Traditional Composers

Writing music requires some technical skills. Composition is the art of process of creating a new piece of
music. This piece of music can range from a short, simple jingle, to a very long opera. People who write
music are called composers. Composers use compositional techniques to create their music.
Some of the skills that composers find useful in their work include the following:

 Essential music theory

 Writing musical notation including the use of music-notation software
 Instrumentation
 Trained ear
 Improvisation
 Other technologies for sound production

Lucio San Pedro (1913-2002)

 1991 National Artist of the Philippines in Music (A master composer, conductor, and teacher)
 Born on February 11, 1913 in Angono Rizal
 Has a musically talented family: his father, Elpidio San Pedro, created a family band from which
Lucio started his involvement in music
 Became a church organist after his grandfather’s death (late teens)
 Received training from Bernard Wagenaar of the Netherlands & took harmony and orchestration
lessons with Vittorio Gianni
 <1947> Studied at Juilliard School of Music in New York
 < May 9, 1991> Received his award as a National Artist for Music under President Corazon
Aquino
 Became the director of Dramatic, Philippines & was a conductor for the Banda Angono Numero
Uno, Manila Symphony Orchestra, Musical Philippines Philharmonic Orchestra, Peng Keng
Grand Mason Concert Band, and San Pedro Band of Angono (which is his father’s band)

 Various compositions include concertos for violin and orchestra, music for violin and piano,
choral works, cantatas, chamber music, band music, and songs for solo voice.
 These are:
o FOR ORCHESTRA
 Violin Concerto in D minor (1948)
 Malakas at Maganda Overture
 Hope and Ambition
 Prelude and Fugue in D minor
 The Devil’s Bridge
o FOR BAND
 Lahing Kayumanggi (1961)
 Dance of the Fairies
 Triumphal March
 Angononian March
 o FOR CHOIR
 Easter Cantata
 Sa Mahal Kong Bayan
 Rizal’s Valedictory Poem
o FOR VOICE
 Sa Ugoy ng Duyon, lyrics from Levi Celerio (1943)
 Lulay
 In the Silence of the Night

 Lucio San Pedro died on March 31, 2002 at the age of 89 due to cardiac arrest.

Antonio J. Molina (1894-1980)

 First National Artist of the Philippines / Claude Debussy of the Philippines / Dean of Filipino
Composers
 One of the first composers to integrate the pentatonic scale and indigenous instruments (like the
kulintang and gabbang) in his symphonies
 Introduced the whole tone scale, pentatonic scale, dominant ninths & eleven chords, and
counterparts in his compositions
 Born on December 26, 1894 in Quiapo, Manila
 Came from a family of musicians: his father, Juan Molina (government official), founded Molina
Orchestra
 Took formal lessons on solfeggio and violin under one of the members of Molina Orchestra,
Celestino De Vera
 <1909> Finished his Bachelor of Arts degree in San Juan de Letran
 <1912> Created his first composition called “Matinal”
 <1923> Received a teacher’s diploma in violoncello at the UP Conservatory of Music
 <1917> Married Pilar Siauingco (first wife) at the age of 23
o His musical brilliance were inherited by his children:
 Rosita – holder of a music teacher’s diploma in piano
 Exequiel – a saxophonist
 Antonio Maria – a graduate in composition and choral conducting in the US
 Monserrat – a pianist
 <1965> Married Carmen Serrano (second wife) at the age of 71
o His second wife was a former student of his with a Bachelor’s Degree in Music
Education

 Was the first composer who was asked to perform his compositions in the Malacanang Palace
 The Centro Escolar University (CEU) String Quartet was the first chamber music group he
formed
 Was a mentor to two prominent composers: Lucresia Kasilag & Felipe de Leon
 Created over 500 compositions, such as:
o FOR ORCHESTRA
 Misa Antoniana Grand Festival Mass
  Ang Batingaw
 Kundiman-Kundangan
o FOR CHAMBER MUSIC
 Hatinggabi – a serenade for solo violin and piano accompaniment
 String Quartet
 Kung sa Iyong Gunita
 Pandannguhan
o FOR VOICE
 Amihan
 Awit ni Maria Clara
 Larawan Nitong Pilipinas
o FOR THEATER
 Ana Maria (sarswela)
o FOR PIANO
 Malikmata

 Antonio J. Molina died on January 29, 1980 at the age of 86 due to heart failure.

Rodolfo S. Cornejo (1909-1991)

 A composer, conductor, and pianist

 Born on May 15, 1909 in Singalong, Manila
 His interests in music was kindled by her mother, Crisanta Soldevilla, who also took piano
lessons.
o Gelacio Reyes was Rodolfo’s first piano teacher
 (8) Became the organist of the Pasay Catholic Church
 (10) Composed his first piano piece called “Glissando Waltz” to which he dedicated to his
mother.
 (13) Composed a military march titled “Salute”
 (14) Entered UP Conservatory of Music
 (1950) Received his Teacher’s Diploma in Pianoforte & in Science and Composition
 Since he was a professor in UP, he taught:
o Lucio San Pedro Candida Bautista
o Salvacion Oppus Yniguez Anastacio Sosa
o Aida Sanz Adoracion Reyes
o Liwanag Cruz Elena Ilagan
o Flora Zarco Jesus del Carmen
o Felipe de Leon Josefino Cenizal
o Dalisay Aldaba Julian Balita
o Enya Gonzales
 <1932> Acquired his Bachelor of Music in Piano from the Chicago Musical College in US
o Finished a Master of Music Composition degree here too
 <1947> Finished his Doctor of Philosophy in Composition at the Neotarian College in Kansas
City
  He was grateful for the following professors:
o Francisco Santiago and Glenn Dillard Gunn on piano
o Alexander Lippay, Bernard Rogers, Howard Hanson, and Vittorio Giannini on
composition
o Nicanor Abelardo on theory and harmony
o Dr. Rudolf Ganz on conducting and piano
 <1949> Married the lyric soprano, Nieves Gurrero
 Had a great ability to showcase his piano and composition skills
through what he calls “impromptu classical improvisation”
o He would create a piano composition from a telephone
number, car plate number, or a name.
o He would translate the number into a musical meaning and make it for the piano piece.
 If a birthdate is June 21, 1983, he’d make it 6-2-1-1-9-8-3 then into a melodic
arrangement which is A-D-C-C-D-C-E.

 Before dying in Manila in August 11, 1991, he made the following:

o FOR CHOIR
 A La Juventud Filipina (1934)
 Mass in F Minor (1936)
 The Miracles of Christ (1947)
o FOR VOICE AND PIANO
 Three Songs (1939)
 Beneath This Heart of Clay (1959)
o FOR PIANO SOLO
 The Season-Song Cycle (1932)
 A La Juventud Filipino (1935)
 Philippine Symphony No. 1 (1939)
 Philippine Symphony No. 2 (1942)
 Philippine Symphony No. 3 (1947)
o FOR ORCHESTRA
 The Allies (1943)
 Oriental Fantasy (1944)
 Ruby (1964)
o FOR THEATER
 Together (operetta) (1937)
 Ibong Adarna (ballet) (1970)
 Bailes de Ayer (ballet) (1974)

Hilarion Rubio (1902-1985)

 A renowned conductor for chorus and band

 Born on October 21, 1902 in Bacoor, Cavite. His Father was Crisostomo Rubio and his mother
was Faustina Francisco
 Was exposed to music because of his uncles who were band musicians
o First taught musically by Aglipayan priest, Father Amando Buencamino
  Learned solfeggio and a wide range of instruments like clarinet, violin, and
harmonium
 (8) Was accepted as a clarinetist in the Bacoor Band
o Composed his first composition called “Unang Katas” for the band
 Established a band called “Anak Zapote” after graduating high school
 Enrolled in the College of Law but he felt he was born for music so he enrolled at UP
Conservator of Music
o There was an ROTC (Reserve Officers' Training Corps) band where he became the
bandleader and captain
o Was appointed instructor
 Involved himself as the timpanist in the UP Junior Symphony Orchestra
 <1936> Became the opera conductor at the Manila Music School and a choral conductor of a
male choir, the “Islanders”
 <1944-1945> Also served as the director of the Central Escolar University Conservatory of
Music
o Was also a faculty member of these schools:
 Buencamino Music Academy
 Santa Isabel College
 St. Theresa’s College
 La Concordia College
 Laperal Music Academy
 Valencia Academy of Music
 College of the Holy Spirit
 Manila Music School

 Was able to conduct the following operas:

o La Boheme Lucia de Lamermoor
o I Pagliacci Cavalleria Rusticana
o Faust La Traviata
o Aida Il Trovatore
o Rigoletto
 Transcribed musical pieces as played through records because there was a lack of musical scores
at that time. These are what he transcribed from records:
o Mademoiselle Angot, ballet music by LeCocq
o The choral part of Polovtsina Dances by Borodin
o Serenata de Amor by Mantovani
o Valse de Concert by Glazunov
 Arranged the following:
o Mass in C Major by Juan S. Hernandez
o “Revolutionary Etude” for chorus and orchestra b Chopin
o La Vita Breve by De Falla
o Piano Concerto No. 4 in D minor by Rubenstein
o Maria Clara, an operetta by Leon Ignacio

 Also created music for movies such as Kundiman, Palaboy ng Diyos, and Kaban ng Tipan
 His majors works are:
o FOR CHOIR
 To The Filipino Youth (1951)
 The Second (1963)
o FOR THEATER
 Ang Konsyerto (ballet) (1974)

o FOR VOICE AND PIANO

 Mutya ng Silangan (1944)
 Pagmamaka-amo (1951)
 Bukang Liwayway (1957)
 It’s Only in Dreams (1974)
o FOR ORCHESTRA
 The Elements (1940)
 Symphony for Greatness (1966)
o FOR PIANO
 In a Tropical Sea
 Kalooye-tabe

 Hilarion Rubio died on December 28, 1985 at the age of 83

 New Music Composers
Employing modern rhythms and new harmonies has been a practice among Filipino contemporary
composers. New music, or avant-garde, is the most important development in music during the second
half of the twentieth century. In employing the styles and techniques of the avant-garde, contemporary
composers in the Philippines, in one way or another, would reject the basic premises on which art music
is traditionally based.
Avant-garde music can be done in several ways:

 It might not contain melody in some or all parts.

 It may use harmonies that are not explainable by the conventional tonal system.
 It may be played with newly created music instruments.
 It may require traditional instruments to be played in new ways.
 It may not have a clear meter.

Dr. Jose M. Maceda (1917-2004)

 First avant-garde composer of the Philippines

 Born on January 31, 1917 in Manila
 Studied composition, piano, and music analysis in Paris, France
o Later on studied anthropology and ethnomusicology at the University of Chicago and
Indiana University respectively
o <1963> Earned his Doctorate in ethnomusicology from the University of California in
Los Angeles (UCLA)
 <1953> Dedicated himself in promoting Philippine music after his first field trip to Mindoro
o Also involved himself in conducting research and composition of music concrete
 His major works are:
o Ugma-ugma II – Maceda’s first composition; a composition for Asian musical
instruments and voices (1963)
o Agungan – a composition for six gong families
o Kubing – a composition for bamboo percussion and men’s voices
o Pagsamba – a ritual music (1968)
o Cassettes 100 – a composition for one hundred cassette tape recorders
o Ugnayan – a music for several radio stations in Manila
o Udlot-udlot – a composition premiered at the CPP parking lot with eight hundred
perfromers (1975)
  <1952-1990> Was also a professor of Piano and Ethnomusicology at the University of the
Philippines
 <2004> Became professor “emeritus”
o emeritus – A tenured full professor who retires from an educational institution in good
standing
 <1997-2004> Served as executive director of its center for Ethnomusicology
 Pioneered the French style of piano playing in the country
 Became a conductor of avant-garde music that he arranged for different organizations in and
outside of the Philippines, introducing many new musical works
 Dr. Jose M. Maceda died on May 4, 2004 at the age of 87 in Quezon City.

Dr. Lucresia R. Kasilag (1918-2008)

 The third daughter of a civil engineer (Marcial Kasilag Sr.) and a violinist (Asuncion Roces)
 Born on August 31, 1918 in San Fernando, La Union
 Aside from her mother’s instruction on solfeggio, she was taught by her piano teacher Dona Pura
Villanueva and Sister Baptista Battig
 Received a Music Teacher’s Diploma major in piano from St. Scholastica’s College & a Bachelor
of Music major in piano from Philippine Women’s University (PWU)
o Also finished a Master of Music major in Theory & minor in Composition degree at the
Eastman School of Music, University of Rochester in New York
o Was awarded a Doctor of Music degree, honoris causa, by the Centro Escolar University
 Had been influenced by British composer Ralph Vaughan Williams, successfully blending
Eastern and Western musical instruments
o As a result, she was able to create works such as Toccata for Percussion and Winds
(1958), Fantasy on a Muslim Theme (1962), The Legend of the Sarimanok (1963),
Filiasiana (1965), Misang Pilipino (1966), and Dularawan (1969)
 Combined the indigenous Philippine instruments with the orchestra and choir, to
which she called the “East-West flavor”
 Started composing during WW2
o Her works reaching over 250 compositions ranging from arrangements of folk song, art
songs, solo instrumental pieces for piano and organ or a combination of the violin and
piano, chamber, theater, incidental, and orchestral works
 Regarded as the “First Lady of Philippine Music”
 “Dr. Kasilag’s Diversion” is a composition that combines prerecorded music with live
performance. It employs the sounds of Kalinga instruments such as on-at (metal jaw’s harp),
bunkaka (bamboo split fork buzzer), and tonggali (nose flute)

 Dr. Lucresia R. Kasilag died on August 16, 2008 at the age of 89 in Paco, Manila due to a
lingering illness.

Jeremiah “Jerry” A. Dadap (born 1935)

 Born on November 5, 1935 in Hinunangan, Southern Leyte

  Was the ninth of fourteen children of Vedasto Dadap and Dionesia Amper
 His music training started when his elder sister, Feri, who taught him to play the church organ
and piano
o With a spiritual foundation from the Presbyterian Church, he continued taking music
lessons, at the same time, composing solo songs and choral pieces at the Silliman College
of Theology in Dumaguete
 <1956> Went to Manila and joined the UP ROTC band to play percussions
o Through Eliseo Clamor, his mentor, he learned to play the trombone
 A symphonic poem titled “The Passionate and the Wild” was his first orchestral composition that
he described as modern
 <1962> Received his Teacher’s Diploma major in Composition & a year later, finished his
Bachelor of Music in Composition at the UP Conservatory of Music
 His works include:
o The Passionate and the Wild (1960)
o Mangayumo I (1976)
o Mangayumo II (1977)
o The Redemption (1974)
o Five Little Fingers (1975)
o Tubig ng Buhay (1986)
o Dakilang Pagpapatupad (1986)
 Since he’s an avant-garde composer, he experimented on combining the instruments of the
rondalla ensemble with the instruments of the Western orchestra. These include:
o Choral Cycles I
o Choral Cycles II
o Choral Symphonic Ode I
o Choral Symphonic Ode II
o Balitaw 1-7
 He is married to the late singer-linguist Celeste Icban
o They have four artistic children: Jerimiah Jr., Gerlad, Jeremy, and Bettina

Ramon P. Santos (born 1941)

 A disciple of avant-garde music

 Born on February 25, 1941 in Pasig, Rizal
 Out of the six children of Atty. Jose Santos and pianist-singer Amada Pagayon, Ramon is the
youngest
 His formal music instruction started when his grandmother, Josefa Andrada Pagayon taught him
basic piano and solfeggio
 All the members of his family were members of an association of musicians in Pasig – the Pasig
Artists’ Guild (except his father)
 <1965> Finished his Teacher’s Diploma and Bachelor of Music major in Composition and
Conducting at the UP Conservatory of Music
 <1969> Graduated with the degree of Master of Music major in Composition through a
Fullbright-Hays travel grant at the Indiana University in USA
 <1972> Graduated with a Doctor of Philosophy major in Composition and minor in Musicology
at the State University of New York at Buffalo that exposed him to contemporary and avant-
garde music
 Although he was trained outside the country (in Germany, the Netherlands, and the USA), this
didn’t prevent him from composing works that include Philippine native instruments. His avant-
garde compositional style includes free serialization, electronic music, and controlled
improvisation. Such as:
o Ding Ding Nga Diyawa
 This choral composition was made while he was still in Buffalo in 1971. It
includes a fusion of Western and Eastern percussion instruments.
o Nabasag ang Banga
 Another choral composition, this was performed in 1973. It is a composition for
sixteen performers seated or standing with the audience.
o Siklo
 This avant-garde music shows a perception of the universe through small life-
forms. It includes vocal utterance and synthesizer-generated heartbeats that
signify simple cycles of life.
 He is married with children
 Currently the executive director of the UP Center for Ethnomusicology, president of the
Musicological Society of the Philippines, and professor emeritus at the UP College of Music
 <1994-1997> Has also been elected as an honorary member of the Asian Composers League
which he served as chairman
<2001-2005> and vice president of the International Music Council at UNESCO
 Song Composers
Characteristics of Good Songs

 The songs is worth remembering. It sticks in the mind of every listener.

 The song has a catchy phrase. Are you aware of the so-called last song syndrome (LSS)? Its
refrain that repeats in the song could be hummed even if it is heard an hour ago.
 The song has an instant power to arouse a sympathetic response. It appeals to people from
different walks of life.
 The lyrics of the song use figurative language or phrase that produce distinct mental images. For
example, a lyricist would not say, “You are the bright sunny day when clouds are gray.”
 The song has a well-crafted structure. A listener can easily identify the beginning, middle, and
end parts of the song.

Constancio de Guzman Sr. (1903-1982)

 A renowned music composer and movie director

 Born on November 11, 1903 in Guiguinto, Bulacan to Higino de Guzman and Margartia Canseco
 Studied piano and composition under the tutelage of Nicanor Abelardo in Manila but his father
wanted him to study law
o The reason he shifted to commerce
 <1931> Was able to finish a business administration course
 <1932> Passed the board exam for public accountants
 Started working in movies as the music director of Sampaguita, LVN, Roal, Lea, Excelsior, and
Tagalog Ilang-ilang
 Notable compositions include:
o Maalaala Mo Kaya (tango) Sa Duyan Ng Pagmamahal (tango)
o Ang Langit Ko’y Ikan Sinta (dansa) Nasaan Ngayon ang Sumpa Mo Sa Akin
(kundiman)
o Bakit Mo Ako Pinaluluha (tango) Bayan Ko (Nationalistic song)
o Pamaypay ng Maynila (balitaw) Sa Piling Mo (tango)
o Ang Tangi Kong Pag-ibig (dansa)

 Constancio de Guzman Sr. died on August 16, 1982 at the age of 79.
Levi Celerio (1910-2002)

 A very prolific songwriter and the 1997 National Artist for Music and Literature
 Born on April 30, 1910 in Tondo, Manila
 Studied at the academy of Music in Manila
 Was Manila Symphony Orchestra’s youngest member
 His compositions range from Philippine folk songs, Christmas songs, love songs, to patriotic
songs. He wrote more than 4,000 songs and among them are the following:

o CHRISTMAS SONGS
 Pasko na Naman
 Maligayang Pasko at Manigong Bagong Taon (Ang Pasko ay Sumapit)
 Misa de Gallo
o PATRIOTIC SONGS
 Tinig Ng Bayan
 Ang Bagong Lipunan
 Lupang Pangarap
o LOVE SONGS
 Saan Ka Man Naroroon? Sa Ugoy ng Duyan
 Kahit Konting Pagtingin O, Maliwanag na Buwan
 Gaano Ko Ikaw Kamahal Dahil sa Isang Bulaklak
Kapag Puso’ Sinugatan Bagong Silang
 Ikaw Sapagkat Kami’y Tao Lamang

 Levi Celerio died on April 2, 2002 at the age of 91, and was buried with full military honors at
the National Heroes’ Cemetery (Libingan ng mga Bayani).

Miguel “Mike” Velarde (1913-1985)

 Guided by the principle “Think Filipino, Write Filipino, and Sound Filipino”
 Did not stop composing songs and movie scores that would reflect the richness of our musical
heritage
 Born on October 23, 1913 in Manila
o After a year of his birth, his family moved to Zamboanga
 Second son Miguel Velarde Sr., a medical doctor, and Dolores Guison, who could sing well and
also play the piano
 (6) Received his first training in music from his mother who taught him in his piano and violin
lessons
 Became a member of the orchestra of Zamboanga Normal High School
 <1931> Graduated valedictorian, and went to Manila to study medicine at the University of the
Philippines
o Music was calling him from his inner being
 Decided to study music (did not please his father)
 o He thought of it as a challenge to prove to his father that being a musician is just as good
as being a doctor. Therefore, he supported his own studies and even became a bus
conductor
 Exposing him to works of Nicanor Abelardo and Francisco Santiago, Velarde received his first
lessons in composition and harmony from Antonio Molina and Ariston Avelino
o When he already learned the basic principles of music, he continued to study music all by
himself
 His first hit song called “Ugo-ugoy Blues” became very popular
 Became the editor of the Literary Song Movie Magazine
 Wrote film music scores for Sampaguita Pictures where he handled its advertising
 His major works include:
o SONGS
 Amor Santo (1935) Lahat ng Araw (1939)
 Ulilang Puso (1936) Minamahal Kita (1940)
 Ala-ala Kita (1938) Titibok-tibok (1948)
 Habang Buhay (1938)
o MOVIES
 Diwa Ng Karagatan (1935) Ang Dating Sumpaan (1939)
 Nasaan Ka Irog (1936) Nina Bonita (1940)
 Bituing Marikit (1938) Sa Hirap at Ginhawa (1954)
 Madaling Araw (1938)

George Canseco (1934-2004)

 A nationally applauded composer of memorable songs

 Born on April 23, 1934 in Naic, Cavite
 Was the youngest of the three children of Dr. Jose Canseco
 Received his education at the University of the East with a Liberal Arts degree
o After graduating, he immediately accepted a job as a journalist at the Philippine Herald
and the Associated Press
o Also worked as an independent scriptwriter in Manila
 He didn’t train formally in a conservatory of music, but he studied piano on his own and was able
to write, notate, and compose songs at an early age
 <1972> When Martial Law was declared, he started writing music and Imelda Marcos, the former
Philippine First Lady, commissioned Canseco to compose “Ako ay Pilipino”, the national tribute
hymn.
 <1973> Was elected as the President of the Filipino Society of Composers, Authors, and
Publishers, Inc. (FILSCAP)
 <1988> Entered politics when he got elected councilor for the First District of Quezon City
 His compositions were:
o Pagputi ng Uwak... Pag-itim ng Tagak (1978) Huwag Mong Itanong Kung Bakit
(1988)
o Pieta (1983) Langit at Lupa (1988)
o Paradise Inn (1985) Paano Tatakasan ang Bukas? (1989)
o Bomba Arienda (1985) Ang Babaeng Nawawala sa Sarili (1989)
 o Magdusa Ka! (1986) Imortal (1989)
o Iyo ang Tondo, Kanya ang Cavite (1986) Ngayon at Kailanman (1992)
o Kailan Tama ag Mali (1986) Ikaw (1993)
o Kung Agawin Mo ang Lahat (1987) Paano ang Ngayon Kung Wala ang
Kahapon (1995)
o Saan Nagtatago ang Pag-ibig (1987) Muling Ibalik ang Tamis ng Pag-ibig
(1998)

 George Canseco died on November 19, 2004 at the age of 70 in Manila due to complications
from liver disease and lung cancer.

Recapitulation:

 A good song has the following characteristics: (1) memorable melody (2) catchy phrase (3)
instant appeal (4) figurative languages (5) well-crafted structure.
 Filipino song composers include Constancio de Guzman Sr., Levi Celerio, Mike Velarde, and
George Canseco.
 Other notable song composers are Leopoldo Silos, Restituto Umali, Angel Pena, and Ernani
Cuenco.