Name of the composer
JOSE MACEDA (1917 – 2004)
Jose Maceda was born in Manila
on January 17, 1917. He started
his music studies at the
Academy of Music in Manila.
Later, he went to Paris to study
with Alfred Cortot.
He passed away in Manila on
May 5, 2004
LUCRECIA R. KASILAG (1918 –
2008)
Lucrecia R. Kasilag was born in
San Fernando, La Union on
August 31, 1918. She went to
Manila to pursue a degree in
Music at the Philippine Women’s
University.She
thenobtainedherMaster’sdegree
from the Eastman School of
Music in New York, USA.
Notable achievements Compositions
He eventually pursued His compositions were usually for
advanced studies in the USA large groups of musicians. Among his
with E. Robert Schmitz and works are Ugma-Ugma (1963), a work
earned a Doctorate Degree for voice and ethnic
in Ethnomusicology from instruments;Agungan(1975), a piece
UCLA. for six gong families;Pagsamba
His extensive research and (1968), a musical ritual for a circular
fieldwork resulted in an auditorium using several ethnic
immense collection of percussion instruments; Cassettes
recorded music taken from 100 (1971), a composition for 100
the remote mountain cassette tape recorders; and Ugnayan
villages and far-flung inland (1974), an ethnic piece played at the
communities in the same time over several radio stations.
Philippines.
Considered as the first
Filipino avant garde
composer, he also worked
at a recording studio in Paris
in 1958 which specialized in
musique concrète. During
this period, he met Pierre
Boulez, Karlheinz
Stockhausen, and Iannis
Xenakis, considered the
musical giants of this
musical genre.Maceda
served as Professor of Piano
and Musicology at the
College of Music, University
of the Philippines from 1952
to 1990. He was appointed
Executive Director of its
Center for Ethnomusicology
in 1997. In the same year,
he was conferred the honor
of National Artist for Music.
She was equally admired in Her compositions were influenced by
the academe as a former her professors Irving McHose and
Dean of the College of Wayne Barlow. Kasilag’s
Music and Fine Arts, compositions demonstrated a fusion
Philippine Women’s of Eastern and Western styles in
University. In the cultural using instruments,melody,harmony,
field, she was the President and rhythm.She isparticularlyknown
of the Cultural Center of the forincorporating indigenous Filipino
Philippines. In the dance instruments into orchestral
circles, she was the productions.
President and Music Among Kasilag’s many compositions
She passed away in Manila in
August 2008.
JERRY DADAP (1935)
Jerry Dadap, the first Filipino
composer to conduct his own
works at the Carnegie Recital
Hall in New York City, was born
on November 5, 1935 in
Hinunangan, Southern Leyte. He
earned his Bachelor’s Degree in
Music, major in Composition at
the Conservatory of Music,
University of the Philippines (UP)
in 1964.
In 1968, he went to the USA on a
study-observation grant from
the Music Promotion
Foundation of the Philippines.
While there, he received a full
scholarship grant from the
United Presbyterian Church of
USA from 1969 to 1971.
FR. MANUEL MARAMBA, OSB
(1936)
He was born on July 4, 1936 in
Pangasinan.
When he was 11 years old, he
gave his first public performance
at the Bamboo Organ in Las
Piñas. He became the official
accompanist of the Las Piñas
Boys Choir at 14 years old. He
Director of the Bayanihan
Dance Company. She also
served as Chairman of the
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. For all
these outstanding
achievements, she was
conferred the title of
National Artist for Music in
1989.
he obtained his
Postgraduate Diploma in
Composition at the Mannes
College of Music in New
York, USA. Upon his return
to the Philippines in 1971,
he taught composition, ear
training, and orchestration
at the Sta. Isabel College of
Music in Manila.
Dadap started composing
when he was still studying
at Silliman University in the
southern city of Dumaguete.
His major works as
composer-conductor were
performed at the concert
“LAHI” that featured works
by local major composers.
Fr. Manuel Perez Maramba,
OSB is one of the most
accomplished musicians and
liturgists in the Philippines
emerging during the second
half of the 20th century.
After finishing his Bachelor
of Music degree major in
Piano at the Conservatory of
Music, University of Sto.
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.
Dadap 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.
He has composed operas like Aba!,
Sto. Nino, La Naval, and Lord
Takayama Ukon. His other major
compositions are the music for
Awakening which was commissioned
by Ballet Philippines and music for
Philippine Ballet Theater’s production
ofSeven Mansions; three masses –
Papal Mass for World Youth Day,
1995; Mass in Honor of St. Lorenzo
was the youngest finalist to
participate in the National Music
Competitions for Young Artists
(NAMCYA) piano competition in
1978. Immediately after high
school, he was sent on full
scholarship to the University for
Music and Performing Arts in
Graz, Austria. There, he earned
with distinction the 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.
RAMON P. SANTOS (1941)
Ramon P. Santos was born in
Pasig on February 25, 1941. He
completed his Bachelor of Music
degree at the College of Music,
University of the Philippines. He
finished his Master of Music
degree at Indiana University,
USA. He had also pursued
graduate studies in
Ethnomusicology at the
University of Illinois, USA.
At present, he is the head of the
UP Center of
Ethnomusicologyand was
appointed Professor Emeritus of
the same institution.
FRANCISCO F. FELICIANO (1942
– 2014)
Francisco F. Feliciano, avant
garde composer and conductor
for band and chorus, was born
on February 19, 1942 in Morong,
Rizal. His first exposure to music
was with the Morriz Band, a
brass ensemble established and
owned by his father, Maximiano
Feliciano. He started his music
career in the high school band
where he had played the
cymbals and the clarinet.
Tomas (UST), Fr. Maramba
pursued his studies abroad
where he received his
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. He received a Master’s
degree of Musical Arts in
Performance from Yale
University’s School of Music,
USA.
He received his Doctor of
Philosophy degree in
Composition at the State
University of New York,
USA.
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.
He was conferred the title of
National Artist for Music in
2014.
Feliciano became the choir
conductor and instructor in
music fundamentals at St.
Andrews Seminary in
Quezon City. He became an
instructor at the UP
Conservatory of Music and
conducted the UP
Symphony Orchestra. He
was the musical director of
the movie Ang Bukas ay Atin
and provided orchestration
for a number of musical
productions including My
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, and three orchestral works
– Pugad Lawin, The Virgin of Naval,
and Transfiguration.
Santos’ compositional
stylefeatureschromaticism,
musicseria,andelectroniccomponents,
combined with indigenous Philippine
musicelements. His worksincludeDing
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.
Feliciano composed more than 30
major works, including the musical
dramas Sikhay sa Kabila ng Paalam,
Ashen Wings, and the monumental
three-act opera La Loba Negra (1984).
He also wrote music for the orchestra
such asPrelude and
Toccata(1973),Fragments(1976),Life
of Wartime Filipino Hero Jose Abad
Santos, and the ballet Yerma (1982).
Among his other large works are
Transfiguration and Missa Mysterium
for orchestra and large chorus. He
has composed several prize winning
Feliciano obtained his Teacher’s
Diploma in Composition and
Conducting at the Conservatory
of Music, University of the
Philippines (UP) in 1964, and a
Bachelor of Music degree major
in Composition in 1967.
Subsequent degrees include a
Master in Music Composition
from the University of the
Philippines, a Diploma in Music
Composition from the
Hochschule der Kunst in Berlin,
Germany, and a 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.
He died on September 19, 2014.
JOSEFINO TOLEDO (1959)
Josefino “Chino” Toledo is a
recognized figure in the Asian
contemporary art music scene.
Toledo is a Music Professor at
the College of Music, University
of the Philippines (UP). He is the
founding music director of the
Metro Manila Community
Orchestra, the UP Festival
Orchestra, and the Crosswave
Symphony Orchestra.
Fair Lady and various works such as Pokpok Alimpako, (a
Philippine productions. favorite piece of choirs in
He founded the Asian international choral competitions),
Institute for Liturgy and Salimbayan, Umiinog, and Walang
Music (AILM) in Quezon Tinag (Perpetuum I mobile) which
City, a school for church was premiered at the ISCM Festival in
musicians, and supervised New York City, USA. His latest choral
the publication of a new works,Pamugúnand Restless, have
Asian hymnal containing been performed by Filipino choirs in
mostly works of Asian various choral festivals in Europe.
composers. He was
conferred the title of
National Artist for Music in
2014.
He received his Master of He is noted for conducting the
Music degree from the premiere performances of the works
Cleveland Institute of Music, of Filipino composers as well as other
USA. Among his awards are Asian composers. His own music,
the following: “Ten including works for chorus, orchestra,
Outstanding Young Men” chamber ensemble, solo instrument,
(TOYM); “International and music theater have been
Award for the Arts”; performed by well-known
“Civitella Ranieri Fellowship international artists and ensembles.
in Italy”; and the
“Chancellor Awards for
Outstanding Musical
Works,” University of the
Philippines.
A principal percussionist of
the Manila Symphony
Orchestra in 1980-1983, he
later became music director
and principal conductor in
1985. He attended the 1984
International Computer
Music Conference in France.
He was the country’s
representative to the 1980
Young Composers
Conference in HongKong,

JONAS BAES (1961)
Jonas Baes was born in 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.While
at UP, 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 19921994, he studied with
Mathias Spahlinger in Freiburg,
Germany.
Baes is known for writing music
utilizing unorthodox musical
instruments such as beanpod
rattles, leaves, iron-nail chimes, and
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.
In the 1990s, he experimented with
various methods by which the
audience became integral in the
performance. It was also typical for
social theory to influence the work
of Baes who has made a mark on
contemporary music and cultural
politics in the Asian region.
the ASEAN Composers
Forum on Traditional Music
in 1989 (Philippines) and
1993 (Singapore), the 1995
ASEAN Composers
Workshop (Indonesia), and
the 1996 International
Composers Workshop
(Gaudeamus, Amsterdam).
He was also a fellow at the
1990 Pacific Music Festival
and Pacific Composers
Conference (Japan).
Baes received the Gawad
Chancellor para sa
Pinakamakusay na
Mananaliksik (Hall of Fame,
2003) from the University of
the Philippines. He is
currently an Associate
Professor in Composition
and Theory at the UP
College of Music as well as
an ethnomusicologist,
cultural activist, and writer.
Some of Baes’ musical compositions
include: Imagined Community, after
Benedict Anderson for four bamboo
scrapers, bamui trail caller, sarunai
for oboe, khaen for mouth organ, and
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.
 New
Music
Composers
By: Klaire Audrey Patulot
10-Diamond

To: Sir Obet C. Hernandez

Mapeh Teacher