new music composers
TRANSCRIPT
NEW MUSIC COMPOSERS
NEW MUSIC COMPOSERS
Incorporating traditional music forms as well as indigenous rhythms and instruments in their compositions.
JOSE MACEDA (1917 – 2004)
National Artist for Music
• Music studies;• Academy of Music in Manila. • Paris to study with Alfred Cortot. • USA with E. Robert Schmitz and • Earned a Doctorate Degree in
Ethnomusicology from UCLA.
• January 17, 1917 in Manila.
Maceda’s musical style:
– 1953, changed when he encountered the music of the indigenous tribes of Mindoro.
– Understanding and preservation of Filipino traditional music.
– Collection of recorded music taken from the remote mountain villages and far-flung inland communities.
– Compositional approach Western style.– Combined sounds of the environment
with ethnic instruments.
• Compositions were usually for large groups of musicians.
• Among his works are:– Ugma-Ugma (1963), a work for voice and ethnic instruments– Agungan (1975), a piece for six gong families– Pagsamba (1968), a musical ritual for a circular auditorium
using several ethnic percussion instruments– Cassettes 100 (1971), a composition for 100 cassette tape
recorders; and – Ugnayan (1974), an ethnic piece played at the same time
over several radio stations.
•
First Filipino avant garde composer. 1958, worked at a recording studio
in Paris, specialized in musique concrète.
He met Pierre Boulez, Karlheinz Stockhausen, and Iannis Xenakis, considered the musical giants of this musical genre.
1952 to 1990, Professor of Piano and Musicology at the College of Music, University of the Philippines.
• 1997, Executive Director of its Center for Ethnomusicology.
• National Artist for Music.• He passed away in Manila on May
5, 2004.
LUCRECIA R. KASILAG (1918 – 2008)
National Artist for Music
August 31, 1918 San Fernando, La Union.
Went to Manila to pursue a degree in Music at the Philippine Women’s University.
She then obtained her Master’s degree from the Eastman School of Music in New York, USA.
• Her compositions were influenced by her professors Irving McHose and Wayne Barlow.
• Music Style:– compositions demonstrated a fusion of
Eastern and Western styles in using instruments, melody, harmony, and rhythm.
– Incorporating indigenous Filipino instruments into orchestral productions.
• Former Dean, College of Music and Fine Arts, Philippine Women’s University..
• President, Cultural Center of the Philippines.
President and Music Director of the Bayanihan Dance Company.
Chairman, Asian Composers’ League and the League of Filipino Composers.
She is credited for having written more than 200 musical works, ranging from folksongs to opera to orchestral works, which she continued to compose for the rest of her life.
National Artist for Music in 1989.
Kasilag’s many compositions are:
• Toccata for Percussion and Winds (1959), composed for indigenous Muslim instruments and Western instruments;
• The Legend of the Sarimanok (1963), composed for chamber orchestra and Philippine ethnic instruments;
• Divertissement and Concertante (1960), compositions for piano and orchestra combining Western and Eastern forms, harmonies, and intervals; and
• Dularawan (1969), a musical drama combining a dance solo with a chorus and an ethnic orchestra. Her other works include compositions for piano, instrumental ensemble, and chorus.
RAMON P. SANTOS (1941 – )
National Artist for Music
• February 25, 1941 Pasig• Bachelor of Music degree,
College of Music, UP.• Master of Music degree,
Indiana University, USA. • Doctor of Philosophy degree
in Composition, State University of New York, USA.
• Graduate studies in Ethnomusicology, University of Illinois, USA.
• Compositional style:– chromaticism, – music seria, and – electronic components, combined with
indigenous Philippine music elements. • Dean, of the UP College of Music from
1978 to 1988. • Head of the UP Center of
Ethnomusicology.• Professor Emeritus of the same
institution. • He was conferred the title of National
Artist for Music in 2014.
• His works include:• Ding Ding Nga Diyawa, • Nabasag na Banga at Iba’t iba pang Pinag-
ugpong-ugpong na Pananalita sa Wikang Pilipino para sa Labing Anim na Tinig, and
• L’BAD. • He had done extensive research on the
gamelan music of Java as well as the traditional music of the Ibaloi, Maranao, Mansaka, Bontoc, Yakan, and Boholano tribes in the Philippines.
FR. MANUEL MARAMBA, OSB (1936
– ) • July 4, 1936 in Pangasinan. • accomplished musicians and
liturgists in the Philippines emerging during the second half of the 20th century.
• At age 11, first public performance at the Bamboo Organ in Las Piñas.
• At age 14, official accompanist of the Las Piñas Boys Choir.
• 1978, youngest finalist, National Music Competitions for Young Artists (NAMCYA) piano competition
• Full scholarship to the University for Music and Performing Arts in Graz, Austria.
• Degree of Master of Arts in Church Music.
• He also received a Teacher’s Certificate in Organ.
• His musical career led him to the United States, where he performed at Carnegie Hall at the age of 19.
• Bachelor of Music degree major in Piano at the Conservatory of Music, University of Sto. Tomas (UST), Fr. Maramba
• Studies abroad: • Master of Music degree, • Artist Diploma,• Bachelor of Music degree in Composition,
and• Teacher’s Certificate in Theory from the
Peabody Conservatory of Johns Hopkins University, USA.
• Master’s degree of Musical Arts in Performance from Yale University’s School of Music, USA.
• He also studied sacred music at the Kirchenmusikschule in Regensburg, Germany.
• He took further lessons in piano, organ, and the harpsichord at the Hochschule fur Musik in Vienna, Austria.
• Fr Maramba is a monk at Our Lady of Montserrat Abbey in Manila.
• Former director, Paul VI Institute of Liturgy in Malaybalay, Bukidnon during which he composed the music for the papal mass.
• A prominent canon lawyer, National Appellate Matrimonial Tribunal.
• Faculty member, UST Conservatory of Music, St. Scholatica’s College, and Sta. Isabel College.
• Composed operas:– Aba!, Sto. Nino, La Naval, and Lord Takayama Ukon.
• Other major compositions are the music for Awakening which was commissioned by Ballet Philippines and music for Philippine Ballet Theater’s production of Seven Mansions
• three masses: – Papal Mass for World Youth Day, 1995;– Mass in Honor of St. Lorenzo Ruiz, and – the Mass in Honor of the Sto. Nino;
• Three cantatas • St. Lorenzo Ruiz, • St. Benedict, and • St. Scholastica
• Three Psalms; • A hymn in honor of St. Lorenzo Ruiz, and
the• official hymn of the 1996 National
Eucharistic Congress; • a zarzuela entitled Ang Sarswela sa San
Salvador • Three orchestral works
• Pugad Lawin, • The Virgin of Naval, and Transfiguration.
JERRY DADAP (1935 – )
• November 5, 1935 in Hinunangan, Southern Leyte.
• First Filipino composer to conduct his own works at the Carnegie Recital Hall in New York City.
• 1964, Bachelor’s Degree in Music, major in Composition at the Conservatory of Music, (UP)
• In 1968, (USA) study-observation grant from the Music Promotion Foundation of the Philippines.
• 1969-1971, full scholarship grant from the United Presbyterian Church of USA.
• Postgraduate Diploma in Composition at the Mannes College of Music in New York, USA.
• 1971, he taught composition, ear training, and orchestration at the Sta. Isabel College of Music in Manila.
• Started composing when he was still studying at Silliman University in the southern city of Dumaguete.
• Among his numerous compositions are:– The Passionate and the Wild (1960),– Mangamuyo I (1976) and – Mangamuyo II (1977), – The Redemption (1974), – Five Little Fingers (1975), – Tubig ng Buhay (1986), – Dakilang Pagpapatawad (1986),
– Andres Bonifacio,– Ang Dakilang Anak Pawis,– Ang Pag-ibig ng Diyos, – Balitaw Nos. 1-7, – Lamang Epic, – Lorenzo Ruiz, – Chorale Symphonic Ode Nos. 1 and 2,– Aniway at Tomaneg, – Song Cycle, Nos. 1-4, – Choral Cycle Nos. 1-3, and – Diyos Ama ay Purihin
• His major works as composer-conductor were performed at the concert “LAHI” that featured works by local major composers.
FRANCISCO F. FELICIANO (1942 – 2014)
National Artist for Music
• February 19, 1942 in Morong, Rizal.
• avant garde composer and conductor for band and chorus.
• Morriz Band, a brass ensemble established and owned by his father, Maximiano Feliciano
• Music career, high school band (cymbals and the clarinet)
• 1964, Teacher’s Diploma in Composition and Conducting at the Conservatory of Music, UP.
• 1967, Bachelor of Music degree major in Composition.
• Subsequent degrees:– Master in Music Composition UP.– Diploma in Music Composition from the
Hochschule der Kunst in Berlin, Germany.
– Master of Musical Arts and Doctorate in Music Composition from Yale University School of Music, USA.
– He studied composition with Jacob Druckman, Isang Yun, H.W. Zimmerman and Krystof Penderecki.
• Choir conductor and instructor in music fundamentals at St. Andrews Seminary in Quezon City.
• Instructor, UP Conservatory of Music and conducted the UP Symphony Orchestra.
• musical director of the movie Ang Bukas ay Atin and provided orchestration for a number of musical productions including My Fair Lady and various Philippine productions.
• 30 major works, including the musical dramas:– Sikhay sa Kabila ng Paalam – Ashen Wings,– the monumental three-act opera La Loba
Negra (1984).
• He also wrote music for the orchestra such as: - Prelude and Toccata (1973)– Fragments(1976) – Life of Wartime Filipino Hero Jose Abad
Santos– Ballet Yerma (1982)
• Other large works are:- Transfiguration and Missa Mysterium
for orchestra and large chorus.
• Several prize winning works:– Pokpok Alimpako, (a favorite piece of
choirs in international choral competitions)
– Salimbayan, Umiinog– Walang Tinag (Perpetuum I mobile)
which was premiered at the ISCM Festival in New York City, USA.
• His latest choral works,Pamugún and Restless, have been performed by Filipino choirs in various choral festivals in Europe.
• 1977, John D. Rockefeller III Award in Music Composition.
• Feliciano composed hundreds of liturgical pieces, mass settings, hymns, and songs for worship.
• He founded the Asian Institute for Liturgy and Music (AILM) in Quezon City, a school for church musicians, and supervised the publication of a new Asian hymnal containing mostly works of Asian composers.
• 2014, title of National Artist for Music.
• He died on September 19, 2014.
JOSEFINO TOLEDO (1959 – )
• Josefino “Chino” Toledo is a recognized figure in the Asian contemporary art music scene.
• Master of Music degree from the Cleveland Institute of Music, USA.
• Among his awards are the following: • “Ten Outstanding Young Men” (TOYM)• “International Award for the Arts” • “Civitella Ranieri Fellowship in Italy”• “Chancellor Awards for Outstanding
Musical Works,” University of the Philippines.
• 1966 to 1979, Pangkat Kawayan (a bamboo orchestra).
• 1977-1978, Philippine Youth Orchestra (PYO).
• 1980-1983, Principal percussionist of the Manila Symphony Orchestra.
• 1985, Music director and principal conductor.
• He attended the 1984 International Computer Music Conference in France.
• He was the country’s representative to the 1980 Young Composers Conference in HongKong, • ASEAN Composers Forum on Traditional
Music in 1989 (Philippines) • 1993 (Singapore)• 1995 ASEAN Composers Workshop
(Indonesia),• 1996 International Composers Workshop
(Gaudeamus, Amsterdam).
• 1990 Pacific Music Festival and Pacific Composers Conference (Japan).
• Music Professor at the College of Music, (UP).
• Founding music director of the Metro Manila Community Orchestra, • UP Festival Orchestra, and the • Crosswave Symphony Orchestra.
• He is noted for conducting the premiere performances of the works of Filipino composers as well as other Asian composers.
• His own music, including works• for chorus, • orchestra, • chamber ensemble, • solo instrument, and • music theater have been performed by
well-known international artists and ensembles.
JONAS BAES (1961 – )
• Los Baños, Laguna in 1961.
• He enrolled at the College of Music, University of the Philippines (UP) in 1977 as a student of Ramon P. Santos.
• he encountered the works of Jose Maceda and attended several seminar-workshops of visiting lecturers.
• He researched on the music of the Iraya-Mangyan people of Mindoro, which later became the inspiration for his compositions.
• From 1992- 1994, he studied with Mathias Spahlinger in Freiburg, Germany.
• known for writing music utilizing unorthodox musical instruments such as:• beanpod rattles, leaves, iron-nail chimes,
• various Asian instruments such as:• bamboo scrapers, bamboo flutes, and vocal
music using Asian vocal techniques. • His early works in the 1980s were
influenced by Maceda in the use of large numbers of performers.
• 1990s, he experimented with various methods by which the audience became integral in the performance.
• Baes’ musical compositions include: • Imagined Community• After Benedict Anderson for four bamboo
scrapers• Bamui trail caller• Sarunai for oboe• Khaen for mouth organ
• about a hundred iron nail chimes distributed among the audience; • 1997/2001; • WALA (Nothingness) for seven or
hundreds of men’s voices 1997/2001; • DALUY (Flow)interval music for five
animator-percussionists and about a hundred bird whistles distributed among the audience, 1994;
• IBO-IBON (birdwoman)for dancer wearing small bells, two large wind chimes passed around the audience, four animatorcallers, and iron nail chimes played by the audience (1996);
• SALAYSAY, for solo voice, three percussionists, and pairs of pebbles distributed among the audience;
• PATANGISBUWAYA (and the crocodile weeps) for four sub-contrabass recorders or any blown instruments 2003;
• PANTAWAG (music for calling people) for 15 bamboo scrapers, 15 palm leaves, and 20 muffled “forest” voices 1981; and
• BASBASAN (blessing) for 20 bean-pod rattles and 20 muffled men’s voices 1983.
• Gawad Chancellor para sa Pinakamakusay na Mananaliksik (Hall of Fame, 2003) UP.
• Current Associate Professor, in Composition and Theory at the UP College of Music as well as an ethnomusicologist, cultural activist, and writer.
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