CONTEMPORA

RY PHILIPPINE
MUSIC
According to National Artist
Ramon Santos, PhD,
“Contemporary Philippine
Music” refers to compositions
that have adopted ideas and
elements from 20th century
art music in the west, as well
as the latest trends and
musical styles in the
entertainment industry.”
 20th
CENTURY
TRADITIONA
L
COMPOSERS
With Spain and then America having
colonized the Philippines from the early
1500s to the late 1800s, it was
unavoidable that Western
compositional techniques found their
way into the works of Filipino
composers.
-Yet, even 20th century Filipino
composers have managed to retain
some traditional elements in their
assimilation of Western techniques. In
fact, they have become the strongest
foundations of what we now know as
Philippine music.
Francisco Beltran Buencamino Sr.
 Was born on November 5, 1883 in
Bulacan.
 He was the son of a musically
inclined couple.
 His father was Fortunato
Buencamino, a church organist and
band master. His mother was Luisa
Beltran, a noted singer.
 He studied music composition and
harmony at Liceo de Manila.
Unfortunately, he was not able to
finish.
 He taught at the Ateneo de Manila,
and at Centro Escolar de Señoritas
whose Conservatory of Music he
founded.
 He also created the Buencamino
Music Academy in 1930 where
Nicanor Abelardo was one of his
students.
 Expanding his career, he ventured
into musical directing and scoring,
and composing film music.
 Many of his piano works have
become a staple part of the
Philippine repertoire of today’s
young students, especially Mayon,
Larawan, and Maligayang Bati.
 He also wrote several zarzuelas and
kundimans.
 He passed away on October 16,
1952 after which a posthumous
award honored him with the title
“Outstanding Composer”.
Francisco S. Santiago
 was born on January 29, 1889 in Sta, Maria Bulacan to
a musically inclined parents Felipe Santiago and Maria
Santiago.
 He is known as the “Father of the Kundiman” and
belongs to the “Triumvirate of Filipino Composers.”
 He finished his music specialization at the American
Conservatory of Music in Chicago, where he obtained
his Doctorate Degree in 1924.
 Santiago’s music was Romantic in style, incorporating
Western forms and techniques with folk materials.
 He composed several works such as kundiman,
symphonies, piano concerto, and other music pieces
for the piano, violin, and voice.
 Among his famous works are Pakiusap,
Madaling Araw, Sakali Man, Hibik ng
Pilipinas, Ano Kaya ang Kapalaran, and
Kundiman (Anak Dalita).

 He was also a musical director for films.

Among the films whose music he
supervised were Kundiman, Leron Leron
Sinta, Madaling Araw, Manileña, and the
movie inspired by his own composition
Pakiusap.

 He became the first Filipino Director of

the UP Conservatory of Music.
Nicanor S. Abelardo
 Was born in San Miguel de Mayumo, Bulacan on February 7,
1893.
 He is one of the “Triumvirate of Filipino Composers” which
includes Antonio Molina and Francisco Santiago.
 He studied music at the Chicago Music College and was
influenced by the musical styles of Schoenberg, Hindemith
and Stravinsky.
 Abelardo developed a style that combined European
romanticism with chromaticism. His compositions contain
hazy tones, dissonance and unusual chordal combinations, as
seen in his works as Cinderella Overture, Panoramas, and a
violin sonata.
 Although a 20th century modern composer in style, he is also
considered a composer in the Romantic style. His best-known
compositions include Mutya ng Pasig, Nasaan Ka Irog,
Cavatina for Violoncello, and Magbalik Ka Hirang.
As a composition major at the University
of the Philippines, he also composed the
melody for the university’s official
anthem, U.P. Naming Mahal.
The main theater of the Cultural Center
of the Philippines (Tanghalang Nicanor
Abelardo) and the building housing the
College of Music in UP Diliman (N.
Abelardo Hall) are named in his honor.
He died on March 21, 1934.
Antonio J. Molina
 was born on December 26, 1894 in Quiapo
Manila.
 He is the first National Artist for Music, and
considered one of the “Triumvirate of
Filipino Composers” which includes Nicanor
Abelardo and Francisco Santiago.
 He began his music career as an orchestral
soloist at the Manila Grand Opera House.
 He served as Dean of the Centro Escolar
University Conservatory of Music from
1948 to 1970.
 He was also a faculty member of the
University of the Philippines’ Conservatory
(now College) of Music.
 Molina was a product of both the
Romantic and Impressionist schools of
thought.
 He was fascinated by the dynamics and
harmonies of Debussy, but retained
much of the Romantic style in his
melody.
 A characteristically impressionist work is
his piano work Malikmata
(Transfiguration). The mysteriously exotic
chords of this piece gradually lead to a
lyrical melody, with the traditional
harmonies abruptly returning to the
initial mood.
He is best known for his poignantly romantic
serenade for violin and piano Hatinggabi.
Others works by Molina include orchestral music –
Misa Antoniana Grand Festival Mass, Ang Batingaw,
Kundiman-Kundangan;
Chamber music – String Quartet, Kung sa Iyong
Gunita, Pandangguhan;
And vocal music – Amihan, Awit ni Maria Clara, and
Larawan Nitong PIlipinas
 was born on October 21,
1902 in Bacoor, Cavite.
 A composer, music teacher,
conductor, and clarinetist, he
created substantial works for
the orchestra.
 He served as conductor for
opera, ballet, dance recitals,
and movie music.
Hilarion Rubio
His early interest in music came from the
influence of his uncle who was then
playing with the Bacoor Band. His first
music lessons in music theory and clarinet
were with Fr. Amando Buencamino who
taught him solfeggio and some musical
instruments. When he was eight years old,
he was accepted as a member of the
Bacoor Band as a clarinetist.
 At that time, he made his first composition
“Unang Katas” for his concert with the band.
In his high school years at the North High
School (now Arellano High School), Rubio
became a member of several orchestras.
 He performed with various movie house
bands and orchestras. He was also a member
of the Lyric Theater Orchestra, Trozo Band in
Benavides Street, and the Band Moderna in
Tondo.
 After he graduated from high school in 1930,
he co-founded the Anak Zapote Band.
 He later became a bandleader and conductor of the ROTC
Band of the Conservatory of Music, University of the
Philippines (UP) and played the violin and timpani with the
UP Junior Symphony Orchestra.
 After his student years, Rubio became a conductor of opera at
the Manila Music School in 1936. He became the choirmaster
and choral conductor of the Choir Islanders. Also, he assumed
the position of instructor at the Conservatory of Music,
University of the Philippines. He was also a lecturer at the
Buencamino Music Academy, La Concordia College, College of
the Holy Spirit, Santa Isabel College, Laperal Music Academy,
Manila Music School, St. Theresa’s College, and the Valencia
Academy of Music. He became full professor of the UP
Conservatory of Music from 1936-1937. He was appointed
director of the Conservatory of Music, Centro Escolar
University in 1944-1945.
During the Second World War, Rubio
composed and arranged many works and
conducted many military and civilian brass
bands. After the war, he was appointed
conductor of the Manila Municipal
Symphony Orchestra. He held various
positions, including as Vice President of the
PASAMBAP (Pambansang Samahan ng mga
Banda sa Pilipinas), the National Band
Association, board and charter member of
the League of Filipino composers, and the
first President of the Philippine
Bandmaster’s Association. He was
conductor of the National Opera Company
for 23 years from 1937 to 1960
Rubio’s compositions include: Bulaklaken, Theme
and Variations for Band, Dance of the Nymphs
Rondo, Florente at Laura (overture), Halik, Danza,
Unang Katas, Twopart Invention (piano), Ang
Konsyerto (ballet), Ang Magsasaka, Bukang
Liwayway, Concertino in C (marimba and piano),
Filipinas Kong Mahal, Hatulan Mo Ako, Ginintuang
Araw, In a Tropical Sea, Light, Narra, Mutya ng
Silangan, To the Filipino Youth, Nela, National Heroes
Day Hymn, and Salamisim.
Col. Antonino Ramirez Buenaventura
 was born on May 4, 1904 in Baliuag, Bulacan. He
is a renowned composer, conductor, and teacher.
 His father Lucio was the chief musician of the
Spanish artillery band in Intramuros and founder
of Banda Buenaventura.
 As a young boy, he had already demonstrated a
passion for music while learning the rudiments
of music and solfeggio and becoming a proficient
clarinet player. Col. Buenaventura further
developed his musical abilities at the
Conservatory of Music, University of the
Philippines (UP) at the age of 19.
 He received a Teacher’s Diploma in
Science and Composition at UP.
 Nicanor Abelardo and Francisco
Santiago were among his famous
mentors.
 At the University, Buenaventura led
the UP ROTC Band and established the
UP Junior Orchestra which was the
first collegiate orchestra in the country.
 He pursued further studies at the
Institute of International Education in
New York. He was also awarded a
study grant by the UNESCO in 1949.
Buenaventura was
actively involved with
the various military
bands which ultimately
earned him his military
rank of Colonel. He was
a music instructor and
band conductor of the
Philippine Military
Academy (PMA).
Buenaventura was a faculty member of the UP Conservatory of
Music. Later, he became the music director of the Conservatory
of Music, University of Santo Tomas (UST) in 1961. After retiring
from the military, he became the music director at the School of
Music and Arts, University of the East (UE) in 1964. He promoted
Philippine music through his extensive use of folk materials
which he had recorded around the country with Ramon
Tolentino and National Artist for Dance Francisca Reyes Aquino.
Buenaventura composed the music and folk dance notations for
the dance researches of Aquino. As a multi-awarded musician,
he composed Minuet, Mindanao Sketches, Divertimento for
Piano and Orchestra, Variations and Fugue, and Greetings based
on Philippine folk music. Pandanggo sa Ilaw, one of his most
popular compositions, remains a favorite performance
repertoire of many folk dance companies. He was declared
National Artist for Music in 1988 and passed away in 1996.
RODOLFO S. CORNEJO
was born on May 15, 1909 in Singalong,
Manila. He started formal music lessons
at the age of six. He performed on stage
after only two years of music studies.
During this time, he was also invited as
organist of the Pasay Catholic Church. His
first composition at age 10 was a piano
piece entitled Glissando Waltz.
-He received his Bachelor of Music degree
major in piano and theory from the Chicago
Musical College of Roosevelt University, USA in
1932. He received a Master of Music degree
major in composition and conducting at the
Chicago Musical College of Roosevelt
University, USA in 1933. He received his Doctor
of Philosophy degree major in composition
from the Neotarian College of Philosophy in
Kansas City, USA in 1947.
Cornejo taught at the UP Conservatory of
Music and became the researcher and official
composer of the Philippine government-in-
exile.
Cornejo was also known for his
extemporaneous thematic improvisations
based on the letters of people’s names.
His compositional output includes A la
Juventud Filipina, Bailes de Ayer, Caprice
on a Folksong, Cello Sonata, Ibong Adarna,
Kandingan, Malakas at Maganda,
Overture, Okaka, Oriental Fantasy, Ibong
Adarna, Piano Concerto Nos. 1,2,3, Ruby,
and Song of the Miners. He passed away
on August 11, 1991.
Felipe Padilla De Leon
was born on May 1, 1912 in Barrio
Papaya (now General Tinio) in
Penaranda, Nueva Ecija. He is the son
of Juan de Leon and Natalia Padilla.
Felipe de Leon married pianist
Iluminada Mendoza with whom he
had six children. Bayani and Felipe Jr.,
are two of his children. Bayani is a
well-known composer, and Felipe Jr.
is a writer and the chairman of the
National Commission for Culture and
the Arts (NCCA).
-De Leon’s talent in painting and drawing was
discovered during his school days and
admired by his peers. People asked him to
make illustrations and sketches and was paid
for them.
-He decided to study formally and enrolled at
the Conservatory of Music, University of the
Philippines, where he studied under National
Artists Col. Antonio Buenaventura and
Antonio Molina. He graduated with a music
teacher's diploma, major in conducting in
1939.
Much later, he took advanced studies in composition
under Vittorio Giannini of the Julliard School of Music
in New York, USA. De Leon received many awards,
such as Composer of the Year (1949), Manila Music
Lovers Society, Musician of the Year (1958), UP
Conservatory of Music, and others. De Leon wrote
piano compositions, hymns, marches, art songs,
chamber music, symphonic poems, overtures, band
muic, school songs, orchestral works, operas,
kundiman, and zarzuelas. He was known as a
nationalist composer who expressed the Philippines'
cultural identity through his compositions.
Two operas which are considered his
masterpieces are the Noli Me Tangere (1957)
and El Filibusterismo (1970).
These two operas have been staged in the
Philippines and abroad. He also wrote a march
during the Japanese regime entitled Tindig,
Aking Inang Bayan, and another march Bagong
Lipunan during the martial law. He wrote the
popular Christmas carols Payapang Daigdig
(1946), Noche Buena, and Pasko Na Naman,
both in 1965.
Lucio San Pedro
was born on February 11, 1913 in
Angono, Rizal. Since his elementary
days, he started composing. He
studied the banjo which inspired him
to become a serious musician. He
later pursued his music degree at the
University of the Philippines and the
Juilliard School in New York, USA.
Upon returning to the Philippines, he
became a professor of theory and
composition at the University of the
Philippines’ College of Music.
San Pedro is known as a “romantic nationalist.” He
incorporated Philippine folk elements in his
compositions with Western forms and harmony. His
chords have a rich expressive tonality, as represented
in his well-loved Sa Ugoy ng Duyan, a lullaby melody
sung by his mother.
His orchestral compositions are best represented by
the Suite Pastorale (1956), a poetic aural description of
his hometown Angono, and his nationalistic symphonic
poem Lahing Kayumanggi(1962).
Other compositions include songs, pieces for violin,
cello, and chorus. His works for the symphonic band
was where he was most prolific and productive both as
composer and conductor.
His musical prowess was
internationally recognized
when he was invited to be
a judge at the prestigious
Van Cliburn International
Piano Competition in
1980. He was declared
National Artist for Music
in 1991 and passed away
on March 31, 2002.
ROSENDO E. SANTOS JR.
 Was born on September 3, 1922 in Cavite City. At age
11, he started composing band marches,
instrumental, and vocal scores, as well as music for
Catholic masses.
 He studied in Cavite schools and later graduated from
the UP Conservatory of Music where he eventually
became a faculty member. He also pursued a Master
of Music degree in theory and composition from the
Catholic University of America in Washington, D.C.
After which, he also served on its faculty as well as in
West Virginia University and Howard University.
As a UNESCO scholar, Santos was awarded the
“Philippine Composer of the Century” after receiving
the “Composer of the Year Award” in Manila in 1956
and 1957. He performed as timpanist, pianist, and
conductor with several orchestral groups.
-He conducted church choirs in Maryland, New Jersey,
Lehman, Huntsville, and Shavertown United Methodist
Churches in Pennsylvania, USA. He composed the
background music for J. Arthur Rank Films at Pinewood
Studios in London, England, where he worked with British
composers Malcolm Arnold and Muir Mathieson. Among
Santos’ teachers were famous composers Aaron Copland,
Irving Fine, Humphrey Searle, and conductor Norman Del
Mar.
-A prolific composer, he had composed several piano
concerti, sonatas, symphonies, symphonic poems, five
operas in Filipino, numerous band overtures, and more than
200 marches. He had also written 50 masses in Latin and 20
in English.
Dr. Alfredo Santos Buenaventura
Composer, conductor and teacher, was born in Sta.
Maria, Bulacan on October 14, 1929. He grew up in
a musical environment and became a band member
in his hometown at a young age. He was drawn by
his fascination with trumpets and trombones and
became one of its arrangers and conductors. He was
one of twenty boy sopranos of Tiples at Sto.
Domingo Church from where he received his first
significant musical training. At that time, he also
wrote his first composition, Danza.
A prolific composer, Buenaventura has
composed over 50 major works including five
full-length operas, operettas, dance dramas,
cantatas, symphonies, concertos, ballets,
overtures, prelude, fugues, and chamber
music. His compositions and other creative
works have transcended territorial, racial, and
language barriers as these have been
performed abroad by international virtuosi
and religious groups. Many of his
compositions are based on Filipino heroes,
legends, and epics. He uses native songs,
both tribal and folk, as themes of his music
compositions. A number of his compositions
are accompanied by Filipino indigenous
instruments.
Some of his major works include the operas Maria
Makiling (1961), Diego Silang (1966), Prinsesa
Urduha(1969),cantatas Ang Ating Watawat(1965), Pasko
ng Barangay (1964), three piano concertos subtitled
Celebration, Determination, and Exultation, and
symphonies such as Dakilang Lahi (1971), Gomburza
(1981), and Rizal, the Great Malayan Antagonist (1990).
His minor works numbering more than 50 cover mostly
religious songs and hymns for specific celebrations such
as the Sixteenth Centenary of St. Augustine, Mass for the
400th Year of the Augustinian Recollect, and the
Philippine Music Festival. His other creative musical
works have been commissioned by the Cultural Center of
the Philippines, Metropolitan Theater, and the National
Music Competitions for Young Artists (NAMCYA).
Buenaventura’s compositional style rests
mainly on his own set of musical ideas, wherein
he creates a combination of contemporary and
conventional materials. He keeps his melodies
simple and understandable but with
contemporary harmonies that enhance their
complexity. He became an official organist of
the Manila Cathedral in 1960. He became the
Dean of the College of Music, Centro Escolar
University. He is a member of the League of
Filipino Composers. He received a number of
awards in the music industry. He was twice an
awardee of the Republic Cultural Heritage
Award and the The Outstanding Filipino Award
(TOFIL) for Music in 19
Raymundo Cipriano “Ryan” Pujante Cayabyab
Is a popular contemporary
composer who also has classical
compositions to his credit, such
as Misa, Four Poems for Soprano
and Piano, and Te Deum. His
compositional style makes much
use of syncopation, extended
chords, and chromatic harmony.
-Among his numerous compositions are the award-
winning Kay Ganda ng Ating Musika (1978), as well as
the modern zarzuela Alikabok (2003), the opera
Spoliarium with libretto by Fides Cuyugan-Asensio,
and a variety of choral pieces and song cycles. He also
produced a number of recordings, including the
memorable album One, where he personally sang the
unaccompanied songs on different tracks to produce
16 voices.
Cayabyab was born on May 4, 1954 in Manila. He
obtained his Bachelor of Music degree at the
University of the Philippines’ College of Music. After
which, he became a faculty member for Composition
at the same University.
-He also served as the Executive and Artistic
Director of the San Miguel Foundation for the
Performing Arts, which oversaw the operations
and programming of the San Miguel
Philharmonic Orchestra and the San Miguel
Master Chorale. At present, he continues to be a
much sought-after professor, musical director,
composer, arranger, and conductor in the
Philippine concert and recording scenes.