 131
vi
List of Music Examples
viii
Chapter One: Introduction
The term Kundiman translates from the Tagalog as “if it were not so”. But I would
interpret this phrase as “if it were only” to signify a lover’s wish to be united with his or her
beloved. Kundiman folksongs came into being in the early 19th century as love songs that
originated from the Tagalog-speaking regions in the Batangas province of the Philippines.
When the Spaniards arrived in the Philippines in 1521, Western influence became an
important part in the early development of Kundiman folksongs. Spanish colonization brought
Christianity and Spanish culture to the Filipino people. But it was also their plan to assimilate
Filipinos into Spanish culture. They did not make an effort to preserve the customs and
traditions of the Filipino people. However, as Filipinos assimilated Western influences brought
about by Spain, they realized that they could actually write songs that pertained to their own
culture and began to incorporate Spanish music styles into their own. It was in this sort of cross-
fertilization that the first Kundiman folksong, “Kundiman Ng (Of) 1800” was created by an
But the cultural and religious changes imposed upon the Filipino people were met
with a growing resistance that led to a revolt in 1896. Filipino revolutionaries, led by
the katipunan movement (a secret society of Filipino revolutionaries let by Andrés Bonifacio
(1863–1897)), waged war against the Spanish regime.2 The revolution came to an end when
the United States, seeing that the katipuneros revolutionaries were no match against the
1
Antonio C. Hila, Music in History, History in Music; (Manila: UST Publishing House, University of Santo Tomas,
2004) p. 30.
2
Raul M. Sunico, Mga Awit Ng Himagsikan: Songs of the Philippine Revolution, 1896-1898, (Quezon City: Tawid
Publications. 1997). p. iii.
1
Spanish army, stepped in and helped defeat the Spaniards during th e Spanish-American war
of 1898 at the Battle of Manila Bay.3 It was during this time that the revolutionaries used
Kundiman folksongs to inspire unity and nationalism among the Filipinos. And while
Kundiman folksongs are largely about love and courtship, the songs often contained
undertones of subtle nationalism, and a yearning for liberty. The typical themes of unrequited
love found in Kundiman songs became symbols of the chains of Spanish oppression. The
songs therefore provided the inspiration for Filipinos not only to gain their freedom from
It is ironic that U.S. annexation of the Philippines began a year later in 1899.4 Now
within an American educational system, Filipinos learned both English and Tagalog (the
continued exposure to Western music and culture by way of such visiting performers as violin
virtuosos Eduard Reményi (1886), Mischa Elman (1921), Yehudi Menuhin (1948), guitar
master Andrés Segovia (1929), pianists Jan Kubelík (1929) and Rudolf Friml (1933), and
cellist Pierre Fournier (1949), Kundiman art songs couldn’t help but take on the vestiges of
Western music.5
The strong educational system established by the United States contributed to quality
music training at the newly established University of the Philippines in 1908. The Conservatory
of Music Annex was later established in 1916. As music education in the Philippines
strengthened over the next several years, there was a push to preserve the country’s beautiful
3
Ibid., p. vi.
4
Teodoro Agoncillo, Philippine History. Manila: Inang Wika Publishing Co., 1969, p. 240.
5
Ramon Pagayon Santos, Tunugan: Four Essays on Filipino Music, (Diliman, Quezon City: University of the
Philippines Press, 2005), p. 3.
2
culture. To that end a group of faculty members from the University of the Philippines formed a
committee in 1934 to collect folksongs and dances from the various regions of the country.
Interestingly, Francisco Santiago made significant contributions to this project by setting them to
music notation and harmonizing many of the folksongs. The significance of these folksong
harmonizations became apparent as other Filipino composers began to follow the examples of
Santiago and Nicanor Abelardo by using segments from folksongs and converting them into art
songs.
It wasn’t until 1946 that the Filipino nation gained its independence from U.S.
sovereignty. Nonetheless, throughout these periods of turmoil and uncertainty, Kundiman folk
songs were the underlying thread that accompanied the Filipino struggles for independence.
A Cultural Melting Pot: Inspiration for the study of Kundiman art songs
Filipino culture itself is a melting pot of various indigenous peoples. They live in
separate regions or provinces each with their individual dialects and traditions. The dialects
spoken in the various regions are distinct enough to be considered individual languages. Indeed,
people from different regions typically cannot understand one another beyond common words
from the Spanish language. To further add to this multiculturalism, centuries ago the
neighboring countries of China and Malaysia established long lasting trade exchanges with the
Philippines even before the Spanish occupation in the mid-16th century. Yet, since the U.S.
annexation of the country in the early 20th century, Tagalog became the official language of the
Philippines. However, the Philippines has had a long history of cultural pluralism, and it is
appropriate for them to have a representative blend of these cultures in their art and music.
3
Need for study
Kundiman art songs are not well known among Western musicians, yet they are a
traditions. Because of the historical significance of Kundiman art songs in the Philippines, these
songs stand as an interesting repertoire of music that would appeal to singers who are interested
in songs from a different culture. By virtue of their multicultural form, the distinctiveness of
these songs will provide a refreshing change of pace for the adventurous art song recitalist. With
these songs I hope to educate musicians, specifically vocalists, and expose people
to Kundiman art songs and their reflections of the pluralism found within the Philippines.
Methodology
In order to understand and perform a Kundiman art song well, particularly given the relative
obscurity of Philipino language, history and culture to Westerners, I will provide brief
background information on the origins of Kundiman. The majority of Kundiman art songs texts
are in Tagalog, the principle dialect of the Filipino language. A brief discussion of Tagalog that
includes the origin of the dialect, some basic rules of grammar and word structure, and a
representative Kundiman art songs by various Filipino composers is included. The guide
includes literal and poetic translations, and I.P.A. transcriptions of each song text. For each
song, I will offer my own thoughts and interpretive ideas in order to shed light on some subtle
nuances in the songs, and thus make the performance of the songs more authentic. No such
performance guide to the Kundiman art song repertoire currently exists. And while the songs
discussed in this essay are but a small fraction of the repertoire, this guide can serve as the
beginning steps into this exciting new area of the art song genre.
4
Literature Review
Santos, Ramon Pagayon, Tunugan: Four Essays on Filipino Music, (Quezon City:
University of the Phlippines Press), 2005.
A current scholar on Filipino music, Ramon Pagayon Santos, wrote four essays about
Filipino music in “Tunugan: Four Essays on Filipino music.” Santos describes how
the Kundiman song genre became elevated into art song status, with the help of Francisco
Santiago and Nicanor Abelardo. The works of both of these composers were milestones in the
development of Kundiman art song. Both were also music directors at the Conservatory of
Music at the University of the Philippines when it was first established in 1916.
biography. Abelardo was considered a young prodigy, composing and performing piano as early
as eight years old. He was able to experience performances by various Western artists who
visited and gave concerts in the Philippines. Abelardo began his formal music training at the
Conservatory. Abelardo was known for his Kundiman art songs, and like Santiago, he was able
to elevate the genre of Kundiman folk song into an art song with his output between 1920 and
1930. Abelardo also wrote overtures, piano sonatas, a cavatina for violin and piano, a nocturne,
Abelardo’s first Kundiman art song and one of the song selections in this essay, “Kung
Hindî Man” (If It Were Not So) in 1920 is based on a melodic fragment from a folk song. The
piano accompaniment generally follows the contour of the melody. The inner voices of harmony
6
Ocampo, Ambeth, Ang Buhay At Musika Ni Maestro Nicanor Abelardo, (Manila: Cultural Center of the
Philippines, 1980), p.25.
5
run in contrary motion to the melody. Abelardo set the text to music, making the piano
accompaniment match the declamation of the text and creating text painting.7 His subsequent
song compositions showed a more mature technique of text painting with more interplay
between text and music. He also used various ranges in the piano to achieve tone colors that
match the text.8 The Conservatory of Music at the University of the Philippines became a venue
for introducing Western Music tradition under the colonization of the United States in the late
This essay describes the development of Kundiman art song from its early beginnings
as folk songs in the early 1800s to its transformation to art song genre in the 1920s and
Kundiman into a genre of art song, thanks to their formal music training at the University of the
Philippines as well as their studies abroad. They have succeeded in creating a unique
representation of Filipino culture through the incorporation of Western influence and traditional
Filipino folksongs.
Hila, Antonio C., Music in History: History in Music, Manila: University of Santo Tomas
Press, 2004, pp. 57-69.
describing nationalism in the early 20th century that was essentially a protest against anything
that was foreign. In the 1930s, Francisco Santiago had already reached the peak of his
7
Ramon Pagayon Santos, Tunugan: Four Essays on Filipino Music, (Diliman, Quezon City: University of the
Philippines Press, 2005), p. 19.
8
Ibid., p. 34.
9
Ibid., p. 180.
6
productivity with his Kundiman art songs. Noted poets were being used for song texts as well as
using text painting to enhance the collaboration between music and text.
The two resources outlined above represent the current principle scholarship on
Kundiman song. They provide useful background information on the origins of Kundiman, as
well as its significance in Filipino history and culture. However, neither resource provides the
necessary information to perform these songs, particularly crucial guidance with the Tagalog
language, stylistic information and suggestions for interpretation for the singer unfamiliar with
the language or the style. Through my translations and some help from my mother, Josie
Anderson, a speaker of Tagalog, I have made music analyses as well as performance guides for
7
Chapter Two: Background on the origin of Kundiman
Anthropological studies have shown that a developed Filipino culture had existed prior to
the arrival of the Spaniards in 1521. Furthermore, archeological excavations have found
evidence of tools that date back to the Stone Age and the Bronze Age. The early period of the
Philippines consisted of the Negritos tribe migrating from Southeastern Asia. The Indonesians
and the Malays followed between 200 and 1500 C.E. In addition, Chinese merchants were
known to have traded goods with Filipino natives beginning in the 10th century, indicating a
However, historical records of the Philippines have been greatly limited because of the
way their history was recorded. Cultural traditions had been handed down through generations
but were written down on perishable materials such as bamboo, leaves and tree bark.11 As a
result, ancient records were lost. Furthermore, when the Spaniards came in 1521 they saw little
value in Filipino culture and history, and did nothing to preserve what records existed.
Filipinos. Franciscan and Jesuit missionary priests taught Filipinos about their religion and
Western culture.12 Christian celebrations such as Easter and Christmas depended upon the use
of singers and instrumentalists. Spanish clergy trained the Filipinos to read and play music, and
to make musical instruments such as violins, guitars, flutes, and an organ constructed from
bamboo. Hymns and chants composed by friars were written in Latin as well as in the native
10
Raymundo C. Bañas, Filipino Music and Theatre, (Quezon City: Manlapaz Publishing Co., 1969), p. 4.
11
Ibid., p. 34.
12
Antonio C. Hila, Music in History: History in Music, (Manila: University of Santo Tomas Publishing House,
2004), p. 4.
8
languages of the various regions. Such music training proved to be invaluable to the
At the peak of Spanish occupation in the early 19th century, western secular music was
also taught to Filipinos, and was received with great enthusiasm. Perhaps more than religious
music training, it was through secular music education (typically Spanish dances such as
the habañera, danza, and marcha or paso doble) that Kundiman began as a Filipino folksong
tradition. 13 The introduction of Western music cultivated an environment for vibrant musical
The word Kundiman had its beginnings in the early 19th century. There are three theories
as to how the word Kundiman first began. The first theory claims that Kundiman was mentioned
in a song composition containing the word, “cundiman” (Kundiman lullaby). 14 A second theory
asserts that origin of Kundiman, simply first appeared in the title of the song, “Kundiman Ng
1800” (Kundiman of 1800). A third theory claims that Kundiman was a red piece of cloth worn
by males during rituals of dance performances. But the relationship of this cloth to Kundiman
It is possible that it grew out of the Kumintang, a type of war song that was sung as part
of festivities that honored triumphant warriors. Kumintang later developed into a more plaintive
type of song that accompanied a dance performed by a man and a woman involving a fermented
drink. A sexual connotation is implied with this dance. This was performed usually before a
13
Ibid., p. 6.
14
Ibid., p. 11.
9
battle, hummed by the aborigines to strengthen the courage of the warriors.15 Eventually the
With the influx of Spanish music and culture, Filipinos began to realize how important it
was to transcribe their own folk music. They began to create their own music within the formal
education they received from the Spaniards. Filipinos created music that imitated many Spanish
song genres. These folksongs were a spontaneous kind of song that was created by people who
were not formally trained in music. In most cases writers typically remained anonymous. But
overall, the influence of Spanish culture was a vital ingredient of Kundiman folksongs.16
An example of this influence is found in the song, “May Isang Bulaklak Na Íbig Lumitao
(1800)” translated “There is one flower that wishes to float up”. Emilia S. Cavan arranged the
music excerp song from a harmonization realized by This harmonization by Francisco Santiago
in 1924. Notice the tempo marking adopts a habañera style (a dance that originates from Cuba)
15
Raymundo C. Bañas, Pilipino Music and Theater, (Quezon City: Manlapaz Publishing Co., 1975), 81.
16
Antonio C. Hila, Music in History: History in Music, (Manila: University of Santo Tomas Publishing House,
2004), p. 6.
10
Music Example 1: “May Isang Bulaklak Na Ibig Lumitao” 17
Nationalism in Kundiman
There were two significant events in the late 19th century that would spur the Filipino
people to rise up against the four century-long oppressive rule by Spain. In 1872 three Filipino
17
Emilia Cavan. "Filipino Folk Songs / Collected and Arranged by Emilia S. Cavan ; Harmonized by Francisco
Santiago." Filipino Folk Songs / Collected and Arranged by Emilia S. Cavan. Accessed March 12, 2015.
http://quod.lib.umich.edu/p/philamer/AGN4492.0001.001/34?rgn=full text;view=image. p. 28-29.
11
priests were executed for their part in a small revolt by shipyard workers in Cavite. Then in
1896, the novelist Dr. Jose Rizal (1861-1896) was executed by firing squad for his published
criticism of the oppressive rule of the Spaniards. His fearless indictment of the treatment of
Filipinos appeared in his novels, an even in some of the Kundiman songs he wrote, such as
Rizal’s execution eventually led to an uprising in 1896 that culminated in the end of
Spanish rule and the eventual annexation of the Philippines by the United States. All during these
tumultuous years, Kundiman folksongs were a potent vehicle for the emotional life of Filipinos
Francisco Santiago described Kundiman art song as “a song that expresses the lofty
sentiment of love, and even heroism, in a melancholy mood.” 19 Inspired by the work of
Santiago, composer Nicanor Abelardo published his first Kundiman art song in 1920. Like
Santiago, he was a music instructor at the Conservatory of Music at the University of the
Philippines. After his teaching career at the Conservatory, Abelardo studied composition at the
18
Raul M. Sunico, Mga Awit Ng Himagsikan = Songs of the Philippine Revolution of 1896-1898. (Quezon City,
Philippines: Tawid Publications, 1997), p. 15.
19
Hila, Antonio C., Music in history, history in music, (Manila: UST Publishing Press, 2004), p.7.
12
Chicago Musical College in the United States, where he refined his compositional skills, and
These two pioneers of the genre would inspire other Filipino composers after them to
write Kundiman art songs, nurturing a nationalistic music trend that lasted until the outbreak of
20
Ramon Pagayon Santos, Tunugan: Four Essays on Filipino Music, (Quezon City: The University of the
Philippines Press, 2005), p. 7.
13
Chapter Three: A Brief Description of the Tagalog language
The Philippine archipelago is made up of over seven thousand islands whose inhabitants
lived in relative isolation for centuries. Because of this there exist some one hundred seventy-
five varying dialects within the eight major cultural-linguistic groups – Bikol, Cebuano,
the dialects have common words, many are different enough to cause considerable language
barriers. These different dialects in the Philippines, therefore, are more accurately described as
languages.
In 1939 Tagalog was designated the national language, as it was spoken by the most
influential segments of Philippine society. It has been taught in the public schools since the late
1930s. Today more than half the Filipino population understand Tagalog, although not everyone
The original Tagalog script was used by Tagalog speakers in the period before the
Spanish colonization. They used an Indic syllabary consisting of three vowels and fifteen
consonants. The Latin letters promptly replaced the original Tagalog script when the Spaniards
arrived in the mid-1500s. The three vowels used previously by the Indic syllabary were now
replaced by five vowels. The ancient vowel symbol was replaced by /e/ and /i/; vowel symbol
was replaced by /o/ and /u/; and vowel symbol was replaced by /a/.22 Modern Tagalog
A B K D E G H I L M N NG O P R S T U W Y
21
William R. Pfeiffer, Indigenious, Folk, Modern Filipino Music, (Dumaguete City: Silliman Music Foundation,
Inc., 1976), p. 1.
22
Carl R. Galvez Rubino, Tagalog-English, English-Tagalog Dictionary (Revised and Expanded Version), (New
York, NY: Hipprocrene Books, Inc. 2002). p. 8.
14
The letters C, F, J, Q, V, X and Z do not exist in Tagalog, and K really is the third letter
of the alphabet. In addition, the frequently occurring consonant sound [ŋ] exists as its own letter
“NG”.23 Further examples of vowel and consonant sounds with specific word examples are
found in Appendix B.
An important aspect of Tagalog pronunciation is the glottal stop, wherein the affected
vowel sound is abruptly cut short. There are many instances where this stop occurs. As it is
beyond the scope of this essay to list them all, I advise the reader to refer to a reliable dictionary
such as the Hippocrene Standard Dictionary, edited by Carl. R. Galvez Rubino. In this particular
resource the glottal stop is indicated by a circumflex accent above the stopped vowel. The IPA
transcriptions of the songs discussed in this essay also indicate where a glottal stop should occur
23
Ibid., p. 8.
15
Consonant sounds
A note about Tagalog consonants: spoken Tagalog uses consonants in a way that makes
the flow of speech sound somewhat percussive. It is not as liquid as Italian. This has to do with
the short duration of the vowels. The vowel /a/ for instance will often move quickly towards a
nasalized /n/, or a dental, labial, bi-labial or plosive consonant. In addition, many words will
also have a glottal sound within a word. Some will appear in words that end with a vowel that
must be pronounced with a glottal stop, such as “luha” [lu.haʔ] (tear) or “po” [poʔ] (sir). A
combination of all these factors creates an overall atmosphere of sound that is percussive in
nature. It is important to keep these linguistic nuances in mind when singing Kundiman art
songs.
Figure 1 is designed to help the reader understand the various consonant sounds and
24
Carl R. Galvez Rubino, Tagalog-English, English-Tagalog Dictionary (Revised and Expanded Version), (New
York, NY: Hipprocrene Books, Inc. 2002), p. 8.
25
Ibid., p.13.
16
Vowel sounds
Tagalog has five vowels. These are pronounced the same as English:
The vowels /a/ and /i/ occur more frequently than the vowels /e/, /o/ and /u/. According
to Professor Raymond Leslie Diaz, Senior Lecturer at the University of the Philippines, Diliman
and Voice Faculty member at St. Scholastica’s College in Manila, “there are just five vowels in
the Filipino language but one may hear several versions of any vowel depending on
[a] – is the Filipino “ah” vowel. It is very similar to the Italian [a]
[ɛ] – open “eh” can sometimes be heard as closed [e]. Diaz believes that the open [ɛ] is
closer to a closed [e] and definitely not like the Italian open [ɛ] as in “bella”
[bɛl:la].
Diphthongs (vowels with two sounds, as in “ride” and “dual”) occur less frequently,
except in words that contain glides such as “pamilya” [pa.ˈmil.ja] (family) and “bumbilya”
[bum.ˈbil.ja] (lightbulb). Neighboring vowels are separated by a glottal sound. The word
26
Raymond Leslie Diaz. "International Phonetic Alphabet Transcription of Tagalog." E-mail interview by author.
May 19, 2015.
17
“friendship” has two vowels in the first syllable. The first vowel /a/ is followed by a glottal /i/.
Syllabic stress
The stress in a word generally falls on either the last or penultimate syllable. Stressing
the correct syllable is quite important in Tagalog because the meaning of a word can change
Reduplication
meaning. For example, the word “mahiyahiya” (from “hiya” or “to be ashamed”) repeats the last
two syllables of the word. In this instance, reduplication diminishes the potency of the the word
Affixes
To modify the meaning of a word, Tagalog uses a variety of prefixes, suffixes and infixes
(an affix placed in the middle of a word).28 The following examples illustrate the use of affixes
27
Ibid., p. 16.
28
Ibid., p. 9
18
Prefixes: Examples:
Infixes:
Suffixes:
-ero, -era (Spanish) basur-ero (addition of suffix makes “basura” (garbage) into a
(controlled))
Figure 2: Affixes
19
Tagalog Grammar
Unlike English, Tagalog sentences usually begin with the predicate phrase in front
followed by the subject. For example, “Kumakain sila” (They are eating) has a predicate verb
phrase “kumakain” in the beginning of the sentence and subject “sila” at the end. A literal
translation would read, “eating-are-they”. In some cases the subject begins the sentence but will
have a linking verb “ay” (am) after it: “Ako ay mayaman” (I am rich). However, this particular
A prefix will determine the meaning of a sentence. When using negation, the word
“hindî” is simply added in front of the phrase or sentence: “Hindî kumakain ang mga bata” (The
children are not eating). When asking a question beginning with the word “What”, “ano” (what)
is placed in front of the sentence: “Ano ang kinakain ng mga bata?” (What are the children
eating?). When asking yes or no questions, the word “ba” (then) is inserted after the first word
of the sentence: 29 for example, “Kumakain ba ang mga bata?” (Are the children eating?)
Sometimes “ba” can be placed after the second word of a sentence; for example, “Kumakain ka
To make a word plural, the article “mga” is added in front of the word: “mga” plus
noun. This is illustrated in the following example: “mga Pilipino” (the Filipinos).
When using articles and determiners, the words “ang” (singular form of “the”), “mga” and “ang
mga” (plural form of “the”), are placed in front of the noun that they modify. Personal forms
include the words “si” and “sina” or “ni”, “niná”, “kay”, and “kiná” as an indirect object article
29
Ibid., p. 17.
20
and/or determiner. Their equivalent words in English are “his”, “her” or “their.” The
Gender
Gender specific pronouns do not exist in native Tagalog, except for words that were
borrowed from Spanish with “–o” and “–a” endings. These denote masculine and feminine
forms. But generally masculine and feminine pronouns (he/she, him/her) are given the same
word. The following table shows the translation of pronouns and their cases in Tagalog:30
I akó ko sa akin
Figure 3: Pronouns31
Like most languages, Tagalog has many idiosyncrasies. This overview should help in
understanding some basic structures of the language. There now remains the challenge of
30
Ibid., p. 21.
31
Ibid.
21
authentic pronunciation. The IPA transcriptions in Chapter Four will serve as a guide to
22
Chapter Four: A Performance Guide to 20 Representative Kundiman Art
Songs
using the International Phonetic Alphabet (IPA) system. These are especially helpful for non-
Tagalog speakers in pronouncing each word and expressing them with some authenticity. The
IPA is a very useful tool in helping to understand the linguistic nuances of the Tagalog language.
The genre of Kundiman includes Tagalog language, Visayan language and other regional dialects
that are spoken in various islands of the Philippines. However, I have excluded these other
decided to choose works mainly by Francisco Santiago (4) and Nicanor Abelardo (6) because of
their significance in this genre. Seven other composers were included to show a range in
compositional styles.
Most of the songs in the following selections are in public domain. However, those
songs requiring permissions are noted in the music examples. Please refer to Appendix A for
Permission Letters. The songs discussed can be obtained via WordCat, which is an online
reference source.
23
Song Selections
At tigib ng luha
[ʔat ti.'gib naŋ 'lu.ha]
And filled with tears
24
Ang naritong humihibik
[ʔaŋ 'na.ri.toŋ hu.'mi.hi.'bik]
The here pleading
sa kapagdaramdam.
sa ka.pag.'da.ram.'dam]
of-the feelings
Ay kung hindî
[ʔaɪ kuŋ hin.'di]
Is if not
ka mahahabag
[ka ma.'ha.ha.'bag]
you feel-pity
Sa libing masasadlak
[sa li.'biŋ ma.sa.sad.'lak]
To grave to keep
25
Magtanong ka kung di tunay
[mag.ta.'noŋ ka kuŋ di 'tu.naɪ]
Ask you if not real
Sa dilim ng gabing
[sa di.'lim naŋ ga.'biŋ]
To darkness of night-that
aking nilalamay
['ʔa.kiŋ ni.la.'la.maɪ]
My keep-vigil
Tánging larawan mo
['ta.ŋiŋ la.'ra.wan mo]
Only image your
Sa gitna ng dilim
[sa git.'na naŋ di.'lim]
In middle of darkness
26
Puso mo sa akin.
['pu.so mo sa 'ʔa.kin]
Heart your to me
Buhay pag-asa.
[bu.haɪ pag.'ʔasa]
Life hope
Filipina.” Written in ternary form with an added violin part, this was Francisco Santiago’s very
first Kundiman art song. The poetic text written by Deogracias A. Rosario depicts a lover who
hopes that the girl he is serenading would open her window and give her heart to him.
The violin seems to flow along harmoniously and sometimes contrapuntally with the
singer’s vocal line. Sometimes it enhances the melody of the vocal line by playing eighth-note
figures to accompany the long notes in the vocal line. But overall, the violin part functions as a
supportive imitation and harmony to the voice part. Santiago has successfully created a trio
ensemble that flourishes and complements each other in a contrapuntal manner. In mm. 53-57
the violin answers the vocal phrase “ang iyong ihulog” (what you will bring) and imitates the
vocal line from the previous measures at the beginning of the C section. The chords in the piano
accompaniment become more full in texture. To contrast the forte and pianissimo dynamics in
the vocal line (measure 50), it is answered by a short four-measure instrumental interlude in
measure 54 with a fortississimo dynamic marking. In measure 58 the vocal line re-enters with a
softer dynamic marking. The piano accompaniment becomes more subdued and allows the vocal
line to be sung in piano marking. Hence, the text “tanging larawan mo ang nagiging ilaw” (only
27
your image will be my light) is supported by a chordal accompaniment that imitates the quarter
Overall, the vocal melody is lyrical, moving smoothly and fluidly as the waltz-like
rhythm matches the declamation of the text. At the beginning the piano accompaniment is
simple and sparse so as not to get in the way of the vocal line and the violin. It functions as
chordal harmony in ascending block chords. But as soon as the violin solo begins, the piano
texture becomes fuller. In the C section (mm. 66-77) the dynamics of the vocal line builds and
32
Ibid., p. 74.
28
the vocal range rises to a higher tessitura, requiring more breath support using a full voice on the
33
Ibid.
29
2. “Pakiúsap” by Francisco Santiago / text by Jose Corazon De Jesus
Natutulog ka man
[na.tu.'tu.log ka man]
Sleeping you are
Tungháyan mo man
[tuŋ.'ha.jan mo man]
Look at you even-if
Ang nag-papa-álam.
[ʔaŋ nag.pa.pa.'ʔa.lam]
The-one who-says-goodbye.
Dáhan-dáhan mutyâ
[da.han.'da.han mut.'jaʔ]
Slowly jewel
30
Tanawin mo’t kahabagan
[ta.'na.win mot ka.ha.'ba.gan]
Look-at you-and compassion
Sa yama’t pangárap
[sa 'ja.mat pa.'ŋa.rap]
Of wealth-and dreams
Pakiúsap ko sa ‘yo
[pa.ki.'ʔu.sap ko sa jo]
Plea my to you
Kaawaan mo ako
[ka.ʔa.'wa.ʔan mo ʔa.'ko]
Have-pity you me
Kahit mamatáy
['ka.hit ma.ma.'taɪ]
Even-if to-die
31
This text by Jose Corazon de Jesus describes how the purity of one’s love is the only
thing that matters. The protagonist has no wealth to give but only the pureness of his oath of
love. He remains constant until death. Therefore his final plea is for her to have pity on him and
consider his undying love. “Pakiúsap” or “plea,” written in 1921, draws upon this sentiment of
purity of love. The poet makes a plea to declare his love to his beloved.
Francisco Santiago has effectively set to music the proper flow of the Tagalog language.
He frequently sets to music a syllabic stress on the second syllable of each line of text. This
demonstrates the typical style of Kundiman. A stress is usually found in the second beat of the
beginning of each musical phrase, and sometimes it is on the first beat of the measure. This
method of text setting also follows the natural flow of declamation in the poetry. An example is
shown in the opening line “Natutulog ka man, irog kong matimtiman” (You are asleep, my dear
who is modest.) Letters in bold signify the proper syllabic stress for these two words.
A singer should pay close attention to the syllabic stress of each line of text in order to
accurately express the meaning of the text and the flow of the language. The second sentence
contains syllables that have glottal stops. For example, the fourth syllable of the word “nagpapa-
It is up to the singer to observe the glottal stops at the ends of phrases. But sometimes,
for the sake of maintaining a legato, it will be necessary to make a compromise. As a result, not
all glottal strokes will be observed. For example, the final /a/ of the word “mutyâ” will have a
glottal stop during regular conversations in the Tagalog language. However, when sung, the
word “mutyâ” should not have a glottal stop after the final syllable.
Overall, these linguistic idiosyncrasies play an important part in expressing the nuances
of the Tagalog language. Certain words that end a phrase or sentence like “mutyâ” (jewel),
32
“adhikâ” (desire) or “dalitâ” (pauper) are pronounced with a glottal stop at the end of the /a/
vowel. This is unusual for non-Tagalog speakers because it abruptly breaks the flow of the
legato line in classical singing. It is usually designated by the circumflex accent â. This only
happens in some words with ending /a/ vowels that contain a cieumflex accent. There is no
general rule that requires a Tagalog word that ends with /a/ to be given a glottal stop. It only
A lyrical melodic structure is depicted throughout the song. The smooth flowing contour
of the melodic line is similar in character to the smooth flowing melodies inherent in the Western
Romantic musical style. The lower and upper neighbor notes in the opening line functions as a
leading tone to the dominant note of G in the key of c minor. This effectively accentuates the
After some analysis, I have surmised that this song imitates the smooth waltz style
of Viennese operettas similar to the style of Franz Lehar after the turn of the 20th century. In
34
, Carl R. Galvez Rubino, and Maria Gracia Tan Llenado. Tagalog-English, English-Tagalog Dictionary. Rev. &
Expanded ed. Conshohocken, PA: Hippocrene Books, 2002.
35
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 122.
33
general, these songs render a swaying effect. A Romantic style of performance is essential to the
This is more apparent in the B section of this song on the text, “Kung sakali ma’t salat sa
yama’t pangárap.” A slight rubato should be played on the second beat of the first and following
measures to be consistent with Kundiman style of Francisco Santiago. There should also be a
slight cresecendo and decrescendo from the first beat going into second beat of measure 25 and
tapering off after the second beat on the words, “Kung sakáli” (If perhaps) and repeating the
crescendo into the words, “ma’t salát” (even if in need) at the remainder of the two measure
Overall, the top line of the right hand piano accompaniment doubles the vocal melody.
In general the chordal texture is thick, and there are some slight chromaticisms found in the inner
voices, giving it an interesting characteristic similar to the style of the Romantic period.
36
Ibid.
34
The phrase, “ang nag-papaalam” (one who bids farewell) begins with a neighboring tone of
A-sharp that leads to B-natural which is the third tone of the G major chord in “ang nag-
The melody then leaps to a high note G4. Underneath this note is a first inversion c minor
chord with chromatic passing tone in the second beat of the measure leading to a second
inversion dominant G major chord in the third beat. The mixture of chromatic passing tones in
the inner voices of the piano gives this song a mood of anguish that enhances the poet’s intention
of bidding farewell to his beloved. This Romantic style of piano accompaniment by Francisco
37
Ibid.
35
3. “Madaling Araw” by Francisco Santiago / text by Jose Corazon De Jesus
36
Ang tibók ng puso
[ʔaŋ ti.'bok naŋ 'pu.so]
The pulse of heart
Sana’y damdamín
['sa.naɪ dam.da.'min]
Hoping-that you feel
Hirap ng sumuyo
['hi.rap naŋ su.'mu.yo]
Suffering of beloved
Manong itunghay
[ma.'noŋ ʔi.tuŋ.'haɪ]
Older brother raise-up
Sa gitna ng kadimlan
[sa git.'na naŋ ka.dim.'lan]
In middle of darkness
Magmadaling araw ka
[mag.ma.da.'liŋ ʔa.raʊ ka]
Become dawn you
At ako ay lawítan
[ʔat ʔa.'ko ʔaɪ la.'wi.tan]
And I am suspended
Ng habag at pagsintá
[naŋ 'ha.bag ʔat pag.sin.'ta]
Of compassion and love
37
Kung ako’y mamamatáy
[kuŋ ʔa.'koɪ ma.'ma.ma.'taɪ]
If I-am going-to-die
Lumapit ka lang
[lu.'ma.pit ka lʔaŋ]
Be near you only
At mabubuhay.
[ʔat ma.bu.'bu.haɪ]
And will-live
Ng dáhil sa iyó
[naŋ 'da.hil sa ʔi.'jo]
Of because to you
38
At mahálin mo ako.
[ʔat ma.ha.'lin mo ʔa.'ko]
And love you me
Mutyâ’y mapalad na
[mut.'jaɪ ma.'pa.lad na]
Treasure-is fortunate now
ang buhay ko
[ʔaŋ 'bu.haɪ ko]
the life my
Ng dáhilan sa ganda mo
[naŋ da.hi.'lan sa gan.da 'mo]
Of because to beauty your
Halina irog ko
[ha.'li.na ‘ʔi.rog ko]
Come dear my
At mahalin mo ako.
[ʔat ma.ha.'lin mo ʔa.'ko]
And love you me
Manungaw ka liyag
[ma.'nu.ŋaʊ ka li.'jag]
Gaze you beloved
39
In the opening line of “Madaling Araw” (Break of Dawn) (1929), the melody begins with
an anacrusis on the phrase, “Irog ko’y” or “My dear” that arrives at the word “dinggin” or “to
that imitates a sigh (see Music Example 7). This motivic line repeats throughout the whole
song. Francisco Santiago skillfully sets the flow of the text through his use of melodic phrases
that fit the rhyming scheme of the poetry. Certain nuances in the Tagalog language such as
glottal stops in the word “ang” or “the” need to be observed, especially in the opening line, in
specific words and syllables. In essence the composer carefully chooses the word “hirap” in
measure 16 as a word that represents the overall mood of the piece. This common use of minor
keys and melodic devices that create a general mood of a sigh is typical of the Kundiman art
40
Music Example 7: “Madaling Araw”38
In the same example above, one can see that piano accompaniment imitates the vocal
line. In this case it is accompanied by parallel thirds that harmonize with the vocal melody.
Overall, Santiago uses this harmonic style to support the singer’s line. However, in the last page
of the song, in the C section, the piano accompaniment takes on a more prominent role (see
38
Ibid., p. 92.
41
Music Example 8: “Madaling Araw”39
The vocal part then becomes more like an instrument that supports the piano line. The
interaction between the piano and the voice are seen in the switching of roles (see mm. 63-65).
The C section takes on a completely different character where the both the piano and the voice
39
Ibid., p. 94.
42
4. “Ano Kayâ Ang Kapalaran” Music and text by Francisco Santiago
Dito sa mundo’y
['di.to sa mun.'doɪ]
Here on earth is
Gaya ng umáwit
['ga.ja naŋ ʔu.'ma.wit]
Like as to-sing
Ng sariling himig
[naŋ sa.'ri.liŋ 'hi.mig]
Of own melody
43
Bawa’t tagintíng.
['ba.wat ta.gin.'tiŋ]
Every sound
Siyang humahabi
[sjaŋ hu.ma.ha.'bi]
She weaves
Ng pusong nagiliw.
[naŋ 'pu.soŋ na.'gi.liʊ]
Of heart charmed
44
Kakamtan mo’y sakláp.
[ka.kam.'tan moɪ sak.'lap]
Receive you-is bitterness
Written in 1938, the seemingly cheerful melody of the song starkly contrasts with the sad
mood of the text. The dance-like rhythm depicts a matter-of-fact treatment of the gloomy
disposition in the text. A jovial mood is found in this Kundiman waltz but it is a mere façade
when compared to the mournfulness of the text. In the end, bitterness is the outcome when
pursuing love and happiness. It is a state of helplessness that tends to be a recurrent theme in
Kundiman art songs. Happiness is not necessarily about finding one’s beloved but being free to
sing his or her own melody as an expression of one’s self. The B section modulates from the
previous d minor key of the A section to the parallel key of D major (see Music Example 9).
45
Music Example 9: “Ano Kaya Ang Kapalaran”40
Overall, the song is arranged in ABB’ binary form, where the B’ section is a modified
embellishment of the B section. The melismatic section of this song makes it suitable for a
coloratura soprano. Ascending staccato eight notes on “ah” require a light vocal mechanism that
engages breath control. An example of this is found in measure 91 (see Music Example 10).
40
Ibid., p. 36-37.
41
Ibid., p. 39.
46
This skipping pattern of eighth notes represents freedom and an inherent ability to
express one’s self without consequence of oppression. Moreover, the vocal freedom of the
coloratura portion in this song could prove a challenge for a young aspiring soprano because of
It is also interesting that Santiago directly quotes the opening phrase of a popular folk
song, “Leron-Leron Sintá” (Sea Shells, Sea Shells, Darling) (See Music Example 11).
He then combines these note segments to form a unique composition that is similar to the
42
Cavan, Emilia S., Filipino Folk Songs: Collected and Arranged by Mrs. Emilia S. Cavan (harmonized by
Francisco Santiago), 1924, p. 2.
47
Music Example 12: “Ano Kaya Ang Kapalaran”43
In the text “araw gabi” (day and night) the piano accompaniment is chordal and climaxes
with an octave leap of the f-sharp minor chord in second inversion. The octave leap in measure
65 functions as an interjection or a music exclamation point that answers the text of the vocal
43
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p.36.
44
Ibid., p. 37.
48
Similarly, this occurs in the text “ang tibok ay siphayo” (beating is oppressed). In this
occurrence the octave displacement of the G chord is strategically place between “ay” (is) and
“siphayo” (oppressed). The seemingly comic nature of this octave leaping chord is used as a
device for irony to the one who searches for love. Out of the four songs by Santiago selected in
this essay, this song seems to be the most light-hearted. This serves as a nice change of pace for
49
5. “Kung Hindî Man” Music and text by Nicanor Abelardo
Ang humihibik
[ʔaŋ hu.mi.hi.'bik]
The one-who-pleads
Sa iyong dikít
[sa ʔi.'joŋ di.'kit]
Of your loveliness
50
Isáng sulyáp mo lámang
[ʔi.'saŋ sul.'jap mo 'la.maŋ]
One glance your only
Aliw na ng dibdib.
['ʔa.liʊ na naŋ dib.'dib]
Comfort now of heart
I-ni-laang paglingap
[ʔi.ni.'la.ʔaŋ pag.'li.ŋap]
Provided care
At ang pagdurusa ko
[ʔat ʔaŋ pag.du.'ru.sa ko]
And the suffering my
Sa aki’y igawad
[sa 'ʔa.ki ʔi.'ga.wad]
To me grant
Aking tinatanggáp.
['ʔa.kiŋ ti.'na.taŋ.'gap]
I-will accept
51
“Kung Hindi Man” (If It Were Not So) (1920) by Nicanor Abelardo is set in binary form.
More specifically, it is in AABB form. Abelardo uses this binary form to make a contrast
between the melancholic A section in the key of g minor and the hopefulness of the B section in
the parallel key of G major. It begins in the key of g minor because it represents a main
Additionally, Abelardo In the opening four measures, mm. 6-9, the vocal line loosely
Notice the similarity in the opening vocal line in Abelardo’s “Kung Hindi Man.” Both
songs have opening eighth-note patterns followed by a dotted eighth/sixteenth note combination
45
Cavan, Emilia S., "Filipino Folk Songs / Collected and Arranged by Emilia S. Cavan; Harmonized by Francisco
Santiago, 1924. Accessed March 26, 2015.
52
Music Example 15: “Kung Hindi Man”46
The opening melody directly quotes the folksong and transforms this thematic material
into the g minor instead of the original major key from which the popular Kundiman folk song
In “Kung Hindi Man”, the piano accompaniment mirrors the melodic line in the treble
line. The vocal line outlines a g minor chord. This in turn is supported by some upper and lower
neighbor tones in the right hand of the piano line which moves in unison with the vocal line. The
vocal line gives the music statement and the piano line anwers with its own harmonic
commentary on the given melodic line. Some important words in the first stanza are: “dinggin”
(listen); “pagtángis” (weeping); “humihibik” (pleading) from the root word “hibik” (pleading)
with added prefix, “humi-“ that transforms a root word to a verb phrase that means “the act of
46
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p.80.
53
The word “dinggin” (listen), which is represented in IPA as [diŋ.gin], consists of two
inner consonants /ng/ and /g/ that are pronounced simultaneously. Incidentally, the consonant
By contrast, the B section has a more positive musical outlook despite the seemingly
The right hand of the piano accompaniment doubles the vocal line, a common feature of
these early Kundiman art songs. However, here the left hand of the accompaniment finishes
each short phrase with an eighth-note figure, which maintains the flow of the song.
47
Ibid., p. 81.
54
According to the poem, the character needs but one little smile from his beloved and he
will have enough courage to face a thousand deaths. The sudden optimism is manifested in the
major key quality and is a contrast to the minor key quality of the previous A section. This song
follows a strict binary form rather than the ternary form that was introduced in Santiago’s new
Kundiman genre. It would seem that Abelardo has achieved the same end result of having new
material in the final section but with a major key, representing hopefulness and confidence. It
55
6. “Nasaán Ka Irog?” by Nicanor Abelardo / text by Jose Corazon de Jesus
Nasaán ka Irog?
[na.sa.'ʔan ka 'ʔi.rog]
Where-are you beloved
56
At dagling naparam
[ʔat dag.'liŋ na.'pa.ram]
And suddenly faded
Ako’y mamahalín?
[ʔa.'koɪ 'ma.ma.ha.'lin]
Me-you-will love?
Iyong itatángi
[ʔi.'yoŋ ʔi.ta.'ta.ŋi]
You-will determine
Magpahanggáng libíng
[mag.pa.haŋ.'gaŋ li.'biŋ]
Until death
Subalit nasaán
[su.'ba.lit na.sa.'ʔan]
But where
Nasaán ka Irog,
[na.sa.'ʔan ka 'ʔi.rog]
Where-are you beloved
At natiti-ìs mong
[ʔat na.ti.ti.'ʔis moŋ]
And suffering your
Ako’y mangulila
[ʔa.'koɪ maŋ.u.'li.laʔ]
I-am make-orphan
57
At hanap-hanapin ikaw
[ʔat ha.nap.ha.'na.pin ʔi 'kaʊ]
And searching you
Sa ala-ála?
[sa ʔa.la.'ʔa.la]
Of memories
Ngayong nalulungkót,
[ŋa.'joŋ na.lu.luŋ.'kot]
Now saddened
Ay di ka makitâ.
[ʔaɪ di ka ma.'ki.ta]
Is not you see
Ngayo’y sinipháyo
[ŋa.'joɪ si.nip.'ha.jo]
Now to-mistreat
58
Ang lahat sa buhay ko
[ʔaŋ la.'hat sa 'bu.haɪ ko]
The all of life my
Ay hindî maglalaho’t
[ʔaɪ hin.'di mag.la.'la.hot]
Is not vanish-and
Magsisilbing bakas
[mag.si.sil.'biŋ ba.'kas]
To-serve-as footprint
Tandaan mo Irog,
[tan.da.'ʔan mo 'ʔi.rog]
Remember you beloved
Ay hindî maglalaho’t
[ʔaɪ hin.'di mag.la.'la.hot]
Is not vanish-and
Magsisilbing bakas
[mag.'si.sil.'biŋ ba.'kas]
To-serve-as footprint
Nasaán ka Irog!
[na.sa.'ʔan ka 'ʔi.rog]
Where-are you beloved!
59
Nicanor Abelardo inadvertently created a music term, “tempo di Kundiman,” similar to
andante cantabile. A singer should pay special attention to how the word “irog” (beloved) is
given emphasis on the first syllable with a pure /i/ sound and less emphasis on the final syllable.
Similarly, the two g’s in the word “pag-giliw” [pag:'gi.liʊ] (regard) should be treated as a double
consonant. Emphasis should be given on the syllable “gi” of “giliw”. Additionally, the syllable
in measure 20 fits the text declamation well (see Music Example 17).
The word “nasaán” (where) has an emphasis on the final syllable that is separated by a glottal
stop on the vowel /a/. It categorically has three syllables; namely, “na”, “sa” and “an”. Tagalog
has three syllables for “where,” which provides for more emotional expression, especially with
the glottal “an” from the word “nasaan” (where) that is produced viscerally from the diaphragm.
48
Ibid., p. 110.
60
In general, the piano accompaniment parallels the vocal line, sometimes in intervals of
parallel thirds and sometimes in parallel sixths. In the opening prelude, the piano summarizes
the melody of the vocal line. Afterwards, the vocal line enters with a recitative-like motif, which
is answered by a short piano motif with a dotted eight and sixteenth note followed by a quarter
note chord in the dominant chord of C from the f minor tonic chord in measure 6 (see Music
Example 18).
49
Ibid.
61
7. “Pahimakas” by Nicanor Abelardo / text by Jose Corazon De Jesus
Umága na nag-aawítan
[ʔu.ma.ga na nag.ʔa.ʔa.wi.tan]
Morning now they-are-singing
62
Ay! Walâ na
[ʔaɪ wa.la na]
Ah! Gone now
Hangang mag-umága’y
[haŋ.gaŋ mag.ʔu.ma.gaɪ]
Until morning-is
Pa-álam na Irog
[pa.ʔa.lam na ʔi.rog]
Farewell now beloved
Ng nabúhay pa
[naŋ na.bu.haɪ pa]
While living still
Ka-awáan mo na
[ka.ʔa.wa.ʔan mo na]
Have-pity you now
Ako’y pa-álam na
[ʔa.koɪ pa.ʔa.lam na]
I-am bid-farewell now
Hindî ko maláman
[hin.di ko ma.'la.man]
Not I know
Ang patutungúhan
[ʔaŋ pa.'tu.tu.'ŋu.han]
The path
63
Kung ako ay dáratal
[kuŋ ʔa.'ko ʔaɪ 'da.ra.tal]
If I am going-to-reach
Sa luksáng libíngan
[sa luk.'saŋ li.'bi.ŋan]
To mourning burial
kung di na magbalík
[kuŋ di na mag.ba.'lik]
If not now return
Iyong ipalagáy
[ʔi.'yoŋ ʔi.pa.la.'gaɪ]
You assume
Na ako’y walâ na
[na ʔa.'koɪ wa.'la na]
That I-am gone now
Pa-álam, pa-álam.
[pa.'ʔa.lam pa.'ʔa.lam]
Farewell farewell
Makipaglibing ka
[ma.ki.pag.li.'biŋ ka]
Bury-me you
Ikaw ay umílaw
[ʔi.'kaʊ ʔaɪ ʔu.'mi.laʊ]
You are lit-up
Ako’y ipagdasal
[ʔa.'koɪ ʔi.pag.da.'sal]
I-am prayed-for
64
Ay! Pa-álam!
[ʔaɪ pa.'ʔa.lam]
Ah farewell!
Written in 1925, “Pahimakas” (Farewell) was composed in a binary form, AABB’. In the
A section the verse is repeated twice without any variation in the text. The B section consists of
new material that corresponds with new text that enters into a deeper level of despair and
disorientation. Then it repeats in B’ section but only as an incomplete version. The B’ section is
shorter and begins with the phrase “Hindi ko malaman ang patutunguhan” (I know not where my
journey lies).
In the opening vocal line the main character, being disheartened, departs from his
beloved thinking that he will never be with her again. Because she does not share a mutual love,
he finds it necessary to bid her farewell. The word “pa-álam” translates to “farewell” and seems
to represent the singular mood of this poem. This word is repeated twelve times in the entire
song and hence it is important to be able to pronounce this word properly. The word “pa-álam”
[pa-ʔalam] must be pronounced with a glottal stop on the second /a/ vowel that follows the prefix
“pa-“. Equally important is how the [a] vowel must be pronounced as a pure vowel, being
careful to keep the vowel bright. Likewise, the author’s method of repeating this key word, “pa-
The poem evolves drastically as a farewell to life in the second stanza as the main
character wallows in his despair. If he can’t obtain the love of his life then he prefers not to live
at all. But he wishes at least for her to have mercy on his corpse if she happens to pass by it.
It is interesting to note that Abelardo departs from his usual doubling of the vocal line in
the right hand piano accompaniment. Instead, the piano introduction presents some playful
65
motifs that sound like a gypsy violin melody. In the beginning, the piano intro presents some
short playful motifs with an overall descending pattern (see Music Example 19).
Notice the basic chordal accompaniment and the flourishes in the right hand. While this
may look like supportive material for the voice, in effect this text painting gives prominence to
50
Ibid., p. 116.
66
Music Example 20: “Pahimakas”51
51
Ibid.
67
8. “Bituing Marikit” by Nicanor Abelardo / text by S. Angeles
Bituíng marikit
[bi.tu.'wiŋ ma.ri.'kit]
Star lovely
Sa gabi ng buhay
[sa ga.'bi naŋ 'bu.haɪ]
To night of life
68
Yaring aking palad
['ja.riŋ 'ʔa.kiŋ 'pa.lad]
This my destiny
Iyong patnubayan
[ʔi.'yoŋ pat.nu.'ba.jan]
You guide
At kahit nasinag
[ʔat 'ka.hit na.'si.nag]
And even-if beaming
Ako’y bahaginan.
[ʔa.'koɪ ba.ha.'gi.nan]
I-am dispensed
Natanim sa puso ko
[na.ta.'nim sa 'pu.so ko]
Planted in heart my
Na pinaka-sasamba
[na pi.na.ka.'sa.sam.ba]
Of most-worshipped
Sa lo-ob ng dibdib
[sa lo.'ʔob naŋ dib.'dib]
From inside of chest
Sa iyong luning-ning
[sa ʔi.'yoŋ lu.niŋ.'niŋ]
To your sparkle
Laging nasasabik
['la.giŋ na.'sa.sa.bik]
Always eager
69
Bituing marikit.
[bi.tu.'wiŋ ma.ri.'kit]
Star lovely
Lapitan mo akó
[la.'pi.tan mo ʔa.'ko]
Come-near you me
Halina bituín
[ha.'li.na bi.tu.'win]
Come-now star
Ating pag-isahin
['ʔa.tiŋ pag.ʔi.'sa hin]
We join-together
Na pag-giliw.
[na pag:'gi.liʊ]
Of affection.
At the opening section of the piano prelude in mm. 1-6, Abelardo uses a repeating pattern
of short sighing motifs that occurs in a descending sequence. This sighing motif is a nice
contrast to the regularity of the habañera rhythm in the accompaniment that repeats throughout
70
the entire song. Although this motif does not develop itself compositionally in the melody, it
Harmonically, the opening A section (mm. 9-12) with the text “bituing marikit sa gabi ng
buhay” (beautiful star in the night of life) in the tonic chord of f minor is followed by a
subdominant chord that also has a minor quality in b-flat minor with the words “sa gabi ng
This points out an interesting pattern because the prepositional phrase “sa gabi ng buhay”
is an elaboration on the sadness of the beginning noun phrase “bituing marikit” (beautiful star).
Two important words here are “gabi” (night) and “buhay” (life) and are two likely places where
In contrast, the transitional chord to E-flat major in “yaring áking palad” (of this is my
destiny) in mm. 17-18 is a dominant chord that modulates for a brief moment to A-flat major in
52
Ibid., p. 48.
71
“iyong patnubabyan” (you will guide) (see Music Example 22). Measure 18 begins a sequence
of modulations:
It modulates further to its final key of C major in measure 24 of this transitional section.
This sudden change to a major chord quality foreshadows what it would be like to achieve
situation would be like if love had no obstacles. After the A section is repeated it is followed by
a transitional B section that develops into it goal key of F major, which is found in the C section.
At this point the mood changes to one of flirtation and optimism, having fulfilled the dream of
love. This song is not very long – only two pages, but the numerous key changes represent the
anguish and unrequited love that the character in the poem is experiencing.
53
Ibid.
72
9. “Himutok” Music and text by Nicanor Abelardo
Ng matindíng sakit,
[naŋ ma.tin.'diŋ sa.'kit]
Of deep pain
Sanhi sa pagsintá’t
[san.'hi sa pag.sin.'tat]
Caused by love
Wagas na pag-íbig
[wa.'gas na pag.'ʔí big]
Pure of love
73
Puso ko’y lunod na
['pu.so koɪ 'lu.nod na]
Heart my sinking now
Sa dagsá ng hapis
[sa dag.'sa naŋ ha.'pis]
Of crowd of gloom
Saán kukuha pa
[sa.'ʔan ku.'ku.ha pa]
Where to-take still
Ng pagtiti-ìs?
[naŋ pag.'ti.ti.'ʔis]
Of suffering
Nawalâ ng lunas
[na.wa.'la naŋ 'lu.nas]
Lost of remedy
Ano’t natutuwang
[ʔa.'not na.'tu.tu.waŋ]
Why-and is-pleased
Mangá mapapa-it
[Ma.'ŋa ma.'pa.pa.'ʔit]
Some bitter
74
Na luhang nana ah!
[Na 'lu.haŋ 'na.naʔ ʔa]
Of tears-of pus ah!
Bigyán mo ng pag-ása
[big.'jan mo naŋ pag.'ʔa.sa]
Give-me you of hope
In the opening line, the poet seems to accept his fate of unrequited love. It is important to
give emphasis to the phrase “matinding sakit” (extreme agony), making sure that on the word
“matinding,” the letter “t” is pronounced deliberately and that both “i’s” are pure /i/ to give the
word a more heartfelt significance. The word that follows should also have a stress on the first
syllable of “sakit” (agony) in order not to be confused with the word “sakit” or “illness,” which
75
Consequently, this text is set to music with a perspective that detaches itself from the
emotion of the poetry. The apparent mood of detachment comes with the composer’s use of a
chord progression that momentarily shifts to an A-flat chord on the words “pagsintá’t wagas”
For a moment this cadence alters the intended authentic proper cadence. This third-
person view emphasizes a quality of nonchalance that occurs with the disruption of the A-flat
chord in measure 10. Additionally, the “s” on the word “wagas” (pureness) should be given a
slight bit more duration and the setting of two eighth notes should be more like a sixteenth note
As a rule, hyphenated words will have a glottal stop on the vowel sound that follows the
hyphen. The word “pag-íbig” (love) must have a glottal sound after the prefix on the first vowel
54
Ibid., p. 56.
76
on the root word “íbig”, and the word “sa-an” [sa.'ʔan] (where) will have a glottal sound at the
The subsequent lines of text are set to a sequence of phrases taken from the introductory
motif with an anacrusis of five eight-notes that leads to half note and quarter note combinations.
These phrases are presented in a statement and answer form, which resolve to a half cadence on a
However, the B section contains a key change that modulates from the original key of g
minor to its dominant key relationship in D major. Not only does it depart the previous key but it
also progresses to new music material that seems to be unrelated to the A section of the song. In
this section, the new music material is accompanied by a mood of hopefulness. In slow waltz
55
Ibid.
77
rhythm, the B section proceeds with a simpler scheme of pulsing quarter notes combined with
half notes. Beginning in measure 30, the text “Oh, giliw ko’t aking mutya, nasaan and iyong
awa” (Oh my beloved and my jewel, where is your mercy) is set to music with quarter notes (see
In the above example, the poet no longer dwells on the sorrows of unrequited love but
picks himself up to have hope once again. Now he is able to gather enough courage to ask for
her love in the B section. In a similar fashion, the piano accompaniment imitates the melody by
having the top line of the right hand chord follow the notes of the vocal line.
56
Ibid., p. 57.
78
10. “Ikaw Rin…!” Music and text by Nicanor Abelardo
Sa pag-ibig
[sa pag.ˈi.big]
Of love
79
At itataghoy-taghoy
[ʔat ʔi.ta.tag.ˈhoɪ.tag.ˈhoɪ]
And bemoan
Ay iyong dustain
[ʔaɪ ʔi.ˈjoŋ ˈdus.ta.ˈʔin]
Is your to-mistreat
Magpahangang libing
[mag.pa.haŋ.ˈgaŋ li.ˈbiŋ]
Until-the grave
“Ikaw Rin” (You Also) was written in 1929. Set to a pervasive, sensual habañera rhythm,
the poem first speaks of the mistreatment that a lover endures from his beloved. This thought is
set in the key of A minor. The song then modulates to A major when the poet assures her that he
Abelardo uses pitch and rhythm to bring out certain important words. For example, in the
first line of text in mm. 14-16, the word “api” (maltreated) has a tonic stress on the second
80
syllable “pi”. The composer emphasizes the word by putting this syllable at the top note of the
phrase within a dotted rhythm, thus effectively enhancing the meaning of the word. Likewise,
the word “pag-ibig” (love) which immediately follows “api” is set to even 8th notes with the high
note on the second syllable “i”. These simple means effectively emphasize the conflict of the
Until his death, the poet assures his lover that he will always be fond of her. This thought
57
Ibid., p. 68.
81
11. “Kundiman” by Bonifacio Abdon / text by Pat Mariano
Sa tapát ng laging
[sa ta.'pat naŋ 'la.giŋ]
In front of always
Palangiting araw
[pa.la.'ngi.tiŋ 'a.raʊ]
Shining sun
Na lumalagánap
[na lu.'ma.la.'ga.nap]
That spreads
82
Sa dágat silángan
[sa 'da.gat si.'la.ngan]
To sea eastern
Libid kayamánan
['li.bid ka.ja.'ma.nan]
Surrounded treasures
Ng áking pag-gíliw
[naŋ 'ʔa.kiŋ pag:'gi.liʊ]
Of my affection
Pusông lakambini
['pu.soŋ la.kam.'bi.ni]
Heart-of muse
Ka lang salamisim
[ka laŋ sa.la.'mi.sim]
You just remembrance
Sandaling pigilin
[san.da.'liŋ pi.'gi.lin]
Momentarily held-back
83
Ang Kundimang ito, Mutyâ!
[ʔaŋ kun.'di.maŋ ʔi.'to mut.'jaʔ]
The Kundiman this, Jewel
Iyong dinggin
[i.'joŋ diŋ.'gin]
You hear
bulaklak ng áking
[bu.lak.'lak naŋ 'ʔa.kiŋ]
Flower of my
Laging pinithaya
['la.giŋ pi.nit.'ha.jaʔ]
Always desiring
Sa dagat Silanga’y
[sa 'da.gat si.'la.ŋaɪ]
To sea eastern-is
Butihing diwata,
[bu.'ti.hiŋ di.'wa.taʔ]
Gentle nymph
Mayama’t puri,
[ma.'ya.mat 'pu.ri]
Rich-and praised
Bihis sa dalita
[bi.'his sa da.li.'taʔ]
Clothed with poverty
Magandang diwata!
[ma.gan.'daŋ di.'wa.taʔ]
Beautiful nymph!
84
Bonifacio Abdon was born in 1876 in Santa Cruz, Manila. He was a violinist, conductor,
composer and music teacher. At an early age he sang in the choir at the Ateneo Municipal
School in Pandacan, Manila. At 13 years of age, Abdon studied violin and later composition
under Ladislaw Bonus. He also worked as a valet for visiting Italian opera companies and was
exposed to this venue of performing arts at age 18. Abdon was known for his Tagalog sarswela
(Tagalog spelling of the Spanish zarzuela) compositions in the early 1900s. These include: Ang
Sampaguita, Deni, Ang Tulisan, Luha’t Dugo, and Ang Anak Ng Dagat. He also wrote music for
plays by Aurelio Tolentino in 1908-09, was a conductor at Carmelo’s Rizal Orchestra in 1902,
founded the Orchestra Oriental in 1910, and was Music Director at the Ateneo Seminary Musical
Group and the Asociacion Musical de Filipinas in 1912. Abdon carried on as a successful
teacher of violin in his residence in Quiapo, Manila, later known as Escuela de Violin. In 1920
he was appointed as a violin instructor at the Conservatory of Music at the University of the
Philippines. One of his students was renowned Filipino violinist, Ernesto Vallejo. Bonifacio
Abdon’s career as a violinist, music teacher, and conductor lasted until he died of chronic
Abdon wrote “Kundiman” in 1920. The essence of this song lies in the use of flowery
imagery in the text. The imagery depicts a longing for happiness in a country that is figuratively
poor with freedom but richly blessed by her beauty. Symbolically, the beautiful nymph
embodies the beauty of this country. But the melancholy minor key represents the unattainable
58
E. Arsenio Manuel, Dictionary of the Philippine Biography, vol 1. (Quezon City: Filipiniana Publications,
University of the Philippines), 1955.
85
The piano introduction contains the motivic phrase that depicts the mournful nature of the
song. The melody in the first measure begins with an arpeggiated c minor chord that is colored
by a lower and upper neighboring tone. The opening line of the text, “Sa tapat ng laging” (In the
heart of always) (mm. 4-5), repeats this melody, but at “palangiting araw” (shining sun) (mm. 6-
7), the tune contains an E natural and d-flat, outlining the harmonic minor scale. This sets up the
melancholic mood that pervades the song (see Music Example 27).
59
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 70.
86
A simple harmonic progression coupled with a beautiful and lyric melody makes this an
easy to sing Kundiman art song. The rhythm and harmony flow continuously throughout the
entire song.
87
12. “Bayan Ko” (My Country) Music and text by Constancio De Guzman
Ibon mang may layang lumipad, A bird that has freedom to fly,
Kulungin mo at umi-iyak, When caged it cries,
Bayan pa kayang sakdal dilag How much more for a majestic country,
Ang di magnasang maka-alpás To not desire to be set free?
Pilipinas kong minumutyâ, Philippines, my beloved,
Pugad ng lúha ko’t dalitâ, Nest of my tears and poverty,
Aking adhikâ, My desire
Makitá kang sakdal laya! Is to see you completely free!
At sa kanyang yumi
[ʔat sa kan.'jaŋ 'ju.mi]
And to her tenderness
at ganda,
[ʔat gan.'da]
and beauty
88
Dayuhan ang nahalina
[da.'ju.han ʔaŋ na.ha.'li.na]
Foreigners the are-attracted
Nasadlak sa dusa
[na.sad.'lak sa 'du.sa]
Fallen into suffering
Kulungin mo at umi-iyak,
[ku.lu.'ŋin mo ʔat u.mi.ʔi.'jak]
Encage you and cries
Aking adhikâ,
['ʔa.kiŋ ad.'hi.kaʔ]
My wish
89
Constancio Canseco De Guzman was born November 11, 1903 in Guiguinto, Bulacan
and died in August 16, 1982. Having grown up in Manila, De Guzman studied piano and
composition under Nicanor Abelardo. In 1928 he studied at Jose Rizal College and finished his
his board exam in 1932. But De Guzman was better known for his talents as music director for
The nationalistic appeal of “Bayan Ko” (My Country), written in 1929, is more evident
than most Kundiman songs since the word “Pilipinas”, the Tagalog word for “Philippines” is
actually mentioned in the first line. This song is perceived more as a patriotic song rather than a
love song. Symbolically, it is a celebration of freedom and a remembrance of a country that has
been colonized by Spain for almost four centuries. The meter is set in ¾ time signature with a
melancholic mood - typical of a Kundiman art song genre. The mention of a bird desiring
freedom poignantly symbolizes the desire of Filipinos to gain their own freedom.
Word stress is important in performing this song. Having the proper stress provides an
authentic declamation of the Tagalog text. For example, in the first phrase, “Ang
bayan kong Pilipinas” (My country the Philippines), the important stress is placed on the third
60
Himig: The Filipino Collection of FHL. Accessed May 21, 2015. http://www.himig.com.ph/
90
Music Example 28: “Bayan Ko”61
(Used with permission from Mrs. Armida Siguion Reyna, see Appendix A)
Additionally notable is the text painting in the beginning of the contrasting B section that
modulates from d minor to the parallel key of D major. A slight stepwise descent of eighth
notes paints a picture of a bird gliding freely in the air. This melody is repeated two lines later
with text describing the longing for freedom (see Music Example 29).
61
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 46.
91
Music Example 29: “Bayan ko”62
(Used with permission from Mrs. Armida Siguion Reyna, see Appendix A)
Likewise, the piano accompaniment mirrors the voice in stepwise descent in parallel
thirds in measure 22, thus setting the text, “Ibon mang may layang lumipad” (A bird that has
freedom to fly). The composer sometimes uses parallel intervals in the piano accompaniment to
62
Ibid., p. 47.
92
13. “Babalik Ka Rin” Music and text by Constancio De Guzman
Na di na makalipad
[na di na ma.ka.li.'pad]
That not now can-fly
93
Dáhil sa hirap at pagod
['da.hil sa 'hi.rap ʔat 'pa.god]
Because of hardship and weariness
Aking sintá
['ʔa.kiŋ sin.'ta]
My love
Babalik ka rin
['ba.ba.lik ka rin]
Returning you also
The title “Babalik Ka Rin” (You will return again), written in 1955, shows an ambiguity
94
Kundiman art song. On the outside, a melancholic mood reflects the loss of a lover and the
longing for his or her return. Looking beyond the literal meaning of the text, it is possible to
interpret this as a yearning for freedom in a country that was denied this benefit. Images of
being an orphan and a bird that is tired and can no longer fly suggest symbolisms of nationalism
and a country’s longing for unity and freedom. Set in a habañera rhythm, this song has a distinct
downbeat that coincides with the syllabic stress of the second syllable in the word “ulila”
(orphan), intensifying the meaning of this word. (see Music Example 30).
simplistic type of Kundiman art song. In the beginning of the vocal line in mm. 5-6, “Bakit kaya
naulila” (Why is one orphaned), the descending and ascending eighth notes are mirrored by an
ascending then descending line in the bass part of the piano. This functions as harmonic support.
63
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 42.
95
The gentle swaying rhythm of the vocal line supported by the doubling in the right hand of the
piano part effectively brings out the melancholic mood of the song (see Music Example 31).
64
Ibid., p. 48-49
96
14. “Ang Tangì Kong Pag-íbig” Music and text by Constancio C. De Guzman
Ay minsan lamang.
[ʔaɪ min.san 'la.maŋ]
Is once only.
Ay hindî tunay
[ʔaɪ hin.'di 'tu.naɪ]
Is not real.
Hindî ka lilimútin
[hin.'di ka li.li.'mu.tin]
Not you will-forget
Magpakaylan pa man
[mag.pa.kaɪ.'lan pa man]
Forever still indeed
97
Habang ako ay narito
['ha.baŋ ʔa.'ko ʔaɪ na.ri.'to]
While I am here
At may buhay.
[ʔat maɪ 'bu.haɪ]
And have life
Nang kalungkutan
[naŋ ka.luŋ.'ku.tan]
Of loneliness
Nang puma-panaw.
[naŋ pu.ma.'pa.naʊ]
That fades-away.
Wari ko ba sintá
[wa.ri ko ba sin.'ta]
It-seems my so beloved.
Ako’y mamamatay
[ʔa.'koɪ ma.'ma.ma.taɪ]
I will die.
Habang buhay.
['ha.baŋ bu.haɪ]
While alive.
“Ang Tangi Kong Pag-ibig,” written in 1955, is an example of a simple love song.
According to the poem, the main character cannot live without his or her loved one. The key
98
signature begins and ends in g minor, suggesting a melancholy mood. De Guzman does not
follow the typical ¾ time signature of a Kundiman art song. Instead, he uses a 2/4 time signature
in habañera form.
The melody line complements the rhythmic accompaniment with smooth flowing quarter
notes and eighth notes. This pleasant swaying effect in the melody resembles the waves of a
calm sea.
The overall pulse of the quarter notes and eighth notes is juxtaposed with lilting sixteenth
notes. Interestingly, these sixteenth notes function as an anacrusis to the strong downbeat of the
measure, supporting the inflection of the word “pag-íbig” or “love”, with the stress falling on the
65
Ibid., p. 34
99
In all cases, a combination of the prefix “pag” (to do [something]) with a hyphen
connected to a root word produces the effect of a glottal sound on the first vowel in “íbig”, which
in itself means, “desire”. Syllabic accent in the melody is achieved by enhancing the inflection
of the phrase “ang tángi kong pag-íbig”, with the main syllabic stress on the second syllable of
the word “pag-íbig”. This is followed by the text “ay minsan lámang” (is only a fleeting
moment). In this phrase, the word “lámang” (only) is emphasized and a syllabic stress is placed
on the syllable “la”. The composer made careful attempts to set the text properly by placing the
In mm. 28-30, the text “nang pumapanaw” (that fades away) is set in a pattern of
The meaning of the text “pumapanaw” (fades away) is enhanced when it is set by this
descending pattern of notes. Specifically, in measure 29 the third syllable “pa” of “pumapanaw”
66
Ibid., p. 35
100
descent of another quarter note chord. A downward descending note pattern signifies a text
painting that elaborates the sorrowful character of the word “pumapanaw” (fades away).
The frequent use of the /a/ vowel and nasalized /ng/ consonant in the Tagalog language
helps to maintain a smooth legato line in terms of diction for singing. When pronouncing the
word “pag-íbig” one should not aspirate the ending /g/ consonant. Be careful to pronounce a
101
15. “Dáhil Sa Iyó” by Miguel Velarde, Jr. / text by Dominador Santiago
Ng pusong umi-íbig
[naŋ 'pu.soŋ ʔu.mi.'ʔibig]
Of heart-that loves
102
At ng lumigaya
[ʔat naŋ lu.mi.'ga.ja]
And of to be happy
Hinango mo sa dusa,
[hi.'na.ŋo mo sa 'du.sa]
Extract you of suffering
Dáhil sa ‘yo,
['da.hil sa jo]
Because of you
Dáhil sa ‘yo,
['da.hil sa jo]
Because of you
Hanggang mamatáy.
[haŋ.'gaŋ ma.ma.'taɪ]
Until death
103
Ikaw at ikaw rin.
[ʔi.'kaʊ ʔat ʔi.'kaʊ rin]
You and you too
Dáhil sa ‘yo,
['da.hil sa jo]
Because of you
Ako’y lumigaya,
[ʔa.'koɪ lu.mi.'ga.ja]
I will be happy
Ako ay alipinin mo
[ʔa.'ko ʔaɪ ʔa.li.'pi.nin mo]
I am enslave you
Dáhil sa ‘yo!
['da.hil sa jo]
Because of you
At an early age, Miguel Velarde, Jr. (1913-1986) learned to play piano and violin from
his mother. At the Zamboanga Normal School he was a member of the school orchestra.
Although he began to study Medicine at the University of the Philippines, Velarde soon realized
that his real passion was music and soon began to study harmony and composition from Antonio
Molina and Ariston Avelino. As a jazz arranger and composer, he performed in a weekly show,
Stardust Program. Velarde found a new career composing film scores with Sampaguita Films, a
104
company in which he became the advertising manager. During the Japanese Occupation,
Velarde became the music director for Avenue Theater. His concert arrangement of a folk song
“Planting Rice” was well-received by the audience. Velarde’s talents also extended to story
writing and screenplay, winning an award from the Filipino Movie Arts and Sciences (FAMAS)
for Luksang Tagumpay (1960). As a song composer, Verlarde’s early influences were Irving
“Dahil Sa ‘Yo” (Because of You), written in 1938, has long been a favorite among
Filipinos not only because of its beautiful melody but also because of its ability to reach out to
the nationalistic sentiment of the people in the Philippines. It speaks of unrequited love for one’s
beloved and yet she is the symbol of hope for his life. If taken in the context of nationalism,
“Dáhil sa ‘yo” or “Because of you” can be interpreted as the love for one’s own motherland and
how she is the reason for living. Unrequited love is the subject matter of the first stanza.
This plaintive song in ABB’ form begins in the key of f minor in the A section and
proceeds in the B section to the parallel key of F major, signifying a shift from sorrow to
sequenced in descending motion. This melodic sequencing strengthens the expression of despair
67
Helen F.Samson, Contemporary Filipino Composers: Biographical Interviews, (Quezon City: Manlapaz
Publishing Company, 1976).
105
Music Example 34: “Dahil Sa ‘Yo”68
The beginning words of the B section, “dáhil sa ‘yo” (because of you) are very important
since they are the crux of the song. Perhaps a singer should evoke a feeling of gratefulness or
love to accurately capture the mood of the song (see Music Example 35).
68
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 50
106
Music Example 35: “Dahil Sa 'Yo”69
69
Ibid.
107
16. “Lahat Ng Araw” by Miguel Velarde, Jr. / text by Dominador Santiago
Verse:
Sa bawat sandali Every moment
Tayo ay magkapíling We are together
Ang bawat lunggáti Every aspiration
Pakinggán ang hiling, Listen to my plea,
Ang puso ko’t budhi My heart and conscience
Ay hindî sinungáling Does not lie.
Sana ay ulinígin, Wishing you would hearken
Damdamin ko giliw. To what I am feeling, beloved.
Chorus (duet):
Asáhan pangárap nitong buhay Be assured, my life’s dream
Lahat ng araw Is to love you
Kitá’y mamahálin. All of my days.
Iwasan ang iyong alinlangan Avoid your doubts
Lahat ng araw All of my days,
Kitá’y mamahálin. I will love you.
Verse:
Sa labis ng imbing kamatayan From the certainty of death
Itángi yaring pagmamahál Set my love free.
Chorus (duet):
Tulutang magtapat sa iyó hirang Allow me to confess to you, my beloved,
Lahat ng araw kitá’y mamahálin. I will love you all of my days.
Sa báwa’t sandalì
[sa 'ba.wat san.da.'liʔ]
With every moment
Táyo ay magkapíling
['ta.jo ʔaɪ mag.ka.'pi.liŋ]
We are near each other
108
Ang puso ko’t budhi
[ʔaŋ 'pu.so kot bud.'hiʔ]
The heart my-and conscience
Ay hindî sinungáling
[ʔaɪ hin.'di si.nu.'ŋa.liŋ]
Is not a-lie
Sana ay ulinigin,
['sa.na ʔaɪ ʔu.li.'ni.gin]
Hope-that is to-hear
Damdamin ko giliw.
[dam.da.'min ko 'gi.liʊ]
Feel I beloved
Lahat ng araw
['la.hat naŋ 'ʔa.raʊ]
All of days
Kitá’y mamahálin.
[ki.'taɪ 'ma.ma.ha.'lin]
You I will love
Lahat ng araw
[la.'hat naŋ 'ʔa.raʊ]
All of days
Kitá’y mamahálin.
[ki.'taɪ 'ma.ma.ha.'lin]
You-I will-love
109
Itángi yaring pagmamahál
[ʔi.'ta.ŋi 'ja.ring pag.'ma.ma.'hal]
Distinguish this love
Lahat ng araw
[la.'hat naŋ 'ʔa.raʊ]
All of days
Kitá’y mamahálin.
[ki.'taɪ 'ma.ma.ha.'lin]
You-I-will love
This text by Dominador Santiago is another example of his expressive poetry. The
author uses a form of rhyming scheme as a poetic device. The poetry flows with regularity. In
addition, the strong and weak syllables that frequently appear in most words enhance the beauty
of the text and the simplicity of the melody. For example, in the B section, the phrase, “Asahan
pangárap nitong buhay” or “Hope for the dream of this life” contains syllables that follow a weak
to strong syllabic pattern, which is slightly similar to the iambic pentameter. I have underlined
the stressed syllables and these should be pronounced with such syllabic stresses in mind.
The word “sandali” or “moment” in the beginning stanza requires a glottal stop in the last
syllable [san.da.liʔ]. Another glottal stop is found in “budhi” or “conscience” within the last
110
Music Example 36: “Lahat Ng Araw”70
However, a combination of glottal stops and weak and strong syllabic stresses create a linguistic
Note that the melodic pattern of this song is simple and repetitive. But this does not
diminish the beauty of this song. In fact this simplicity is what the composer seems to be
striving for. Therefore, the beauty of the poetry is enhanced without the addition of a difficult
melodic theme. The duet in the B section is also noteworthy. Although this is mainly a solo
piece, a second line of harmony that runs in parallel and contrary motion is the main feature of
this song and complements the melody line (See Music Example 37).
70
Ibid., p. 84.
111
Music Example 37: “Lahat Ng Araw”71
The piano accompaniment is simple and chordal; the top line mimics the contour of the
melody line. In measure 28, the d minor chord is suspended in the second scale degree to achieve
the slight elusiveness of the dream of life, which is love. The texture of the chords is not very
dense and therefore complements the simplicity of the melody line. This does not require much
vocal agility but rather a simple and smooth legato line. The performer might consider using a
lighter sound.
71
Ibid., p. 85.
112
17. “Ugoy Ng Duyan” by Lucio San Pedro / text by Levi Celerio
Sanay di nagmáliw
['sa.naɪ di nag.'ma.liʊ]
Wishing not disappear
Sa piling ni Nanay;
[sa 'pi.liŋ ni 'na.naɪ]
In-the side of Mother
Nais ko’y ma-ulit
['na.ʔis koɪ ma.'ʔu.lit]
Wishing I-am to repeat
Sa aking pagtulog
[sa 'ʔa.kiŋ pag.'tu.log]
In my sleep
Sa piling ni Nanay
[sa 'pi.liŋ ni 'na.naɪ]
In-the side of mother
114
Sa dating duyan ko, Inang.
[sa 'da.tiŋ 'du.jan ko i.'naŋ]
To former cradle my mother
Lucio San Pedro was born in 1913 in Angono, Rizal in the Philippines. He died in 2002
in Quezon City, Philippines at the age of 89. As a teen, he began his music career as an organist
for a local church. Later, he studied composition with Bernard Wagenaar as well as harmony
and orchestration with Vittorio Giannini. Spending the rest of his career teaching at Ateneo de
Manila University and at the College of Music at the University of the Philippines, he later
retired in 1978 as a full professor. In 1991 he received the National Artist for Music award.72
“Ugoy Ng Duyan” (Swinging of the Cradle) was written in 1947. This text by Levi
Celerio depicts the speaker reminiscing of the old days when he was a child in the arms of his
mother and wishing they would come back again. Images of a rocking cradle with the
tenderness of a mother’s love seem to fill his memories. The stars accompany him at night and
being with his mother is a heavenly delight to him. She provides for him a general feeling of
The beauty of this poetry seems to lie in the subject matter that most listeners can relate
to: being safe in the arms of one’s own mother. It is set in a prose style with no rhyming
schemes but is beautifully enhanced by the choice of descriptive words and imageries.
The melody itself is not wildly flourishing in character since the vocal line is contained in
a limited range, about a third above and below C5. The tessitura of the song settles around C5
and can be easily sung by a high or medium voice, either male or female. Flowing eighth notes
72
Himig: The Filipino Collection of FHL. Accessed May 21, 2015.
115
in a ¾ time signature embodies the gentle character of this song. The melodic simplicity of the
This modest range in vocal contours creates a somewhat contemplative mood. This
lyrical vocal line is not very difficult to sing. Therefore it leaves room for a performer to be
expressive, as the performer becomes mesmerized by the tangential hints of major and minor key
qualities on a single vocal line. However, it would be the performer’s job to break the
monotone-like quality of the melody by expressing the meaning of the text. It is not unlike a
monologue in which the meaning of the text has to be apparent through skillful acting and
The role of the piano in the beginning creates a certain mood. In particular, the
accompaniment portrays a gentle lullaby through the repeated quarter notes that move back and
116
Music Example 38: “Ugoy Ng Duyan”73
The pedal tone in the left hand, with its eighth notes on the afterbeats, contrasts with the
alternating fourths and fifths in the right hand. By juxtaposing the vocal line with the somewhat
dissonant but linear motion of the piano accompaniment, the similarly lyric but slightly linear
melody line further creates a dissonance with the accompaniment that expresses a feeling of
longing for the days that have long been gone as an infant.
Lucio San Pedro’s use of a thinly textured accompaniment is a contrast to the flourishing
chordal accompaniments of his predecessors, Abelardo and Santiago. San Pedro’s use of
dissonance enables the listener to perceive a more pensive view of the text and melody. The lack
73
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 140.
117
18. “Hindî Kitá Malímot” Music and text by Josefino Cenizal
Sa pangárap ko lámang
[sa pa.'ŋa.rap ko 'la.maŋ]
In dreams my only
Dáhil sa nawawalâ’y
['da.hil sa na.'wa.wa.'laɪ]
Because of separating
118
Ka sa akin sintá
[ka sa 'ʔa.kin sin.'ta]
You from me beloved
Ako’y duma-dalángin
[ʔa.'koɪ du.'ma.da.'la.ŋin]
I-am praying
Ala-ála kitá
[ʔa.la.'ʔa.la ki.'ta]
Remembrance you
Minámahál kitá
[mi.'na.ma.'hal ki.'ta]
I-love you
Isinúsumpâ ko
[i.si.'nu.sum.'pa ko]
Promise my
Sa ‘yong kagandáhan
[sa joŋ ka.gan.'da.han]
To your beauty
119
Na ikaw lámang
[na ʔi.'kaʊ 'la.maŋ]
That you only
Manálig ka sintá
[ma.'na.lig ka sin.'ta]
Trust me beloved
ang lumímot
[ʔaŋ lu.'mi.mot]
The-one who-forgets
Iyong ala-lahánin
[ʔi.'joŋ ʔa.'la.la.'ha.nin]
You remember
Josefino Cenizal was born on September 14, 1919 in Tanza, Cavite, a province located
south of Manila. At the age of eight, his mother enrolled Cenizal to take piano lessons from
120
Francisco Santiago at the University of the Philippines. Santiago reluctantly accepted him since
Cenizal did not read music. Santiago would teach him only if he performed all the assigned
lessons. Cenizal also took voice lessons from Reysio-Cruz and Mossesgeld Santiago. In 1948
he received a law degree from the Manila Law College. Later on he received a Foreign Service
degree from Lyceum in 1954. Cenizal is known for his love song compositions.74
Although his song “Hindî kitá malímot” has been performed by popular artists, the
original composition in 1940 with piano accompaniment is written in a classical Kundiman style.
The lyrical style of the melody allows the singer to sing with legato phrasing.
In the opening line, the word “pangárap” or “dream” should have a stress on the second
syllable even if it is set with a fermata. There should be a momentary hold after the first fermata
on the second syllable of “pangárap” in order to make sense of this word. Similarly, one should
not give too much emphasis on the fermata sign of the word “sa” in “sa akin sintá” or ‘from me,
my beloved” because the main stress is on the first syllable of “akin.” There should also be a
slight emphasis on this word and a glottal /a/ sound will help to give this needed emphasis.
These syllabic emphases should be on other important words as well. The word “dumadalángin”
should have a stress on the penultimate syllable. But in this case the composer had already set
Throughout the song the composer uses a fermata at the second beat of the beginning
measures of the main thematic material, which is seen in the opening phrase of the refrain “Hindî
kitá malímot, ala-ála kitá” or “I cannot forget you, you are in my mind.” Most of these fermatas
occur during the anacrusis to the downbeat of the main theme (see Music Example 39).
74
Himig: The Filipino Collection of FHL. Accessed May 21, 2015.
121
Music Example 39: “Hindi Kita Malimot”75
In the opening line of the refrain, the fermata occurs on the word “hindî” (cannot) with a
stress on the second syllable. Rubato should be used on the important words, such as
“minámahál” or “I love” giving a stress on the last syllable “hal” from the word. The phrase that
follows, “ala-ála kitá” should be performed with a glottal stop on each of the word units (ala-ála)
in order to sound authentic. These syllabic stresses were not necessarily specified by the
composer but the decision is left to the singer to slightly modify the note values to allow for the
75
The Women’s Board of the Manila Symphony Society, Pag-ibig Song Book, no publisher listed, no published
date, p. 45.
122
19. “Ang Una Kong Pag-íbig” Music and text by Francisco Buencamino
Sa tapát ng áking
[sa ta.'pat naŋ 'ʔa.kiŋ]
From sincerity of my
Masuyúing puso
[ma.su.'ju.ʔiŋ 'pu.so]
Tender heart
123
Nagbigáy siphayò
[nag.bi.'gaɪ sip.'ha.jo]
Gave mistreatment
Daglíng iguinúho
[dag.'liŋ i.gi.'nu.ho]
Suddenly troubled
Di maitatágo
[di ma.ʔi.ta.'ta.go]
Not be-hidden
Di mai-isásan
[di ma.ʔi.ʔi.'sa.san]
Not separable
124
Diliguín ng lúhang
[di.li.'gin naŋ 'lu.haŋ]
Water-it with tears-that
Bumalóng sa aliw.
[bu.ma.'loŋ sa 'ʔa.liʊ]
Flow with comfort
Langit na ligáya
['la.ŋit na li.'ga.ja]
Heaven that-is happiness
Ay hindî nababatíd
[ʔaɪ hin.'di na.'ba.ba.'tid]
Is not understood
Nga ng pangánib
[ŋa naŋ pa.'ŋa.nib]
That of danger
Ay pagtiti-ís.
[ʔaɪ pag.ti.ti.ʔis]
Is suffering
125
Ng ala-ála sa pangánib
[naŋ ʔa.la.'ʔa.la sa pa.'ŋa.nib]
Of memory of peril
Ay pagtiti-ìs.
[ʔaɪ pag.ti.ti.ʔis]
Is suffering
Francisco Buencamino, Sr. (1883-1952) was born in San Miguel de Mayumo, Bulacan.
At an early age he was taught music by his father, Fortunato Buencamino who was a church
organist and band master. Later in his teens he studied composition and harmony under Marcelo
Tagalog sarswelas, such as Marcelo (1904), Si Tio Selo (1904, Yayang (1905) and Pangakong
Hindi Natupad (1905). At the turn of the century, Buencamino began to teach at the Ateneo de
Manila University. He was also head of the music department for 30 years at the Centro de
Señoritas University. In 1930 he founded the Buencamino Music Academy where Nicanor
This song composition by Buencamino is in ternary form ABBC. The melody begins
with a melancholic mood in g minor that reminds the poet of the bittersweet memories that he
felt with his beloved. Words like “larawan” (image) and “siphayò” (despair) are central to the
mood of the first stanza. The text describes a despairing heart that has been neglected. This
76
C. Quirino, Who’s who in Philippine history, (Manila: Tahanan Books, 1995).
126
exposition in the key of g minor pertains to the physical image of a loved one that has suddenly
reminded him of the hurt that he had felt before (see Music Example 40).
A modulation to its relative major key of B-flat signifies a new section that has a glimmer
of hope despite the bittersweet attitude of the central character. Words such as “tamis”
(sweetness) and “bunga” (fruit) create a hint of optimism. The rhythmic and melodic motifs
have suddenly developed into a more forward moving flow of new music material. This is
77
The Women’s Board of the Manila Symphony Society, Pag-ibig Song Book, no publisher listed, no published
date.
127
evident in the dotted eighth and sixteenth note combination that is preceded by an anacrusis in
Finally, the song concludes in the third stanza in measure 43 with confidence in the C
section. It does not return to its relative minor key of g minor but modulates to a parallel key of
78
Ibid., p. 23.
128
Music Example 42: “Ang Una Kong Pag-ibig”79 - C section
manifested in the expansion of the vocal range that peaks to a B5 with a fermata at the “poco
animato” section. The piano accompaniment also develops into a fuller texture and builds to a
climax of tremolos at the very end. It is the lover’s perseverance and determination that gives
him this hope and joy - the idea that everything will be better in the end.
79
Ibid., p. 24.
129
The vocal range and tessitura of this song is suitable for a tenor or a soprano. It lies in
the voice’s middle and upper range, up to a high note of B5. The fact that it has a very high note
130
20. “Ulila Sa Pag-íbig” by J.S. de Hernandez / text by Deogracias A. Rosario
Sa oras ng paglubog
[sa 'ʔo.ras naŋ pag.lu.'bog]
At hour of setting
Naulila sa pag-íbig
[na.ʔu.'li.laʔ sa pag.'ʔí.big]
Orphaned of love
Sa tubig naririnig,
[sa 'tu.big na.ri.ri.'nig]
From water heard
131
Ng dibdib ng kanlurang
[naŋ dib.'dib naŋ kan.'lu.raŋ]
Of heart of west
Sandaling malungkót
[san.da.'liŋ ma.luŋ.'kot]
Quickly sad
Sa pusong sumisintá,
[sa 'pu.soŋ su.mi.sin.'ta]
To heart that-loves
Lalo’t nalilining
['la.lot na.li.'li.niŋ]
Becomes gloomy
Ay anong ligaya
[ʔaɪ a.'noŋ li.'ga.ja]
Oh what joy
Ng mamatáy dáhil
[naŋ ma.ma.'taɪ 'da.hil]
Of to-die because
Sa pagkaulila.
[sa pag.ka.ʔu.'li.laʔ]
Of being-orphaned.
Sa oras ng paglubog
[sa 'ʔo.ras naŋ pag.lu.'bog]
At hour of setting
132
Ng araw na may hapis
[naŋ 'a.raʊ na maɪ ha.'pis]
Of sun that has anguish
Naulila sa pag-íbig
[na.u.'li.laʔ sa pag.'ʔi.big]
Orphaned of love
Sa tubig naririnig,
[sa 'tu.big na.ri.ri.'nig]
From water heard
Ng dibdib ng kanlurang
[naŋ dib.'dib naŋ kan.'lu.raŋ]
Of heart of west
Juan de Sahagun Concepcion Hernandez was born on June 12, 1881 in Sampaloc,
Manila. In 1901 he graduated with a law degree from the Escuela de Derechos which was later
integrated into the University of Santo Tomas. However, Hernandez decided not to take the bar
exam. Instead, he pursued a career in music. At the age of eighteen he wrote his first waltz. He
later composed a total of fifteen waltzes and was referred to as the “Johann Strauss of the
Philippines.” He earned his bachelor’s degree in music from the Conservatory of Music at the
University of the Philippines. In addition to his fifteen waltzes, Hernandez wrote eight orchestral
arrangements, fourteen songs, six religious manuscripts, three marches, a number of operettas, a
concerto, several piano arrangements, three chamber music, three sarswelas and composed
133
fifteen Kundiman art songs. In 1945, Hernandez died during a bomb blast when the Japanese
“Ulila Sa Pag-ibig” (Orphan of Love) was composed in 1929. The time signature of this
song is 2/4, not the typical 3/4 of a Kundiman art song. There is a sense of irony in the music that
contrasts with the gloomy, self-pitying words, which are summed up in the song’s title.
Hernandez sets up this irony by setting the piano introduction in C major. There is an abrupt
shift to the parallel minor into the A section, which accurately sets the melancholic mood of
unrequited love. Then, without warning, the B section modulates back to C major (“Sandaling
malungkot, sa pusong sumisinta”, Easily saddened is the heart that loves), revealing a bit of
irony. The lyrics are gloomy and self-pitying, and contrast strongly with the hopefulness
80
Nicanor Tiongson, CCP Encyclopedia of Philippine Art, Vol. 6: Philippine Music. (Manila: Cultural Center of the
Philippines), 1994.
134
In essence, the piano introduction shows what joy the poet would feel if only he was not
orphaned. Hernandez sets up this joyful mood but immediately he changes to sadness as if the
joyful life was abruptly cut off. Thus the meaning of the word “Kundiman” (if it were not so) is
81
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 146.
135
Conclusion
During the process of my research I have found that these 20 Kundiman art songs
exemplify a certain rhythmic and melodic fluidity that reflect a distinctly Filipino style. These
Kundiman art songs are a reflection of Filipino creativity during a time of adversity. Not many
people outside of the Philippines know about Kundiman art songs. Even among my Filipino-
American friends and acquaintances, most do not know about Kundiman. This leads me to
believe that these songs have not been given enough attention. A search through course listings
in major universities, outside of the Philippines, such as the Juilliard School of Music or Mahidol
University in Thailand shows modest to no attention given to indigenous songs. In depth study
of this kind of song is unique to the Philippines. Kundiman art songs appear in student recitals in
Philippine universities, but outside the country they are rarely programmed. Only
ethnomusicologists may be familiar with these songs. I want people to know about Kundiman
art songs, and that the selections of songs I have presented are only a fraction of what is available
in print. Most of these songs can be found in the collection, “Kundiman At Iba Pa,” which is
listed in my bibliography. I have come to appreciate the value of these Kundiman art songs, and
in the future I intend to transcribe more IPA and translate more of these songs to make them
more accessible to the world. I also intend to record pronunciations of the texts to provide a
guide for the singer who is not familiar with the Tagalog language.
136
Appendix A
Copyright Permission documentation from Suarez Music Publishing and Ronaldo Villar,
members of the Filipino Society of Composers, Authors, and Publishers, Inc. (FILSCAP)
137
138
Appendix B
According to Dr. Raymond Leslie Diaz82, Filipinos are not consciously aware of the idea
of diphthongs, although there certainly are some dipththong-like sounds; for example, “buhay”
82
Raymond Leslie Diaz. "International Phonetic Alphabet Transcription of Tagalog." E-mail interview by author.
May 19, 2015.
139
Consonant sounds Tagalog examples English sound equivalent
140
Email Interview with Dr. Raymond Leslie Diaz:
141
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