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 Incorporating traditional music forms

as well as indigenous rhythms and
instruments in their compositions.
(1917 – 2004)
National Artist for
• January 17, 1917 in Manila.

• 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.
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
– 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
• National Artist for Music.
• He passed away in Manila on May 5,
(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
 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
• 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
 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.
(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
• 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.
• 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,
• Degree of Master of Arts in Church Music.
• He also received a Teacher’s Certificate in
• 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,
• 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
• 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
• a zarzuela entitled Ang Sarswela sa San
• Three orchestral works
• Pugad Lawin,
• The Virgin of Naval, and Transfiguration.

• 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,
• 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,
• 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.
(1942 – 2014)
National Artist for Music

• February 19, 1942 in Morong,

• avant garde composer and
conductor for band and
• 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
• 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
• 30 major works, including the musical
– 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
– 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
• 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
• 2014, title of National Artist for Music.
• He died on September 19, 2014.

• 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
• 1977-1978, Philippine Youth Orchestra
• 1980-1983, Principal percussionist of the
Manila Symphony Orchestra.
• 1985, Music director and principal conductor.
• He attended the 1984 International Computer
Music Conferencein France.
• He was the country’s representativeto the
1980 Young Composers Conference in
• ASEAN Composers Forum onTraditional Music
in 1989(Philippines)
• 1993 (Singapore)
• 1995 ASEAN ComposersWorkshop (Indonesia),
• 1996 International ComposersWorkshop
• 1990 Pacific Music Festival and Pacific
Composers Conference (Japan).
• Music Professor at the College of Music,
• 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
• 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.

• Los Baños, Laguna in

• 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
• 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
• 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.