PHILIPPINE CHORAL MUSIC A C G S W C BETWEEN 1900 …rizalls.lib.admu.edu.ph:8080/proquestfil/3433197.pdfCHAPTER 2: STREAMS OF PHILIPPINE CHORAL TRADITIONS 8 The First Stream: European

PHILIPPINE CHORAL MUSIC: A CONDUCTOR’S GUIDE TO SELECTED WORKS COMPOSED BETWEEN 1900 AND 2010

by

Eliezer Garanchon Yanson Jr.

Bachelor of Music Bob Jones University, 1998

Bachelor of Theology

Baptist Bible Seminary & Institute, 2001

Master of Music Bob Jones University, 2000

____________________________________________

Submitted in Partial Fulfillment of the Requirements

For the Degree of Doctor of Musical Arts in the

School of Music

University of South Carolina

2010

Accepted by:

Larry Wyatt, Major Professor

Samuel Douglas, Committee Member

Tina Milhorn-Stallard, Committee Member

Gary Beckman, Committee Member

Timothy Mousseau, Dean of the Graduate School

UMI Number: 3433197

All rights reserved

INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.

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Copyright © 2010 by Eliezer G. Yanson Jr. All rights reserved

ii

iii

FOREWORD

This document is part of the dissertation requirement for the Doctor of Music Arts degree

in Performance. The major portion of the dissertation consists of four public recitals.

Copies of the recital programs are bound at the end of this paper, and recordings of the

recitals are on file in the Music Library.

To our daughter, Isabella, and especially to my wife, Martha

iv

ACKNOWLEDGEMENTS

Having earned all of my music degrees from American institutions, I had

never really studied music from the country of my birth, the Philippines. This project

opened my eyes to the wonderful music Filipino composers have to offer. It also

made me grateful for my rich heritage and colorful culture.

I would like to express my deepest appreciation to my professor and

committee chair, Dr. Larry Wyatt, for his supervision, guidance, and advice. His

instructive comments and evaluation were very helpful in making my work of quality

scholarship. I would also like to thank my committee members, Dr. Samuel Douglas,

Dr. Tina Milhorn-Stallard, and Dr. Gary Beckman. Each individual provided insights

and suggestions that guided and challenged my thinking, substantially improving the

finished product.

Additionally, I would like to express gratitude to Dr. Joel Navarro of Calvin

College, who assisted me in creating the framework for this dissertation. I would also

like to thank Mr. Jared Mongcal, my research assistant in the Philippines, for

acquiring materials needed for this project.

My sincerest appreciation goes to the publishers, organizations, and

composers for granting me permission to include their music in my dissertation: All

Together Now, ASTRUM Music Publications (Slovenia), University of the

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Philippines Center for Ethnomusicology Department, Silliman University

Foundation, Ramon Santos, Josefino Chino Toledo, Ryan Cayabyab, and Nilo Alcala.

I would like to thank my parents and siblings for their encouragement and

support. My deepest gratitude goes to my wife, Martha, who took this journey with

me. I am grateful for her understanding, love, support, and assistance.

Finally, I praise and thank God for His goodness, faithfulness, mercy, and

grace He has shown me through all these years. Soli Deo Gloria!

ABSTRACT

The Philippines is a country that possesses unique choral traditions, excellent

choirs, and fascinating composers. Along with deep tribal roots, the musical practices

of the Philippines are heavily influenced by European and American traditions. This

fusion of influences creates a style that is distinctly Filipino. Performances of

Philippine choral music on international stages have caught the attention of choral

enthusiasts, resulting in the publication of some of these works. Many other works

remain unpublished. This research, geared towards the choral conductor and music

educator, provides historical information on Philippine choral traditions, a discussion

of performance practice, and a guide to Philippine diction. An important aspect of

this research is an annotated choral works list, both published and unpublished, on

selected Philippine choral literature. This list aims to help the discriminating

conductor choose from a wide array of literature for concert programming. Among

the compositions featured are the masterworks of Marcelo Adonay, Lucio San Pedro,

Felipe de Leon, Lucrecia Kasilag, Jose Maceda, Francisco Feliciano, Ramon Santos,

Josefino Chino Toledo, Federico Razon, Ryan Cayabyab, John Pamintuan, and Nilo

Alcala.

vii

TABLE OF CONTENTS FOREWORD iii DEDICATION iv ACKNOWLEDGEMENTS v ABSTRACT vii LIST OF MUSICAL EXAMPLES ix GLOSSARY xi

CHAPTER 1: INTRODUCTION 1

Purpose of the study 3 Need for the study 3 Limitations of the study 3 Methodology 4 Literature Review 5

CHAPTER 2: STREAMS OF PHILIPPINE CHORAL TRADITIONS 8

The First Stream: European Choral Tradition 9 The Second Stream: Departure from European Style 24 The Third Stream: Incorporation of Indigeneity with Modernity 36 The Fourth Stream: Eclecticism 47

CHAPTER 3: ANNOTATED CHORAL WORKS LIST 62

CHAPTER 4: CONCLUSION AND RECOMMENDATIONS 97

BIBLIOGRAPHY 102 APPENDICES

Philippine Diction Issues 104

A List of Philippine Choirs 105 Books, Thesis, and Dissertations on Philippine Ethnomusicology 108

viii

LIST OF MUSICAL EXAMPLES Example 2.1 Du Mont’s motive as applied to Adonay’s Kyrie 12

Example 2.2 Adonay, Pequeña Misa Solemne, “Gloria,” mm. 1-9 12

Example 2.3 Adonay, Pequeña Misa Solemne, “Gloria,” mm. 10-24 13

Example 2.4 San Pedro, Suite Pastorale, “Sa Ugoy ng Duyan,” mm. 1-8 16

Example 2.5 San Pedro, Suite Pastorale, “Sa Ugoy ng Duyan,” mm. 9-16 17

Example 2.6 De Leon, Payapang Daigdig, mm. 1-13 19

Example 2.7 De Leon, Payapang Daigdig, mm. 69-78 20

Example 2.8 San Pedro, Payapang Daigdig, mm. 1-16 21

Example 2.9 Magdamo, arr. Ili-ili, Tulog Anay, mm. 20-25 23

Example 2.10 Maceda, Ugma-Ugma, mm. 1-43 26

Example 2.11 Maceda, Ugma-Ugma, mm. 156-159 28

Example 2.12 Kasilag, De Profundis, “Out of the Depths,” mm. 1-14 31

Example 2.13 Kasilag, De Profundis, “The Beatitudes,” mm. 1-16 32

Example 2.14 Kasilag, De Profundis, “To Our God,” mm. 1-8 33

Example 2.15 Feliciano, Pamugun, mm. 50-55 35

Example 2.16 Santos, Ding Ding Nga Diyawa 38



ix

x

Example 2.19 Toledo, Alitaptap, mm. 1-2 42

Example 2.20 Toledo, Alitaptap, mm. 3-5 43

Example 2.21 Federizon, Gabaq-an, mm. 1-2 45



Example 2.24 Cayabyab, Misa, “Kyrie,” mm. 1-12 50

Example 2.25 Cayabyab, Misa, “Kyrie,” mm. 35-37 51

Example 2.26 Pamintuan, Pater Noster, mm. 1-14 54

Example 2.27 Pamintuan, Pater Noster, mm. 15-34 55

Example 2.28 Alcala, Papanok A Lakitan, mm. 9-16 57

Example 2.29 Alcala, Papanok A Lakitan, mm. 93-96 58

GLOSSARY

agung: term for knobbed gong with deep, slightly turned in rims; found in

southern Philippines. Also spelled agong. gabbang: a bamboo xylophone with 3 to 22 keys of graduated lengths (depending on

the tribe) mounted on a trapezoidal box; found in southern Philippines among the Yakan, Samal, Tausug, and Palawan tribes.

gandingan: large (c. 50 cm. in diameter) bossed gongs with shallow, slightly turned in

rims; found among the Maguindanao tribe of southern Philippines. kubing: term for Jaw harp in southern Philippines. It is kuding in northern

Philippines. kulintang: a row of 5-11 bossed gongs of graduated sizes laid on a wooden frame;

found in southern Philippines. tongatong: bamboo stamping tube

xi

CHAPTER 1

INTRODUCTION

The emergence of Philippine choral music to the international choral scene was

not an immediate process. Philippine choirs introduced choral music by Filipino

composers through performances, not only in their native land but in Europe, the United

States, and Asia. In Europe, most Philippine choirs compete in the continent’s most

prestigious choral competitions, such as the International Guido d’Arezzo Polyphonic

Contest (Italy), Béla Bartok International Choir Competition (Hungary), Cesare Augusto

Seghizzi Competition (Italy), Tolosa Choral Competition (Spain), Tours Vocal

Competition (France), and the International May Choir Competition (Bulgaria).1 The

grand prize winner of each of these competitions competes the following year in the

European Grand Prix for Choral Singing.

Among the Philippine choirs that competed in the European Grand Prix for

Choral Singing are the Philippine Madrigal Singers, University of Santo Tomas Singers,

and the Ateneo College Glee Club. Only the Philippine Madrigal Singers have emerged

as the Grand Prize winner, not once, but twice in 1997 and 2007. These choirs always

include choral music by Filipino composers in their repertoire, thereby, introducing

Philippine choral music to audiences, fellow competitors, and adjudicators.

1 In 2008, the C.A. Seghizzi Competition ceased its participation in the European Grand Prix. It was replaced by the International Choral Competition Maribor (Slovenia).

1

The Philippine Madrigal Singers’ first exposure to the international choral scene

was in 1969, when they were invited to perform at the International University Choral

Festival at Lincoln Center in New York.2 In 1993, they presented a concert at the national

convention of the American Choral Directors Association (ACDA) in San Antonio,

Texas. The only other Philippine choir that has sung at an ACDA national convention is

the Philippine Chamber Singers - Los Angeles. This community-based singing

organization performed an all-Filipino program in Miami in 2007. Aside from these two

ensembles, many college and university-based choirs tour the United States regularly,

such as the University of the Philippines Concert Chorus, University of the Philippines

Singing Ambassadors, University of Santo Tomas Singers, and the Ateneo Chamber

Singers. These choirs perform in states where there is a huge Filipino population such as

California, Hawaii, New York, New Jersey, Texas, and Illinois.

In Asia, Philippine choirs often are invited to tour and participate in choral

competitions and festivals. Japan, South Korea, Taiwan, and Indonesia are among the

Asian countries that have been frequented by Philippine choirs. During the 7th World

Symposium of Choral Music, held in Kyoto, Japan, the Philippines’ San Miguel Master

Chorale was among the choirs invited to perform.

With these worldwide performances, works by Filipino composers have caught

the attention of choral conductors and music educators. Composers such as Francisco

Feliciano, Josefino Toledo, Robin Estrada, Federico Razon, Joel Navarro, Fidel Calalang,

John Pamintuan, Nilo Alcala, and Ryan Cayabyab have written choral works that have

2 Paul Cutts, "Cultural Ambassadors." Choir & Organ 7, no. 1 (January 1999): 25. Academic Search Premier, EBSCOhost (accessed April 25, 2009).

2

been performed not only by Philippine choirs, but choirs from other countries as well.

Several of these works have been published, but many have not.

Purpose of the Study

The purposes of this study are threefold: First, to expose the four streams of

Philippine choral traditions from the late nineteenth century to the present; second, to

introduce choral conductors and music educators to choral literature by Filipino

composers written between 1900 and 2010; and third, to provide a guide to performing

Philippine choral music through a discussion of performance practices and linguistic

issues.

Need for the Study

Non-Philippine choirs have been performing works by Filipino composers in

school concerts, music festivals, competitions, and conventions on almost every

continent. Since resources on Philippine choral music are very limited, there is a need to

provide choral conductors and music educators resources to help them in performing

Philippine choral music.

Limitations of the Study

The biographies of the composers presented in this study are not exhaustive but a

brief sketch of their education, career highlights, and present occupation, if applicable.

The compositions featured are not in-depth analyses, but an overview of the

compositional styles of each composer.

3

Methodology

The methods for this research have been heavily based on historical research,

interviews, correspondence, and acquisition of manuscript copies and published scores

from the composers or publishers. Unpublished manuscript copies that are housed in

Philippine libraries, as well as publications only distributed in the Philippines and Asia,

were accessed in person by this author. A guide to Philippine diction is discussed in the

appendix.

The annotated works list is arranged alphabetically by composer. It is provided in

this format:

Composer: Names and Dates

Title: Includes date of composition. Translations of titles provided in parenthesis. Life: A brief biographical sketch for each composer.

Duration: Approximate duration based on available recordings.

Text: Source of text supplied, which may include author, title, and dates. Language: More than one language indicates a polylingual

composition. Languages in parenthesis indicate the translation(s) provided.

Voicing: Choral forces are listed by abbreviations for voice parts. Soloists: Soloists are identified by voice parts.

Accompaniment: “Unaccompanied” if no instruments are employed.

Publisher: The name of publishing company and the date of publication are provided, if known. Pub. No: Publisher’s order number is provided when available.

4

Notes: Information on premiere performance in the Philippines and first international performance and information about the composition. Performance Issues: Descriptive analysis, evaluation, and supplementary data of the work. Selected Discography: Information on recordings, if available.

Selected Online Performance: Information on audio and video demonstrations online, if available.

The format was adapted from three sources: a monograph published by the

American Choral Directors Association, Twentieth Century Choral Music: An Annotated

Bibliography of Music Appropriate for College and University Choirs3; Jonathan Green’s

A Conductor’s Guide to Nineteenth-Century Choral-Orchestral Works4; and Shannon

Jeffrey’s doctoral dissertation, The Choral Music of Trond Kverno: An Annotated Works

List5.

Literature Review

Scores

Only a handful of the scores addressed in this study are published in the United

States, Europe, and the Philippines. The remainder of the scores is manuscript copies.

These scores (published and unpublished) are either available from the composer, the

University of the Philippines College of Music Library, the Cultural Center of the

Philippines Library or interlibrary loan.

3 Gordon Paine, ed., Twentieth Century Choral Music: An Annotated Bibliography of Music Appropriate for College and University Choirs (Lawton, Oklahoma: American Choral Directors Association, 1997). 4 Jonathan D. Green, A Conductor’s Guide to Nineteenth-Century Choral-Orchestral Works (Lanham, Maryland: The Scarecrow Press, 2008). 5 Shannon Jeffreys, “The Choral Music of Trond Kverno: An Annotated Works List” (DMA diss., University of South Carolina, Columbia, 2007).

5

Encyclopedias

Biographical information and works list on most of the featured composers in this

study are found in The New Grove Dictionary of Music and Musicians and Die Musik in

Geschichte und Gegenwart [Music in History and the Present]. Other biographical

information of composers not found in the sources listed above has been attained through

personal correspondence or through their web page. The Garland Encyclopedia of World

Music contains comprehensive articles on the history and development of Philippine

instrumental and vocal music.

Books

Books written on Philippine choral music are limited and are mostly accessible

only through Philippine libraries and interlibrary loan. The principal authors are Ramon

Santos, Jose Maceda, Francisco Feliciano, Corazon Dioquino, and Elena Rivera Mirano.

Choral scholar, Nick Strimple, in his book Choral Music in the Twentieth Century briefly

discusses choral compositions by Filipino composers.6

Journal Articles

Ramon Santos, Jose Maceda, Francisco Feliciano, Corazon Dioquino, Jonas Baes,

and Joel Navarro are the Philippines’ leading experts in Philippine choral music. Their

articles are available in Philippine and Asian journals, and in JSTOR. The Cultural

Center of the Philippines Library also houses journal articles written by many of these

authors.

6 Nick Strimple, Choral Music in the Twentieth Century (Milwaukee: Hal Leonard Corporation, 2005).

6

Dissertations

While a number of dissertations have been written on Philippine music, mostly on

ethnomusicology, only two doctoral dissertations have been written on Filipino choral

composers and their compositions.7 Katherine Domingo’s dissertation focuses on the

Mass settings of Marcelo Adonay, Bonifacio Abdon, Francisco Buencamino, and Ryan

Cayabyab. Joel Navarro’s dissertation is on Ramon Santos’ selected choral compositions.

Choral Anthologies & Hymn Collections

Verne de la Peña, one of the Philippines’ leading scholars, has compiled three

volumes of Philippine choral music. These anthologies are available through the

publisher and interlibrary loan. Composer and scholar Francisco Feliciano assembled a

hymnal containing original songs composed by Filipino and Asian composers. This

collection is also available through the publisher and interlibrary loan.

7 Refer to Appendix C for further study on Philippine ethnomusicology.

7

8

CHAPTER 2

STREAMS OF PHILIPPINE CHORAL MUSIC

Music in the Philippines existed long before Ferdinand Magellan and his crew set

foot on Philippine soil in 1521. Evidences of vocal and instrumental music were recorded

by Antonio Pigafetta, who acted as Magellan’s assistant.8 When the Spaniards finally

settled in 1565, changes in politics, religion, and music took place. The Philippine Islands

became a colony of Spain, thus introducing Catholicism, the Spanish language,

Ecclesiastical Latin, western European lifestyle and music, and the Spanish zarzuela.9

Through the Treaty of Paris in 1898, Spain relinquished the Philippines to the

United States, marking the end of over three centuries of Spanish rule. With the

Philippines becoming a colony of the United States, changes in governance and education

were implemented. English was taught as well as evangelical Christianity. American

music such as jazz, big band, Sunday school songs, hymns, gospel songs and Negro

spirituals was introduced.

In 1941 Japan invaded and occupied the Philippines during World War II. That

caused General Douglas MacArthur to flee in 1942, while giving hope to the Filipino

people with his famous line, “I shall return.” MacArthur returned two years later,

8Corazon Canave-Dioquino, “The Lowland Christian Philippines,” in Southeast Asia, ed. Terry E. Miller Sean Williams, vol. 4 of The Garland Encyclopedia of World Music (New York: Garland Publishing, 1998), 839. 9 Zarzuela is a theatrical play with music and dance.

liberating the Philippines from Japan. On July 4, 1946, the United States renounced its

sovereignty over the Philippines, giving the Philippines its true independence.

The history of the Philippines brought a unique choral tradition that can be

categorized into four streams: 1) European choral tradition, 2) departure from the

European style, 3) incorporation of indigeneity with modernity, and 4) eclecticism.

The First Stream: European Choral Tradition

Choral music during colonial times was heavily influenced by the western

European tradition, which was first introduced by the Spanish friars. They introduced

Gregorian chants and polyphony and provided music education to Filipinos which

included vocal and instrumental instruction as well as studies in theory and counterpoint.

Marcelo Adonay

One of the earliest composers who benefited from music education by the

Spaniards was Marcelo Adonay. He was born in Pakil, Laguna on February 6, 1848.10 At

the age of eight, Adonay was sent to be educated by the Spanish friars of the Augustinian

order at the San Agustin Church in Intramuros where he learned the piano, organ, violin,

and music theory.11 His training as a tiple (boy soprano) and assistant to the chapel

organist provided valuable exposure to plainchant and European polyphonic music of the

15th and 16th centuries. Adonay was basically a self-taught composer, but it was under the

tutelage of Manuel Arostegui, a prominent Augustinian music professor, that Adonay

honed his compositional and conducting skills. In 1870, he was appointed conductor of

10 Pakil is approximately thirty-seven miles south of Manila. 11 Intramuros means “walled city” in Spanish. It is literally a walled fortress built to serve as the center of political, military, and religious power for Spain.

9

the church orchestra, a post he held until 1914. As orchestra director, he led performances

of Beethoven’s Missa Solemnis in 1887, Antonio Reparaz’s Missa a 3 voces in 1891, and

Hilarion Eslava’s Miserere Grande in 1893.12 A well-loved musician, both by Filipinos

and foreigners, Adonay died on February 8, 1928.

Pequeña Misa Solemne

Marcelo Adonay’s largest and most important work is a mass entitled, Pequeña

Misa Solemne sobre motives de la Misa Regia del Canto Gregoriano. Filipino scholars

and musicians refer to this monumental work as Pequeña Misa Solemne. Adonay

composed the mass between 1901 and 1903, and it was premiered on August 28, 1904 at

the San Agustin Church.

This mass follows the typical five-moment structure of the Mass Ordinary: Kyrie,

Gloria, Credo, Sanctus, and Agnus Dei. It is scored for tiple, contralto, tenor, and bass

and includes solo parts for four soloists. The instrumental parts are for flute, two clarinets

in B-flat, two bassoons, two trumpets in B-flat, three trombones, two horns in F, timpani,

and full strings. This orchestration is a testament to Adonay’s knowledge of nineteenth-

century Western European orchestras and, perhaps, a tribute to one of his favorite choral-

orchestral works, Beethoven’s Missa Solemnis. Table 1 shows a comparative

investigation of the instrumentation for Beethoven’s Missa Solemnis and Adonay’s

Pequeña Misa Solemne.

12 Elena Rivera Mirano, et al., The Life and Works of Marcelo Adonay, Volume I (Quezon City: University of the Philippines Press, 2009), 25.

10

Table 1. Instrumentation for Missa Solemnis and Pequeña Misa Solemne

Beethoven’s Instrumentation for Missa Solemnis

Adonay’s Instrumentation for Pequeña Misa Solemne

2 Flutes 2 Oboes

2 Clarinets 2 Bassoons

Contrabassoon 4 Horns

2 Trumpets Alto trombone

Tenor trombone Bass trombone

Timpani Organ

Violins I, II Violas Cellos Basses

Flute 2 Clarinets 2 Bassoons

2 Horns 2 Trumpets

3 Trombones Timpani

Violins I, II Violas Cellos Basses

The complete title of the mass suggests that Adonay used motives from a

Gregorian chant, but in reality, it is based on a composition by Henry Du Mont (1610-

1684).13 The opus referred to is Cinq messes en plain-chant, a group of chant-like style

masses written in 1669.14 Du Mont’s motive is used in four of the five movements. In the

Kyrie and Sanctus movements, Du Mont’s motive is used in its entirety. Example 2.1

illustrates Du Mont’s motive in the Kyrie. Only half of the motive is used in Gloria. The

Agnus Dei is the only movement that does not utilize Du Mont’s motif. Additionally, the

music in Kyrie and Sanctus are identical.

13 Corazon Canave Dioquino, The Life and Works of Marcelo Adonay, Volume I. ed. Elena Rivera Mirano (Quezon City: University of the Philippines Press, 2009), 131. 14 Laurence Decobert. "Du Mont, Henry." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/08315 (accessed August 2, 2010).

11

Example 2.1. Du Mont’s motive (top) as applied to Adonay’s own Kyrie

The Renaissance practice of intoning a chant by the priest before the choir sings is

adapted by Adonay. In Gloria (Ex. 2.2) a bass soloist sings the Du Mont motive before

the chorus exults in jubilating “Gloria in excelsis Deo.”

Example 2.2. Adonay, Pequeña Misa Solemne, “Gloria,” mm. 1-9.

Adonay’s choral writing, as seen in example 2.3, also speaks of his knowledge in

textual painting. The tessitura of the singing parts is reasonably high to portray the

meaning of the text, “Glory to God in the highest.”

12

Example 2.3. Pequeña Misa Solemne, “Gloria,” mm. 10-24.

In a 1925 interview conducted by Ignacio Manlapaz, Adonay acknowledged his

fondness of Bach’s Mass in B-Minor.15 Bach’s sectionalization of the text in his massive

work may have served as a model for Adonay’s management of the text for his own

masterwork. Table 2 reveals how both composers organized the Gloria text.

15 Elena Rivera Mirano, et al., The Life and Works of Marcelo Adonay, Volume I (Quezon City: University of the Philippines Press, 2009), 24.

13

Table 2. Sectionalization of text in Gloria

Bach Adonay Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis

Chorus Gloria in excelsis Deo Bass solo with chorus

Laudamus te, benedicimus te,glorificamus te

Soprano II solo

Et in terra pax hominibus bonae voluntatis

Tenor solo with chorus

Gratias agimus tibi propter magnam gloriam tuam

Chorus Laudamus te, benedicimus te, adoramus te, glorificamus te

Chorus

Domine Deus, rex coelestis, pater omnipotens, domini fili unigenite, Jesu Christe altissime, domine Deus, agnus Dei, filius patris

Soprano I and Tenor duet

Gratias agimus tibi, propter magnam gloriam tuam. Domine Deus, rex celestis, pater omnipotens, domini fili unigenite, Jesu Christe

Tenor solo

Qui tollis peccata mundi, miserere nobis, Suscipe deprecationem nostram

Chorus Domine Deus, Agnus Dei, filius Patris

Chorus

Qui sedes ad dexteram patris, miserere nobis

Alto solo Qui tollis peccata mundi, miserere nobis. Suscipe deprecationem nostrum Qui sedes ad dexteram patris, miserere nobis.

Bass solo with chorus

Quoniam tu solus sanctus, tu solus dominus, tu solus altissimus, Jesu Christe

Bass solo Quoniam tu solus sanctus, tu solus dominus, tu solus altissimus, Jesu Christe

Bass solo with chorus

Cum sancto spiritu in gloria Dei patris. Amen

Chorus Cum sancto spiritu in gloria Dei patris. Amen

Chorus

LUCIO SAN PEDRO

Known as a nationalist composer, Lucio San Pedro was born in Angono, Rizal on

February 11, 1913.16 He received a Music Teacher’s Diploma in composition and band

conducting from the University of the Philippines (UP) College of Music in 1938. He

taught theory at the UP College of Music and also became the composition and

16 Angono is approximately twelve miles east of Manila.

14

conducting department chair. In 1947 San Pedro furthered his composition studies at the

Juilliard School of Music. A prolific composer, San Pedro has written works for

orchestra, band, choir, and voice. Due to his musical contributions, San Pedro was

proclaimed National Artist for Music in 1991. He died of cardiac arrest on March 31,

2002, at the age of eighty-nine.

Sa Ugoy ng Duyan

Sa Ugoy ng Duyan (The Swaying of the Hammock) is the fourth movement of

San Pedro’s tone poem, Suite Pastorale, depicting the life of his native, pastoral town of

Angono. One of the most performed works, Sa Ugoy ng Duyan, is a Tagalog lullaby for

four-part mixed voices written between 1947 and 1948.17 Dedicated to his mother, this

choral piece was first performed in August 1956 by the Manila Symphony Orchestra and

Chorus.

The structure of Sa Ugoy ng Duyan is AA'BA"B"A"' with A"' quoting only a

portion of the opening A. The B sections also quote the last two measures of A. The

musical terms used are in the traditional Italian, except, as indicated in example 2.4, for

the mood of the piece which is in Tagalog. San Pedro instructs the piece to be performed

as katamtaman at malumanay na galaw which means “moderate and graceful.” In

measures 14 and 16, (Ex. 2.5), the predominant features of this lullaby are the two

sixteenth grace notes and the Neapolitan chord.

17 Tagalog is the basis for Filipino, the national language. Tagalog is mostly spoken by the people of Manila and surrounding provinces.

15

Example 2.4. San Pedro, Suite Pastorale, “Sa Ugoy ng Duyan,” mm. 1-8.

16

Example 2.5. San Pedro, Suite Pastorale, “Sa Ugoy ng Duyan,” mm. 9-16.

17

FELIPE DE LEON

Felipe De Leon, Sr. was born on May 1, 1912, in Peñafranda, Nueva Ecija, where,

as a child, he was exposed to band music and learned how to play the horn and

trombone.18 He received his degree in conducting from the University of the Philippines

Conservatory of Music and taught at various colleges and universities in the Philippines,

such as the University of the Philippines Conservatory of Music, St. Scholastica’s

College, and Centro Escolar University.19 He was the founder of the Filipino Society of

Composers and served as the organization’s president until 1985. De Leon’s musical

output includes compositions for band, orchestra, chamber music, violin, piano, opera,

theater, choir, and voice. He is also known for translating the Philippine National Anthem

from the original Spanish to Tagalog. De Leon died in 1992. The Philippine government

posthumously granted De Leon the National Artist for Music award in 1997.

PAYAPANG DAIGDIG

One of the most performed choral works of De Leon is Payapang Daigdig

(Peaceful World). It was written as a response to the destruction the city of Manila

suffered during World War II.20 The piece (Ex. 2.6), written in D major with Tagalog

text, opens with a lyrical, soothing melody sung by a soprano soloist. After eight

measures the choir joins, humming a four part harmony to support the soloist.

18 Peñafranda is approximately fifty-two miles north of Manila. 19 The Conservatory of Music was elevated to a College of Music in 1968 under Eliseo Pajaro. 20 Filipino Music Resource Reviews, “Felipe Padilla de Leon,” http://www.filipinomusica.com/felipe-padilla-de-leon.html (accessed July 23, 2010)

18

http://www.filipinomusica.com/felipe-padilla-de-leon.html

http://www.filipinomusica.com/felipe-padilla-de-leon.html

Example 2.6. De Leon, Payapang Daigdig, mm. 1-13.

The overall structure of the composition is ABCA. The B section is a tenor solo in

C minor. Section C consists of the tenors and basses singing most of the melody with the

19

sopranos and altos singing “tra la las” in C major. In example 2.7, the return to A is a

hymn-like setting in four parts and is back to the original key of D major.

Example 2.7. De Leon, Payapang Daigdig, mm. 69-78.

20

Modern arrangements of Payapang Daigdig, such as Lucio San Pedro’s widely

used setting illustrated in example 2.8, omit sections B and C. The original A section is

structured as binary with the first eight measures as A and the last eight as B.

Example 2.8. San Pedro, Payapang Daigdig, mm. 1-16.

21

PHILIPPINE FOLK SONGS

Many Philippine folk songs incorporate the western European tradition in terms

of form, such as strophic or binary, and tonality, which is usually based on a minor key.

Ili-Ili Tulog Anay is a fine example. Priscilla Magdamo arranged this Ilonggo folksong

from central Philippines, known as the Visayas Islands.21 This lullaby resembles lullabies

from Spain or any Latin American country. Magdamo is a well-known musicologist who

has traveled extensively to different parts of central and southern Philippines for the

preservation of folk songs. She is a former faculty member of Silliman University, the

Philippines’ first Protestant and American private school.

ILI-ILI TULOG ANAY

Ili-Ili Tulog Anay is an unaccompanied lullaby setting in modified strophic form

(A A' A"). The SATB vocal parts act as the accompaniment for the soloists. In A, the

soprano sings the stanza in G minor. In A', the soprano soloist is joined by a second

soprano providing the harmony. In A", the key changes to C minor and the stanza is sung

by an alto soloist accompanied by a soprano obbligato. As seen in example 2.9, the

obbligato sounds like a baby’s cry and provides a challenge to the singer. Aside from

singing a high C as the first note, the whole obbligato section is sung piano.

21 Also called Hiligaynon, this language is spoken by people from Western Visayas in Central Philippines.

22

Example 2.9. Magdamo, arr. Ili-ili, Tulog Anay, mm. 20-25.

23

The Second Stream: Departure from European Style

Composers belonging to this stream began to find their own identity by departing

from the European trend. These composers also took the challenge presented by Eliseo

Pajaro, former composition faculty at the University of the Philippines College of Music.

He declared:

The Filipino composer is, at present, faced with the problem of finding his identity and proper place in the society in which he lives. He has only to pause and draw his lesson from the pages of history to realize that, like his fellow-composers in other lands, he should lead his people in developing a feeling of national consciousness and pride. He should utilize the potentialities and richness of our country’s musical resources – our folk music and our national heritage, history and tradition – in order that his creative efforts may not only serve as his personal and private venue but more significantly, that it may become the composite voice of his people in its quest for a national musical identity.22

Among the composers who represent this category are Jose Maceda, Lucrecia

Kasilag, and Francisco Feliciano. Ethnomusicology became a favorite subject as these

composers, led by Maceda, journeyed extensively to learn the music of various tribal

groups. They also immersed themselves into learning the music of other neighboring

Asian countries such as Indonesia, Malaysia, and India.

JOSE MACEDA

Known as the first Filipino avant-garde composer, Jose Maceda was born on

January 31, 1917, in Manila where he learned to play the piano as a child. His talent led

him to further his piano studies in France, where he studied with Alfred Cortot at the

École Normale de Musique de Paris. Maceda continued his education in the United States

22 Eliseo M. Pajaro, “The Filipino Composer and His Role in the New Society” (lecture, University of the Philippines, Quezon City, March 7, 1974).

24

and graduated with a bachelor’s degree in music from Queens College, a master’s degree

in musicology from Columbia University and a doctor of philosophy from UCLA. Prior

to pursuing a doctorate, Maceda studied anthropology at the University of Chicago and

ethnomusicology at Indiana University. Instrumental in introducing avant-garde music to

Philippine audiences, Maceda accomplished this feat by organizing concert programs that

featured compositions by European and American composers such as Varèse, Boulez,

Messiaen, Cage, De Leeuw, and Xenakis.

UGMA-UGMA

Maceda’s interest in indigenous music is not limited to his native Philippines, but

includes music from other Asian countries such as Indonesia, Malaysia, Burma, Thailand,

Vietnam, Japan, and China. In his avant-garde composition entitled, Ugma-Ugma or

“Structures for Musical Instruments and Voices,” nearly all the instruments used are pan-

Asian: a Japanese mouth organ known as shō; an Indonesian metallophone called gender;

Chinese P’ai pan clappers; and Philippine ethnic instruments such as kulintang, gabbang,

agung, gandingan, tongatong, and kubing. As shown in example 2.10, the opus also

features rattles, scrapers, a buzzer, a clapper, carabao (water buffalo) horns, whistles,

chimes, bells, and bamboo sticks. The vocal parts are scored for soprano, alto, tenor, and

bass and require at least twenty voices.

25

Example 2.10. Maceda, Ugma-Ugma, mm. 1-43.

26

In describing the form of Ugma-Ugma, Ramon Santos portrays it as “a series of

mass structures similar to those of Varèse and generated according to different levels of

order and disorder, predictability and unpredictability as well as thinness and thickness of

sound spaces and colors.”23 The composition, which was premiered in Los Angeles,

California in 1963, is not about pitch but is about the different sounds each instrument

and voice produces. Maceda was more concerned with the “timbral and coloristic

properties rather than for melodic and harmonic purposes.”24

Maceda’s treatment of the human voice is very descriptive throughout the piece.

Each vocal part is given different nonsense syllables, words, and consonants to utter,

either in a whisper, falsetto, or normal vocal inflection, depending on the given dynamic

level. It is not until near the conclusion of the piece, as illustrated in example 2.11, that

Maceda features the SATB chorus a cappella singing “ei” in falsetto utilizing twenty

varied rhythms.

23 Ramon P. Santos, TUNUGAN: Four Essays on Filipino Music (Quezon City: University of the Philippines Press, 2005), 135. 24 Francisco Feliciano, Four Asian Contemporary Composers (Quezon City: New Day Publishers, 1983), 83.

27

Example 2.11. Maceda, Ugma-Ugma, mm. 156-159.

28

LUCRECIA KASILAG

Hailed as the grand dame of Philippine music, Lucrecia Kasilag was born in San

Fernando, La Union on August 31, 1917. 25 She received her undergraduate degrees from

St. Scholastica’s College and Philippine Women’s University. She furthered her music

studies and earned a Master of Music degree from the Eastman School of Music, where

she studied composition with Wayne Barlow. A prolific composer, Kasilag’s musical

output includes works for orchestra, choir, piano, guitar, and ethnic instruments. In 1989,

Kasilag was named National Artist for Music. She died in 2008.

Kasilag’s compositional style is a fusion of Western and Eastern musical

elements. She incorporates the Classical and Romantic styles and experiments with

twentieth-century compositional techniques. Her music usually contains traditional and

extended tertian sonorities, quartal and quintal harmonies, parallel fourths and fifths,

constant shifting of harmonies, triplets, and multi-meters.

DE PROFUNDIS

De Profundis is a requiem for SATB soloists, double choir, and orchestra. The

text is not from the traditional requiem liturgical mass but from Biblical passages taken

mostly from The Living Bible, New English Bible, and New Jerusalem Bible.26 The

instrumentation is for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, tuba, harp

timpani, percussion, violin I and II, viola, cello, and double bass. The whole opus is

divided into ten movements including an orchestral prelude. The chorus sings in the next

25 San Fernando is approximately 145 miles north of Manila. 26 Lucrecia R. Kasilag, De Profundis (Manila: Lucrecia R. Kasilag, 1978); In the fourth movement, “Out of the Depths: De Profundis,” the text is based on Psalm 130:1-4 (New English Bible), not Psalm 129 (Latin Vulgate).

29

nine movements reinforced by the second choir in movements two, eight, and ten. The

soloists only sing in movements two through six and join together to form a quartet for

movements seven and eight.

Kasilag’s use of extended tertian harmonies is evident in measure 10 of the fourth

movement, as demonstrated by example 2.12. Here, Kasilag utilizes a thirteenth chord in

root position. This same chord is portrayed four other times throughout this movement,

which is scored for alto solo and four-part men’s chorus. The introduction of the

thirteenth chords is preceded by a measure of seventh chords. Measure 9 illustrates the

major seventh chords used in “Lord, hear my.” The F minor seventh chord is used in

“Lord” and “hear,” while “cry” utilizes the D-flat major seventh chord. When the chorus

intones “cry,” as shown in measure 10, the thirteenth chord shown is C minor seventh,

major ninth, minor thirteenth chord. This two-measure petition occurs three times in the

whole movement, exercising the identical method. Additionally, parallel fourths and

fifths, as seen in measures 3-5, are ubiquitously present. Shown in measures 11-14 are

triplet figures, a common Kasilag feature, which are also utilized in the accompaniment

and vocal parts.

30

Example 2.12. Kasilag, De Profundis, “Out of the Depths,” mm. 1-14.

The fifth movement (Ex. 2.13) demonstrates Kasilag’s technique of constantly

shifting of harmonies. In this movement for bass solo and chorus, the soloist’s starting

pitch is usually a fifth above the given chord, as illustrated by the A minor chord in

measure 2 and B-flat major in measure 10. In measure 16, however, Kasilag features a G

31

suspended fourth, thirteenth chord, with the root as the soloist’s pitch. The first choral

interjection (m.6) is a D minor ninth chord while the second choral entrance (m.14) is a

D-flat major seventh chord in third inversion. These harmonic shifts are, perhaps,

Kasilag’s unique way of introducing each beatitude. This movement also shows Kasilag’s

unconventional use of second inversion chords.

Example 2.13. Kasilag, De Profundis, “The Beatitudes,” mm. 1-16.

32

Kasilag’s neoclassic approach is tested in the ninth movement (Ex. 2.14). The

whole movement is in F major, binary in form, and has a fugato. The subject is

introduced by the sopranos with a tonal answer by the altos.

Example 2.14. Kasilag, De Profundis, “To Our God and Father Be Glory,” mm. 1-8.

33

FRANCISCO FELICIANO

Francisco Feliciano was born in Morong, Rizal on February 19, 1942.27 He

earned his Bachelor of Music degree in composition from the University of the

Philippines College of Music where he studied with Eliseo Pajaro. Feliciano fu

composition studies in Germany under the tutelage of Heinz Zimmermann and Korean-

born composer, Isang Yun. Yun’s compositional style of incorporating Korean musical

elements encouraged Feliciano to do the same with Filipino components. Feliciano

graduated with a Master of Music and Doctor of Musical Arts from Yale University.

Among his composition professors at Yale was Krzystof Penderecki. Feliciano’s choral

works, such as Pamugun and Pokpok Alimpako have been performed at international

choral festivals and competitions as well as national and division conferences of the

American Choral Directors Association (ACDA).

rthered his

28 At present, he is the director of the

Asian Institute for Liturgy and Music (AILM) in Quezon City, Philippines.

PAMUGUN

Pamugun (Sparrow) is a virtuosic piece about a conversation between a hunter and a

sparrow. The sopranos and altos represent the hunter, while the sparrow is represented by

the tenors and basses. This tête-à-tête is illustrated in example 2.15. The language used is

Maguindanao, one of the languages in Southern Philippines.

27 Morong is approximately 18 miles east of Manila. 28 1994 ACDA North Central Division Convention (Rapid City, SD); 2007 ACDA National Convention (Miami, FL); 2010 ACDA Southern Division Convention (Memphis, TN).

34

Example 2.15. Feliciano, Pamugun, mm. 50-55.

Each voice part also includes an ostinato that permeates the piece. Renowned

choral conductor and music educator Charlene Archibeque writes her observation upon

hearing this piece:

In June, 2001 at the Marktoberdorf, Germany, International Chamber Choir Competition, we heard Pamugun performed by the Ateneo de Manila College Glee Club from the Philippines. The

35

audience was blown away. When we decided we wanted to add the piece to our program called “For the Birds,” I made a voice tape for each part and sent the singers home over semester break with instructions to memorize their parts. We then had sectional rehearsals for each voice part before we ever tried to put the piece together – very slowly at first, then increasing the tempo as the words got into the speech mechanism.29

The Third Stream: Incorporation of Indigeneity with Modernity

Composers representing this stream intentionally incorporate indigeneity with

modernity by using traditional instruments like bamboo and metal idiophones;

chordophones; traditional concepts of time and space; and music-making by

communities. The leading composers of this category are Ramon Santos, Josefino Chino

Toledo, and Ruben Federizon.

RAMON SANTOS

Ramon Santos was born on February 25, 1941 in Pasig, Metro Manila, where he

learned music from his mother, Amada. Having been educated at Catholic schools for

both elementary and high school, Santos was exposed to Gregorian chants, motets, and

masses. He graduated with a Bachelor of Music degree in composition and conducting

from the University of the Philippines Conservatory of Music, a Master of Music from

Indiana University and a Doctor of Philosophy from the State University of New York in

Buffalo. Among his composition teachers were Lucio San Pedro, Thomas Beversdorf,

Roque Cordero, Ramon Fuller, and William Kothe. His musical output consists of music

29 Archibeque is the former Director of Choral Activities at San Jose State University, where she taught for thirty-five years; Francisco F.Feliciano, Pamugun (Santa Barbara: Santa Barbara Music Publishing, 2002), 2.

36

for orchestra, stage, voice, choir, and chamber instrumental groups.30 As a proponent of

ethnomusicology, Santos has written music for various ethnic instruments such as gongs

and bamboo instruments.31 Aside from composing, Santos is one of the foremost Filipino

music scholars, whose books and articles on Philippine music have been published

worldwide. In addition, he is a frequent lecturer on ethnomusicology at various music

conferences both in the Philippines and abroad.

DING DING NGA DIYAWA

One of Santos’ avant-garde compositions is Ding Ding Nga Diyawa, an SATB

piece for sixteen voices (four singers per part), six timpani, kulintang, tamtam, and

agong. The Western elements in this piece are the timpani and the adapted twentieth-

century compositional devices such as modern notation symbols, speaking parts, and

traces of minimalism. This composition was premiered by the Philippine Madrigal

Singers in 1969, during the International University Choral Festival held at Lincoln

Center in New York City.32

The composition, written in Maranao utilizing the International Phonetic

Alphabet, is divided into three sections.33 The first section, as illustrated in example 2.16,

mixes singing and speaking parts supported by the random reverberations produced by

the timpani, kulintang and tamtam. The whole segment is measured in seconds, a similar

technique found in Krzysztof Penderecki’s Threnody for the Victims of Hiroshima. 30 Lucrecia R. Kasilag, The League of Filipino Composers: 1996 Directory and Selected Works (Manila, Philippines, 1996), 15. 31 Jonas Baes, “Composers in the Philippines: ‘Counterstreams in a Post-Colonia Epoch,’” in Asian Composers in the 20th Century, ed. Japan Federation of Composers. (Tokyo, Japan: Hirakawa Kogyosa, 2002), 278-79. 32 Marjorie Evasco, A Life Shaped By Music: Andrea Ofilada Veneracion and the Philippine Madrigal Singers. ( Makati City, Philippines:Bookmark, 2001), 86. 33 Maranao is mostly spoken in Lanao in Southern Philippines.

37

Example 2.16. Santos, Ding Ding Nga Diyawa

38

Part two, as shown in example 2.17, demonstrates Santos’ sole use of the time

signature and features a metronome marking of 60 to a quarter note.

Example 2.17. Santos, Ding Ding Nga Diyawa

Section three segues into rhythmic motivic chants that climax into the chorus

reciting “pambalain na barit” (“to build a castle”), as demonstrated in example 2.18. This

39

recitation shows Santos’ own instruction of “randomized rhythm and varying degrees of

volume.” The piece culminates with all the voices in unison singing “walay a dato ato”

(“for the sultan”).

Example 2.18. Santos, Ding Ding Nga Diyawa.

40

In his doctoral dissertation on Ramon Santos’ choral works, Joel Navarro clearly

summarizes Santos’ compositional style in Ding Ding Nga Diyawa. Navarro concludes:

While the compositional ideas of space and microtonality are served through technical means, it is clear that the aesthetic properties of the work are very much influenced by Philippine indigenous rhythms and social customs of celebratory chanting. In a very real sense, Santos is now settling within himself deep issues of national identity and traditional music systems, vis-à-vis a modern and foreign technology of music composition.34

JOSEFINO CHINO TOLEDO

Composer-conductor Josefino Chino Toledo earned his Bachelor of Music in

composition from the University of the Philippines College of Music, where he studied

with Eliseo Pajaro, Lucio San Pedro, and Ramon Santos. Toledo continued his studies in

the United States where he graduated with a Master of Music degree in composition from

the Cleveland Institute of Music (CIM). Among his teachers at CIM were Donald Erb

and John Rinehart. An accomplished conductor himself, Toledo has conducted the

Manila Symphony Orchestra and the Philippine Philharmonic Orchestra. At present, he is

the music director of the Metro-Manila Community Orchestra as well as Professional

Chair in Music Composition at the University of the Philippines College of Music.

A prolific composer, Toledo has written works for orchestra, band, theater, ballet,

voice, choir, guitar, and chamber instrumental groups.35 In 1997, Toledo wrote a

commissioned piece, Sigaw (Scream), for the renowned New Juilliard Ensemble.

Toledo’s works are regularly performed in various international music festivals, not only

in Asian countries, but also in the United States, Canada, Brazil, Israel, New Zealand,

34 Joel Navarro, “A Style Study of Selected Choral Works of Ramon Pagayon Santos” (DMA dissertation, Michigan State University, 2005), 70. 35 Lucrecia R. Kasilag, The League of Filipino Composers: 1996 Directory and Selected Works (Manila, Philippines, 1996), 17.

41

Italy, and Germany. Toledo’s compositions incorporate a mixture of western and

Southeast Asian elements.

ALITAPTAP

In Alitaptap, Toledo utilizes footbells, bamboo stomping tubes (tongatong) and

stones in this ultra rhythmic piece about a firefly. As illustrated in example 2.19, Toledo

wisely uses the exact rhythm of the word, alitaptap, in the way it is spoken, which is

similar to musique mesurée.

Example 2.19. Toledo, Alitaptap, mm. 1-2.

42

The piece also involves spoken words, shouting, and whispering. Glissandos are a

common feature in the solos, as seen in example 2.20.

Example 2.20. Toledo, Alitaptap, mm. 3-5.

43

RUBEN FEDERIZON

Ruben Federizon was born on January 16, 1952, and was educated at the

University of the Philippines, where he received his Bachelor of Music degree. He

furthered his education at San Francisco State University and the University of British

Columbia. Among his compositions are works for orchestra, chamber groups, choral,

ballet, and theatre.

GABAQ-AN

Chromaticism and mixed meters are among the compositional techniques

Federizon used in Gabaq-an. The indigenous elements used are the bamboo clappers and

fingerbells. The opening segment, shown in example 2.21, creates an eerie feeling of a

destructive event about to happen by an evil spirit and segues into a prayer for protection

by the baritone soloist, beginning in measure 2. The chant-like prayer is mostly chromatic

with occasional major second and major and minor third leaps. Illustrated in example

2.22, the prayer intensifies as the tenors and basses echo the prayer in three and four-part

harmony, chanting “Magbabaya.” The harmonic tension is created via the D minor

chord, D minor chord with an added major second, and E augmented seventh chord.

44

Example 2.21. Federizon. Gabaq-an, mm. 1-2.

45

Example 2.22. Federizon, Gabaq-an, mm. 3-14.

The tension heightens when the women enter with the motive (Example 2.23)

with the men responding in a quasi harmonic palindrome.

46

Example 2.23. Federizon, Gabaq-an, mm. 15-17.

The text of the Gabaq-an is macaronic, using the languages of Cebuano and

Binukid.36 The author, Chim Zayas, wrote the text in response to the social conditions

brought by the Martial Law during President Ferdinand Marcos’ dictatorial rule.

Ironically, this piece was premiered in 1977 at the Cultural Center of the Philippines, the

pet project of the First Lady, Imelda Marcos.37

The Fourth Stream: Eclecticism

Composers belonging to this stream show their versatility in various

compositional styles by crossing over the previous streams. The principal composers in

this category are Ryan Cayabyab, John Pamintuan, and Nilo Alcala. Many works of these

composers, along with others who fall into this stream, show resemblance to

compositions by Morten Lauridsen, Randall Stroope, Arvo Pärt, and Eric Whitacre.

36 Gabaq-an is pronounced as [gabaʔ-an], with the “q” acting as a glottal stop; Cebuano is spoken in Eastern Visayas and Mindanao.; Binukid is the tribal language of the people from Bukidnon. 37 Chim Zayas, e-mail message to author, July 12, 2010.

47

RYAN CAYABYAB

Recognized as the Philippines’ most prolific living composer, Ryan Cayabyab

was born in Manila on May 4, 1954. The son of opera singer Celerina Pujante, music has

always been part of Cayabyab’s life. Celerina, however, discouraged her children from

becoming musicians like herself. She died when Cayabyab was only six years old. In

college Cayabyab majored in Accounting at the University of the Philippines and at the

same time worked as an accompanist for the Development Bank of the Philippines choral

ensemble. Cayabyab’s talent was noticed by then senator and former Philippine vice

president, Salvador Laurel, who encouraged Cayabayab to major in music and provided

financial assistance. Cayabyab transferred to the College of Music in the same institution

and earned a Bachelor of Music degree in composition.38

Cayabyab is successful writing in any style or genre: pop, jazz, classical, sacred,

opera, and movie music.39 His choral works are among the most performed in concerts,

festivals, and competitions in the Philippines and abroad. Among his choral works that

have garnered successful performances are Misa, Misa 2000, Anima Christi, Tsismis, and

Da Coconut Nut.

MISA

Misa was written in 1983, as part of Cayabyab’s music degree requirements at the

University of the Philippines. It is an unaccompanied work for double chorus and five

soloists with duration of approximately thirty-five minutes. The text is in Latin from the

38 Katherine Domingo, “Filipino Musical Identity in the 20th Century: An Analysis of Four Mass Settings by Marcelo Adonay, Bonifacio Abdon, Francisco Buencamino, and Ryan Cayabyab” (D. Mus. diss. Indiana University, 2005), 81-82. 39 Lucrecia R. Kasilag, The League of Filipino Composers: 1996 Directory and Selected Works (Manila, Philippines, 1996), 3.

48

Mass Ordinary. Cayabyab’s eclecticism is evident throughout this sacred work, as he

incorporates various compositional techniques, such as Moroccan-inspired chant in

Kyrie, call-and-response in Gloria, minimalism and aleatory in Credo, interlocking

rhythms in Sanctus, and mellifluous harmonies in Agnus Dei. For all solo passages in

four of the five movements, Cayabyab begins each solo with the perfect fifth interval.

This feature is not present in Sanctus.

Of all the movements in Misa, the most performed movement in competitions and

festivals is Kyrie. Illustrated in example 2.24, the Kyrie opens with a mezzo-soprano solo

in free, flowing meter with a grace note filled vocal line. The alto solo employs the same

notes used by the mezzo-soprano solo but in a different rhythm, thus creating a

heterophony. Both solos are based on a D pentatonic scale. Cayabyab intended the solos

to be sung in a plainsong style, as imprinted in the score, “pure, simple tones.” Many

performances, however, intone the chant with an ethnic slant, partly because of the

appoggiaturas present. This practice never bothered the composer.40

Cayabyab uses the ABCCBA structure in this movement, creating a chiastic

design. The choral parts call for two choirs, which, for the most part, sing identically. In

section C (Ex. 2.25), choir two mostly sings in A, each voice singing an octave apart,

while choir one sings in parallel third inversion major seventh chords. This invocation

also produces a pleading character, painting the text, “Christ, have mercy.”

40 Ryan Cayabyab, e-mail message to author, July 19, 2010.

49

Example 2.24. Cayabyab, Misa, “Kyrie,” mm. 1-12.

50

Example 2.25. Cayabyab Misa, “Kyrie,” mm. 35-37.

51

Example 2.25. Continuation

JOHN PAMINTUAN

John Pamintuan, born in Manila on August 14, 1972, received degrees in medical

technology and chemistry prior to enrolling at the University of Santo Tomas

Conservatory of Music, where he studied voice and piano. To supplement his education,

Pamintuan studied composition privately with National Artist Lucio San Pedro.

52

Pamintuan is a former conductor and director of the voice program at the Young People’s

Chorus of New York City. An award winning composer, Pamintuan’s works have been

performed in prestigious choral competitions and festivals by some of the world’s best

choirs. During the 2007 European Grand Prix for Choral Music, Pamintuan’s Pater

Noster was among the works performed by the grand prize winner, the Philippine

Madrigal Singers.

PATER NOSTER

Pamintuan’s gift of melody is exposed in this lyrical setting of Pater Noster. It

has a chant-like opening in four parts sung by the tenors and basses using the I-IV-V-I

chord structure. Pamintuan’s ability in utilizing a Renaissance technique of text painting

is evident in measures 8-11 (Ex. 2.26). Here, the composer uses a rising melody picturing

cælo (heaven) and a dropping melodic figure for terra (earth). The parallel movements of

the altos support the visualization of Pamintuan’s intentions. The chromaticism from

measures 17-22, as shown in example 2.27, portrays a penitent quality suitable for the

words, et dimitte nobis debita nostra (and forgive us our sins). This tension-filled portion

of the piece builds toward a climax in measure 23.

53

Example 2.26. Pamintuan, Pater Noster, mm. 1-14.

54

Example 2.27. Pamintuan, Pater Noster, mm. 15-34.

55

NILO ALCALA

Nilo Alcala was born in Manila on February 23, 1978. He holds two

undergraduate degrees, one in development communications and the other in

composition. For his music degree, Alcala studied at the University of the Philippines

College of Music. Among his teachers were Ramon Santos and Josefino Chino Toledo.

Alcala went on to receive a master’s degree in composition from Syracuse University,

where he studied with Nicolas Scherzinger, Gregory Mertl, and Daniel Godfrey. A

versatile composer, Alcala has written works for orchestra, voice, instruments, film, and

choir. In 2009, he won the POLYPHONOS choral composition competition Young

Composer Award by the Esoterics, a vocal ensemble based in Seattle, Washington.

PAPANOK A LAKITAN

Based on a Maguindanaon chant, Papanok A Lakitan is a polyrhythmic and

polymodal piece.41 Illustrated in example 2.28, the alto, tenor, and bass parts have

independent ostinatos imitating the intricate rhythm of a kulintang ensemble. These vocal

parts are based on different modes. The alto is in B-flat Lydian and only utilizes four

notes. The tenor part employs the first three notes of a Phrygian or Locrian mode built on

G. The bass also utilizes the first four notes of the Phrygian or Locrian mode in D.

Measure 13 (Ex. 2.28) shows the first four measures of the eight-measure chant, which is

based on a three-note system – G, B-flat, and E-flat – although E-flat only occurs once.

41 Maguindanao is the main language spoken in the province of Maguindanao in Southern Philippines.

56

Example 2.28. Alcala, Papanok A Lakitan, mm. 9-16.

Alcala incorporates an appealing way of not making the chant sound repetitive.

He changes the intervals of the phrase, papanok a lakitan, when it is repeated, as

demonstrated in measures 13-16 of example 2.28. Table 3 shows the intervallic

relationships of the chant sung by the soprano and alto.

57

Table 3. Intervallic relationships between soprano and alto

MEASURE 13 MEASURE 14 pa- pa- nok a la- ki- Tan m3 P4 m3 P4 m3 m3 P4

MEASURE 15 MEASURE 16 pa- pa- nok a la- ki- Tan M2 M2 m3 M2 P4 P4 P4

The piece also features a common compositional practice of a kulintang

ensemble. Shown in example 2.29, each voice part enters individually in their own

melody and rhythm until all the voices interlock, creating a layered sound. This

characteristic is similar to that of the Indonesian gamelan ensemble.

Example 2.29. Alcala, Papanok A Lakitan, mm. 93-96.

58

Example 2.29. Continuation.

59

Example 2.29. Continuation

60

The four streams discussed in this chapter epitomize choral music in the

Philippines from colonial times to the present. Spanish and European influences played

an important role in the compositional output of the first mainstream composers.

Digressing from the European trend, choral works of the second mainstream reflect the

composers’ own style by embracing modern compositional methods as well as

incorporating Asian and Filipino elements. This integration is further broadened by the

composers of the third mainstream. Tribal music became a preferred theme along with

the use of indigenous instruments. Composers belonging to the fourth mainstream

demonstrated their versatility in writing music that encompasses all of the previous

mainstreams. Their eclecticism is a testament of the education they received from their

foreign-trained Filipino teachers and from studies with European and American

professors.

61

62

CHAPTER 3

ANNOTATED CHORAL WORKS LIST

Whenever a Philippine choir performs music by a Filipino composer, the

frequently asked question is, “How can I get the music?” Music publishing in the

Philippines has always been a challenge because of weak copyright laws. Photocopying

without the permission of copyright owners (local and foreign) is practiced, despite the

government’s warning to adhere to the Intellectual Property Code.42 This problem is one

of the reasons self-publishing has become the norm for composers in which consumers

purchase music directly from the composer or online company. Self-publishing is also a

means of obtaining the whole profit, compared to the meager pay composers receive from

local publishers.43

The purpose of this chapter is to provide choral conductors and music educators

an annotated works list of selected Philippine choral music. These choral works are

among the most performed pieces, not only by Philippine choirs, but by other choirs from

various countries. Information on how to acquire these compositions is provided, as well

as notes about the work and performance practice. Printing errors in published editions

and pronunciation issues are also addressed. Diction problems, especially in words with

glottal stops, are supplied using the International Phonetic Alphabet.

42 International Intellectual Property Alliance. “The Philippines: 2010 Special 301 Report.” International Intellectual Property Alliance, http://www.iipa.com/rbc /2010/ 2010SPEC301PHILIPPINES.pdf (accessed August 25, 2010). 43 Joel Navarro, “Asian Choral Music” (lecture, American Choral Directors Association-Michigan Convention, Central Michigan University, Mount Pleasant, MI, October 31, 2009).

http://www.iipa.com/rbc%20/2010/%202010SPEC301PHILIPPINES.pdf

The annotated works list is arranged alphabetically by composer and follows the format

below:

Composer: Names and Dates

Title: Includes date of composition. Translations of titles provided in parenthesis. Life: A brief biographical sketch for each composer.

Duration: Approximate duration based on available recordings.

Text: Source of text supplied, which may include author, title, and dates. Language: More than one language indicates a polylingual

composition. Languages in parenthesis indicate the translation(s) provided.

Voicing: Choral forces are listed by abbreviations for voice parts (including divisi) Soloists: Soloists are identified by voice parts.

Accompaniment: “Unaccompanied” if no instruments are employed.

Publisher: The name of publishing company and the date of publication are provided, if known. Pub. No: Publisher’s order number is provided when available.

Notes: Information on premiere performance in the Philippines and first international performance and information about the composition, if known. Performance Issues: Descriptive analysis, evaluation, and supplementary data of the work. Selected Discography: Information on recordings, if available.

Selected Online Performance: Information on audio and video demonstrations online, if available.

63

Composer: Nilo Alcala (b. 1978)

Title: Bagbagto (2008) Life: Alcala received his undergraduate degree in composition from the

University of the Philippines, where he studied with Jonas Baes, Christine Muyco, Josefino Chino Toledo and Ramon Santos. In 2009, he graduated from Syracuse University with a masters degree in composition. His major professors were Nicholas Scherzinger, Gregory Mertl, and Daniel Godfrey. Aside from choral music, Alcala also writes music for orchestra, instruments, voice, and film.

Duration: 3:30

Text: Traditional chant from the Bontoc, one of the Igorot ethnic groups. Language: Bontoc Voicing: SSAATTBB Soloists: None

Accompaniment: Unaccompanied; with percussion (wooden sticks and/or stones)

Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected]) Notes: Commissioned by the Children’s Museum and Library, Inc. (CMLI) as the

Voices in Harmony 2008 contest piece. Premiere performance was on November 29, 2008. USA premiere by Syracuse University Singers, April 21, 2009. The composer wishes for a non-ethnic vocal sound when performing this piece.

Performance Issues: Difficult work. Rhythmic. Mixed meter. Polymeter.

Involves tone clusters, stomping, slapping, and speaking parts. The word bagbagto has a glottal stop at the end [bagbagtoʔ].

Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=p2e9_Wm2S0M

64

http://www.youtube.com/watch?v=p2e9_Wm2S0M

Composer: Nilo Alcala (b. 1978) Title: Dayo Dayo Kupita [Friend, Friend, It is Morning] (2005) Life: See page 62 Duration: 4:00

Text: Traditional Maranao play chant Language: Maranao Voicing: SSAAATTBB Soloists: None

Accompaniment: Unaccompanied

Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected]) Notes: Written for and premiered by the Philippine Madrigal Singers at the

Cultural Center of the Philippines in 2005. European premiere was in July 2006 at the Florilège Vocal de Tours in France and U.S. premiere was in 2005. Both European and U.S. premieres were sung by the Philippine Madrigal Singers.

Performance Issues: Use of interlocking rhythms and superimposed patterns. Bitonality in the slow middle section. The end is imitative of the sound of the kulintang (a set of small graduated bossed gongs).

Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=S1dPIiC_jV4

65

http://www.youtube.com/watch?v=S1dPIiC_jV4


Title: Kaisa-isa Niyan (Only One) [2006] Life: See page 62 Duration: 2:40

Text: Maguindanaoan children’s game Language: Maguindanao Voicing: SSAATTBB Soloists: None


Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected]) Notes: First performed by the Philippine Madrigal Singers on March 14, 2007 at

the composer’s degree recital at the University of the Philippines College of Music. European premiere was in Paris, France on June 26, 2007. The U.S. premiere was on September 9, 2007 in New York City. Both European and U.S. premieres were sung by the Philippine Madrigal Singers.

Performance Issues: Features intricate ostinati and textures inspired by the

kulintang ensemble; uses body percussion sounds. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=Ixrcc7DZtuE

66

http://www.youtube.com/watch?v=Ixrcc7DZtuE


Title: Song of Dawn (2006) Life: See page 62 Duration: 6:40

Text: Anuraj Manibhandu Language: English Voicing: SSAATTBB Soloists: None


Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected]) Notes: Written for the Bangkok Voices. Premiered by the Philippine Madrigal

Singers on March 14, 2007 at the composer’s degree recital at the University of the Philippines College of Music. European premiere was in 2007 during the European Grand Prix for Choral Singing held in Arezzo, Italy. The U.S. premiere was on September 8, 2007. Both European and U.S. premieres were performed by the Philippine Madrigal Singers.

Performance Issues: Impressionistic. Mixed meter, polyrhythmic; involves whispering, glissando.

Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=tF86swBpjG4

67

http://www.youtube.com/watch?v=tF86swBpjG4


Title: Song of the Night (2009) Life: See page 62 Duration: 10:00

Text: Mawlana Jalal-ad-din Rumi; English Translation by Anna and Adam Czerniawscy.

Language: English Voicing: SSAATTBB Soloists: SAT


Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected]) Notes: Commissioned by The Esoterics, a Seattle-based vocal ensemble. This

composition made Alcala the winner of the 2009 POLYPHONOS Young Composer Award. Premiered on October 17, 2009 in Seattle, Washington by The Esoterics; Eric Banks, director.

Performance Issues: Impressionistic. Mixed meter, polyrhythmic; involves

glissandi. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=xjejbPKn7js

68

http://www.youtube.com/watch?v=xjejbPKn7js

Composer: Jude Edgard Balsamo (b. 1977)

Title: Angele Dei (Angel of God) [2005] Life: Balsamo received his musical training from St. Scholastica’s College and

the University of Santo Tomas. He has studied composition under Lucio San Pedro, Ramon Santos, and Jonas Baes. An eclectic composer, Jed, as he is fondly known, is equally at home in any style and genre such as classical, pop, theatre, TV, and film music.

Duration: 4:30

Text: Reginald of Canterbury Language: Latin Voicing: SATB (with divisi) Soloists: None


Publisher: All Together Now! Inc. Pub. No: Music available at www.musicamanila.com

Notes: Written for Mark Carpio and the Philippine Madrigal Singers. This piece was composed between 2002 and 2004. The completed 2004 version was revised in 2005 and is the most performed edition.

Performance Issues: Tonal work filled with mellifluous harmonies. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=6_A-kJRP5D0

69

http://www.youtube.com/watch?v=6_A-kJRP5D0

Composer: Fidel Calalang, Jr. (b. 1963)

Title: Pater Noster (Our Father) Life: Calalang graduated from the University of Santo Tomas Conservatory of

Music with a bachelor’s degree in piano performance. He is founder and director of the UST Singers, a choral group with multiple awards in international competitions including the 1995 and 2010 Choir of the World titles (Llangolen). Calalang is currently head of the Conducting Department at the UST Conservatory of Music where he teaches piano, conducting, and choral music.

Duration: 5:00

Text: Matthew 6: 9-13 Language: Latin Voicing: SATB (with divisi) Soloists: None


Publisher: Unpublished Pub. No: Manuscript copy available at [email protected] Notes: The original text is in Filipino (Ama Namin). Joel Navarro provided the

Latin edition. Performance Issues: Tonal, mixed-metered composition with extended tertian

harmonies. Selected Discography: University of Santo Tomas Singers, Fidel Calalang, dir. JB

Music JB-98/116. CD. 1998. Selected Online Performance: http://vimeo.com/2487838

70

http://vimeo.com/2487838

Composer: Ryan Cayabyab (b. 1954)

Title: Anima Christi (Soul of Christ) [1999] Life: Regarded as the Philippines’ most prolific living composer, Cayabyab

received his Bachelor of Music degree in composition from the University of the Philippines College of Music. Cayabyab is successful in writing in any style or genre: pop, jazz, classical, sacred, opera, and movie music. His choral works are among the most performed in concerts, festivals, and competitions in the Philippines and abroad.

Duration: 6:00

Text: 14th century prayer Language: Latin Voicing: SATB Soloists: None


Publisher: Ryan Caybyab Pub. No: Music available through [email protected]

Notes: Written for Chorus Paulinus, Arnold Zamora, director. Premiered on April 14, 2000 by the same group in Manila. Chorus Paulinus also gave the work’s first international premiere on May 6, 2000 in Santa Clara, California.

Performance Issues: Homophonic work characterized by traditional diatonic

harmonies in AABA form. Selected Discography: Cayabyab, Ryan. The Sacred Works of Ryan Cayabyab.

San Miguel Foundation for the Performing Arts. CD. 2000. Selected Online Performance: http://www.youtube.com/watch?v=Zk8C8zwsBgk

71

http://www.youtube.com/watch?v=Zk8C8zwsBgk


Title: Aquésta Me Guiaba, Oh Noche, Que Guiaste (1990) Life: See page 69. Duration: 5:00

Text: Silverio de Santa Teresa Language: Spanish Voicing: SATB Soloists: None


Publisher: Ryan Cayabyab Pub. No: Music available through [email protected] Notes: Premiered by the Philippine Madrigal Singers. Performance Issues: Homophonic gebrauchmusik with mellifluous harmonies.

Use of Castillan Spanish is recommended. Selected Discography: Cayabyab, Ryan. The Sacred Works of Ryan Cayabyab.

San Miguel Foundation for the Performing Arts. CD. 2000. Selected Online Performance: http://www.youtube.com/watch?v=4v6oiWoekZ4

72

http://www.youtube.com/watch?v=4v6oiWoekZ4


Title: Da Coconut Nut (2002) Life: See page 69. Duration: 3:30 Text: Ryan Cayabyab Language: English Voicing: SATB (with divisi) Soloists: Tenor


Publisher: Santa Barbara Music Publishing, Inc. Pub. No: SBMP 834

Notes: Popularized by a Filipino teen group, Smokey Mountain. The choral arrangement was adapted from the composer’s 2001 recording, “One More,” where he sang all sixteen voices.

Performance Issues: Although written in English, the use of the five pure vowels

([a],[ɛ],[i],[o],[u]) and the rolling of the “r” are recommended.

Selected Discography: Cayabyab, Ryan. Great Original Pilipino Music. BMG

Records Pilipinas. CD. 2004. Selected Performance: http://www.youtube.com/watch?v=rrCMv2sZALk

73

http://www.youtube.com/watch?v=rrCMv2sZALk

Composer: Alejandro Consolacion II (b. 1980)

Title: Alleluia (2002) Life: Consolacion received his music education from St. Scholatica’s College,

where he studied composition with Manuel Maramba and Jonas Baes. His choral works are among the most performed by Philippine choirs. An accomplished organist, Consolacion earned a performance diploma in organ from the Associated Board of the Royal Schools of Music.

Duration: 6:00

Text: Traditional Latin Language: Latin Voicing: SATB Soloists: None


Publisher: Holy Measures Pub. No: Available at www.holymeasures.com

Notes: Written for and premiered by the Asian Youth Choir in 2002. The opening measures sound like Thompson’s Alleluia, which Consolacion used as a basis for his own composition.

Performance Issues: Mostly homophonic work filled with lush harmonies. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=6O0DcNukdyk

74

http://www.youtube.com/watch?v=6O0DcNukdyk


Title: Mary’s Lullay (2002) Life: See page 72. Duration: 3:45

Text: Jennifer Wallum Language: English Voicing: SATB Soloists: Soprano

Accompaniment: Organ


Notes: String accompaniment is also available from the composer ([email protected])

Performance Issues: Accessible work suitable for Christmas Selected Discography: None available Selected Online Performance:

http://www.holymeasures.com/songs/preview.php?my=1177

75



Title: Pater Noster (2004) Life: See page 72. Duration: 6:45

Text: Matthew 6:9-13 Language: Latin Voicing: SATB Soloists: 2 Sopranos



Notes: Originally written for SSAA, but was transcribed for SATB as a gift to the University of the East Chorale; Anna Abeleda, conductor.

Performance Issues: Composition is characterized by traditional diatonic

harmonies. Selected Discography: None available Selected Online Performance:


76


Composer: Jerry Dadap, Jr. (b. 1962)

Title: Cordero de Dios (Lamb of God) [2003] Life: Dadap, Jr. is an accomplished composer and classical guitarist. He has

collaborated with numerous chamber music groups, vocalists, and choral groups for projects in the Philippines and in the United States. He was born in the Philippines in 1962. At a young age, he was taught solfeggio by his father Jerry A. Dadap, a renowned Filipino composer. Dadap, Jr. graduated from the University of the Philippines with a bachelor’s degree in Physics, and obtained a Ph.D. in Physics at the University of Texas in Austin. Additionally, he has done postdoctoral work at Columbia University. An accomplished guitarist, Dadap, Jr. studied classical guitar with Bayani de Leon and later with Adam Holzman at the University of Texas. Dadap, Jr. is a former member of the Philippine Madrigal Singers, the internationally acclaimed and prize-winning choir, where he developed his passion for writing choral music. At present, he is employed at Columbia University as a Research Scientist in the Department of Applied Physics and Applied Mathematics.

Duration: 7:00 Text: John 1:29 Language: Spanish Voicing: SATB (with divisi) Soloists: None


Publisher: Manuscript copy from the composer ([email protected]) Notes: Premiered by the Philippine Madrigal Singers in 2004. Performance Issues: Contains mixed meters, pedal tone, and extended tertian

harmonies. Selected Discography: None available

77

Composer: Jerry Dadap, Jr. (b. 1962)

Title: Missa Caelestis (2002) Life: See page 75. Duration: 35 minutes

Text: Mass Ordinary , Matthew 6: 9-13, Tridentine Mass, Traditional Latin Language: Latin Voicing: SATB Soloists: None


Publisher: Manuscript copy from the composer ([email protected]) Notes: The mass was premiered by the Philippine Madrigal Singers in December

2003 at the Manila Cathedral during the ensemble’s 40th Anniversary concert. Comprised of nine movements, including the standard five movements of the Mass Ordinary. The added movements are Mysterium Fidei, Amen, and Pater Noster.

Performance Issues: Contains mixed meters, bitonality (Gloria), and intricate rhythms. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=WFPu2K4CfKQ

78

http://www.youtube.com/watch?v=WFPu2K4CfKQ

Composer: Robin Estrada (b. 1970)

Title: Awit Sa Panginoon (Song for the Lord) [2002] Life: Estrada received his bachelor’s degree in music from the University of the

Philippines College of Music. He obtained his Master of Music from the San Francisco Conservatory of Music and is a doctoral candidate at the University of California at Berkeley. Estrada’s works have been performed at festivals, competitions, and conferences such as Asian Composers League, American Choral Directors Association, and the European Grand Prix for Choral Singing.

Duration: 4:30

Text: Psalm 30:1-3 Language: Tagalog Voicing: SATB Soloists: SAT


Publisher: Unpublished Pub. No: Manuscript copy from the composer ([email protected])

Notes: Written for the Ateneo Chamber Singers, Jonathan Velasco, director.

Performance Issues: Beginning SA duet in pasyon style.44 Involves recitation and vocal

oscillations. Mixes Western and Eastern vocal techniques. Selected Discography: Ateneo Chamber Singers. Awit sa Panginoon. CD. 2004. Selected Online Performance: http://www.youtube.com/watch?v=ktpBGSYEOQI

44 The Pasyon style of singing is raw and involves more of the chest voice.

79

http://www.youtube.com/watch?v=ktpBGSYEOQI

Composer: Robin Estrada (b. 1970)

Title: Et apertum est templum (And the Temple Was Opened) [2006] Life: See page 77. Duration: 8:00 Text: Revelation 11:19; 12:1 Language: Latin Voicing: SSSAAATB Soloists: Various solo parts for SSA in different places


Publisher: Unpublished Pub. No: Manuscript copy available from the composer ([email protected]) Notes: A commissioned work by the San Francisco Choral Artists, (Megan

Solomon, artistic director) Performance Issues: This avant-garde piece features Western and Eastern

compositional elements such as recitatives, pointillism, Balinese scales, and vocal oscillations.

Selected Discography: Umawit Sa Kagalakan [Sing for Joy] The Ateneo Chamber

Singers' 2nd U.S. Tour, September 18 - October 12, 2008, Jonathan Velasco, dir. CD. 2008.

Selected Online Performance: http://www.youtube.com/watch?v=_yKBj7PhsgM

80

http://www.youtube.com/watch?v=_yKBj7PhsgM

Composer: Francisco Feliciano (b. 1941)

Title: Pokpok Alimpako (1981) Life: Feliciano earned his Bachelor of Music degree in composition from the

University of the Philippines College of Music, where he studied with Eliseo Pajaro. Feliciano furthered his composition studies in Germany, where he studied with Heinz Zimmermann and Korean-born composer, Isang Yun, whose compositional style of incorporating Korean musical elements encouraged Feliciano to do the same with Filipino components. Feliciano graduated with a Master of Music and Doctor of Musical Arts from Yale University, where he studied composition with Krzystof Penderecki. At present he is the director of the Asian Institute for Liturgy and Music (AILM), a training center for church musicians he founded in 1980. AILM is located in Quezon City, Philippines.

Duration: 3:00 Text: Traditional children’s chant Language: Maranao Voicing: SATB Soloists: None


Publisher: Earthsongs Pub. No: S-174

Notes: Official contest piece for the National Music Competition for Young Artist (NAMCYA) in 1981.

Performance Issues: Involves interlocking rhythms, a typical feature in a

kulintang ensemble. A bright, child-like voice is needed when singing the motif.

Selected Discography: One World, Many Voices, vol. 3. Earthsongs. CD. 2003. Selected Online Performance: http://www.youtube.com/watch?v=XlqxWMyv7kI

81

http://www.youtube.com/watch?v=XlqxWMyv7kI

Composer: Francisco Feliciano (b. 1941)

Title: Silence My Soul Life: See page 79. Duration: 3:30 Text: Rabindranath Tagore Language: English Voicing: SATB Soloists: Soprano

Accompaniment: Percussion (high bell and gong)

Publisher: Asian Institute for Liturgy and Music Pub. No: From The AILM Collection: Hymns, Psalms, and Songs for

Worship. Contact [email protected]. Notes: Minimalist work. Men sing a sustained fifth throughout the

composition. Aleatoric. Performance Issues: Works best if choir surrounds the audience for a multi-

dimension effect. The C major key is only a suggestion. Solo is suited for a singer with a lyric quality.

Selected Discography: Jubilate! Capella Spring Tour 2006, Joel Navarro, dir.

Calvin College. CD. 2006. Selected Online Performance: http://www.youtube.com/watch?v=C-9cdB1WmbM

82

http://www.youtube.com/watch?v=C-9cdB1WmbM

Composer: George Hernandez (b. 1954)

Title: Caturog Na Nonoy (Sleep Now, Nonoy) [1976] Life: Hernandez received his Bachelor of Music degree in piano and choral

conducting from the University of the Philippines College of Music. He furthered his music education at San Francisco State University, where he studied choral conducting, piano, and organ. He earned additional music degrees in Vocal and Instrumental Accompaniment and Voice Performance from San Francisco Conservatory of Music. Hernandez’s modern arrangements of Filipino folk songs are among the most performed, not only in the Philippines, but in other Asian countries as well as in the United States.

Duration: 3:00

Text: Traditional Language: Bicolano Voicing: SATB Soloists: Alto


Publisher: Pavane Publishing Pub. No: P1288

Notes: A lullaby from the Bicol region in Southern Luzon. This arrangement was first performed by the Saringhimig Singers in 1976.

Performance Issues: Falsetto singing needed for tenor and bass in some parts. Selected Discography: Ateneo de Manila College Glee Club, Joel Navarro,

director. JB Music JB-00/165. CD. 2000. Selected Online Performance: http://www.youtube.com/watch?v=ISyEMn0ZsXk

83

http://www.youtube.com/watch?v=ISyEMn0ZsXk


Title: Paruparong Bukid (Field Butterfly)[2008] Life: See page 81. Duration: 2:30

Text: Traditional Language: Filipino Voicing: SATB (with divisi) Soloists: Soprano obbligato



Notes: This folk song is an adaptation of the Spanish song, Mariposa Bella, composed during the latter years of the Spanish-era in the Philippines.45 The Filipino adaptation is similar to its Spanish original, but with added humor.

Performance Issues: The word, gitna, has a glottal stop at the end,[gitnaʔ]. Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=zTzJ2cEv5LE

45 Pepe Alas, “’Paru-Parong Bukid’ Is Actually a Poor Translation of Mariposa Bella,’” Filipino eScribbles, entry posted October 14, 2009, http://filipinoscribbles.wordpress.com/2009/10/14/paru-parong-bukid-is-actually-a-poor-translation-of-mariposa-bella/(accessed July 26, 2010)

84

http://www.youtube.com/watch?v=zTzJ2cEv5LE

http://filipinoscribbles.wordpress.com/2009/10/14/paru-parong-bukid-is-actually-a-poor-translation-of-mariposa-bella/(accessed

http://filipinoscribbles.wordpress.com/2009/10/14/paru-parong-bukid-is-actually-a-poor-translation-of-mariposa-bella/(accessed


Title: Rosas Pandan (1994) Life: See page 81. Duration: 2:30 Text: Traditional Language: Cebuano Voicing: SATB (with divisi) Soloists: Soprano obbligato



Notes: This Cebuano folk song was written as a festival song for the Catalunya International Choral Festival in Spain in 1994, and was sung by the participating choirs from Spain, Russia, Czech Republic, Germany, and Italy.

Performance Issues: Discrepancy of text in the published edition. In measures 7-8,

“gika pa intawon” should be written as “gikan pa intawon.” In measures 10-11, “maki-uban-uban”should be written as “makig-uban-uban.” In measures 16-17, “sa kong ginakawan” should be written as “sa ‘kong ginikanan.” Omit the slur in measure 16 and move it to the first beat of measure 17. The syllable, “ni” of “ginikanan,” should be on the second half of beat three in measure 16, and the syllable “ka” should fall on the first beat in measure 17. In measures 22-23, “tikiding” should be written as “tikading.” In measure 26, “manindot ba og” may be replaced with “manindot pang mo.” In measure 28, “yamong” should be written as “yamog.” In measure 32, “intawnu” should be replaced with “intawon.” In measure 33, replace “Nonoy” with “Dodong.” In measure 34, replace “si” with “kang.”

Selected Discography: University of Santo Tomas Singers, Fidel Calalang, Jr., dir. JB

Music JB-99/130. CD.1999. Selected Online Performance: http://www.youtube.com/watch?v=SycdeUw825U

85

http://www.youtube.com/watch?v=SycdeUw825U

Composer: Joy Nilo (b. 1970)

Title: Amami (Our Father) [2000] Life: Recognized as the “Theme-Song Man” of the Philippines because of

writing theme songs for plays and films, Joy graduated from the Asian Institute of Liturgy and Music, where he studied composition under Francisco Feliciano.

Duration: 18:00

Text: Matthew 6: 9-13 Language: Ilocano Voicing: SATB (with divisi) Soloists: ST


Publisher: Holy measures Pub. No: Available at www.holymeasures.com

Notes: A six-movement piece written for the composer’s father, Rev. Jeremias Nilo.

Performance Issues: Congregation sings with the choir in the sixth and final

movement Selected Discography: None available

86

Composer: Joy Nilo (b. 1970)

Title: Amahan Namo (Our Father) [2009] Life: See page 84. Duration: 5:00

Text: Matthew 6: 9-13 Language: Cebuano Voicing: SATB (with divisi) Soloists: Soprano



Notes: This piece was written for and premiered by the University of the Visayas Chorale in 2009.

Performance Issues: The following words contain glottal stops: namo [namoʔ];

unta [untaʔ]; maghari [maghariʔ]; kanamo [kanamoʔ]; yuta [jutaʔ]; sala [salaʔ]; nakasala [nakasalaʔ]; dili [diliʔ].

Selected Discography: None available Selected Online Performance: http://www.youtube.com/watch?v=9L_nIuNhlkg

87

http://www.youtube.com/watch?v=9L_nIuNhlkg

Composer: Joel Navarro (b. 1955)

Title: The Lord Is My Shepherd (1986) Life: Navarro received his bachelor’s and master’s degrees in choral conducting

from the University of the Philippines College of Music. He earned his Doctor of Music Arts in choral conducting from Michigan State University. As former director of the Ateneo de Manila University Glee Club, he led the group in garnering top awards in choral competitions in Europe such as Tolosa, Arezzo, Cork, Tours, and Marktoberdorf. At present, Navarro is associate professor of music at Calvin College, where he directs the Capella, the Oratorio Society, and the Campus Choir.

Duration: 3:30

Text: Psalm 23 Language: English Voicing: SSAATTBB Soloists: None



Notes: Originally set as an SSSSAAAA piece, which was premiered in 1984 by the Ateneo de Manila College Glee Club in Manila. The 1986 SSAATTBB version was premiered in Manila by the Ateneo de Manila College Glee Club in 1991.

Performance Issues: A composition with mixed meters and mellifluous

harmonies. Selected Discography: Ateneo Chamber Singers. Awit sa Panginoon. CD. 2004. Selected Online performance: http://www.youtube.com/watch?v=irpc9ToNXNM

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http://www.youtube.com/watch?v=irpc9ToNXNM

Composer: Fabian Obispo

Title: Mamayog Akun (Mamayog, My Dear) Life: Obispo was born in the Philippines and came to the United States to finish

his Bachelor of Music degree in composition at Manhattan School of Music, where he studied with Giampaolo Bracali. In addition, he studied with Lucio San Pedro during his years at the University of the Philippines College of Music, where he became a resident composer of the Philippine Madrigal Singers, for which he composed Mamayog Akun. At present, he works as a freelance theatre composer/sound designer for major theaters in the US. Among his many honors are the Barrymore, Helen Hayes, American Theatre Wing, NAACP, and the Bay Area Theatre Critics Circle awards and nominations.

Duration: 2:00

Text: Traditional Language: Maranao Voicing: SATB Soloists: None



Notes: This Muslim folksong from the Island of Mindanao was premiered by the Philippine Madrigal Singers at the Cultural Center of the Philippines in Manila in 1969. The same ensemble gave the U.S. premiere during the Second International University Choral Festival held at the Lincoln Center in New York City.

Performance Issues: The word “akun” is pronounced [əkyn]. Selected Discography: Asian choral works. 1. Singapore Youth Choir, Jennifer

Tham, dir. CD. 2000. Selected Online Performance: http://www.youtube.com/watch?v=GeUE2I38glI

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http://www.youtube.com/watch?v=GeUE2I38glI

Composer: Eudenice Palaruan (1968)

Title: Pasigin (Fishnet) (1988) Life: Palaruan received his music education in composition and choral

conducting from the University of the Philippines College of Music. He furthered his studies at the Berliner Kirchenmusikschule in Germany and studied Conducting Pedagogy under Martin Behrmann. At present, Palaruan is a professor in the conducting department of the University of the Philippines College of Music. He is a former member of the Philippine Madrigal Singers and former conductor of the San Miguel Master Chorale.

Duration: 2:45

Text: Traditional Language: Ilonggo Voicing: SATB (with divisi) Soloists: None



Notes: This is a fishing song from the Visayas Islands in central Philippines. Performance Issues: “Kla” should be sung with a brighter tone quality. Selected Discography: None available Selected Online Performance:

http://www.youtube.com/watch?v=EoDUsWePQ5M

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http://www.youtube.com/watch?v=EoDUsWePQ5M

Composer: John Pamintuan (b. 1972)

Title: Crucifixus (2007) Life: Pamintuan received degrees in medical technology and chemistry prior to

enrolling at the University of Santo Tomas Conservatory of Music, where he studied voice and piano. To supplement his education, Pamintuan studied composition privately with National Artist Lucio San Pedro. Pamintuan is a former conductor and director of the voice program at the Young People’s Chorus of New York City. An award winning composer, Pamintuan’s works have been performed in prestigious choral competitions and festivals by some of the world’s best choirs.

Duration: 5:45 Text: Taken from the Credo portion of the Mass Ordinary Language: Latin Voicing: SATB (with divisi) Soloists: None


Publisher: ASTRUM Music Publications (Slovenia) Pub. No: AS 32.0001/04

Notes: Composed in Colorado for the University of the East Chorale (Anna Abeleda-Piquero, director) as part of their competition repertoire during the 2007 Busan International Choral Competition in South Korea. Crucifixus is the fourth song in Maior Caritas, op. 5 choral cycle.

Performance Issues: A piece with a pervading rhythm depicting nails driven through Christ’s hands and feet.

Selected Discography: Philippine Madrigal Singers. Maior Caritas: The Choral

Works of John Pamintuan. MDy Productions. CD. 2009 Selected Online Performance: http://www.youtube.com/watch?v=Fb4nWSu2WIs

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http://www.youtube.com/watch?v=Fb4nWSu2WIs

Composer: John Pamintuan (b. 1972)

Title: O magnum mysterium Life: See page 89. Duration: 3:00 Text: Traditional Latin Language: Latin Voicing: SATB Soloists: Soprano

Accompaniment: Guitar

Publisher: ASTRUM Music Publications (Slovenia) Pub. No: AS 32.0001/07

Notes: O Magnum Mysterium is the seventh song in the Maior Caritas, op. 5 choral cycle.

Performance Issues: Simple yet beautiful work. Soprano solo is suited for a

voice with a lyric quality. Selected Discography: Philippine Madrigal Singers. Maior Caritas: The Choral

Works of John Pamintuan. CD. 2009

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Composer: Lucio San Pedro (1913-2002)

Title: Kaming Magmamani (We Peanut Vendors) [1970] Life: San Pedro received a Music Teacher’s Diploma in composition and band

conducting from the University of the Philippines College of Music in 1938. He taught theory at the UP College of Music and also became the composition and conducting department chair. In 1947, San Pedro furthered his composition studies at the Juilliard School of Music. A prolific composer, San Pedro has written works for orchestra, band, choir, and voice. For his musical contributions to the Philippine music scene, San Pedro was proclaimed National Artist for Music in 1991. Known as a nationalist composer, San Pedro died of cardiac arrest on March 31, 2002, at the age of eighty-nine.

Duration: 3:00 Text: Traditional Language: Aklanon Voicing: SATB (with divisi) Soloists: None

Accompaniment: Piano

Publisher: Manlapaz Publishing Pub. No: Out of print. Music available through interlibrary loan.

Notes: Arranged in 1970 and premiered the same year by the University of the Philippines Chanteclairs.

Performance Issues: May be performed unaccompanied. “Pakita” is pronounced

[pakitaʔ]. Selected Discography: Kokopelli (Musical group). Spirit. CD. 2006.

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Composer: Lucio San Pedro (1913-2002)

Title: Pamunulawen (1971) Life: See page 91. Duration: 2:30

Text: Traditional Language: Ilocano Voicing: SATB Soloists: None

Accompaniment: Piano

Publisher: Manlapaz Publishing Pub. No: Out of print. Music available through interlibrary loan.

Notes: Folk song from Ilocos region in northern Philippines. First performed in 1974 by the University of the Philippines Concert Chorus.

Performance Issues: None Selected Discography: None available

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Composer: Ramon P. Santos (b. 1941)

Title: Tuksuhan (1967) Life: Having been educated at Catholic schools for both elementary and high

school, Santos was exposed to Gregorian chants, motets, and masses. He graduated with a Bachelor of Music degree in composition and conducting from the University of the Philippines Conservatory of Music, a Master of Music from Indiana University and a Doctor of Philosophy from the State University of New York in Buffalo. Among his composition teachers were Lucio San Pedro, Thomas Beversdorf, Roque Cordero, Ramon Fuller, and William Kothe. His musical output consists of music for orchestra, stage, voice, choir, and chamber instrumental groups. As an ethnomusicologist, Santos has written music for various ethnic instruments such as gongs and bamboo instruments. Aside from composing, Santos is one of the foremost Filipino music scholars, whose books and articles on Philippine music have been published worldwide. In addition, he is a frequent lecturer on ethnomusicology at various music conferences, both in the Philippines and abroad.

Duration: 2:00

Text: Traditional Language: Tagalog Voicing: SATB Soloists: None


Publisher: UP Madrigal Series Pub. No: Music available at [email protected]

Notes: Premiered by the Philippine Madrigal Singers at the Second International University Choral Festival in 1969 in New York City.

Performance Issues: Words with glottal stop: daliri [daliriʔ]; sampo [sampoʔ]; naligo [naligoʔ].

Selected Discography: Lincoln Center for the Performing Arts, and International

Choral Festival. The Second International University Choral Festival. Lincoln Center for the Performing Arts. LP. 1969.

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Composer: Josefino Chino Toledo (b. 1959)

Title: Ako ang Daigdig (I Am the World) [1987] Life: Toledo earned his Bachelor of Music in composition from the University

of the Philippines College of Music, where he studied with Eliseo Pajaro, Lucio San Pedro, and Ramon Santos. Toledo continued his studies in the United States where he graduated with a Master of Music degree in composition from the Cleveland Institute of Music. Among his teachers at Cleveland were Donald Erb and John Rinehart. A prolific composer, Toledo has written works for orchestra, band, theatre, ballet, voice, choir, guitar, and chamber instrumental groups. In 1997, Toledo wrote a commissioned piece, Sigaw [Scream] for the renowned New Juilliard Ensemble. Toledo’s works are regularly performed in various international music festivals not only in Asian countries but also in the United States, Canada, Brazil, Israel, New Zealand, Italy, and Germany.

Duration: 4:30

Text: Alejandro Abadilla Language: Tagalog Voicing: SSSAAATTTBB Soloists: SAAT


Publisher: Manuscript copy from the composer ([email protected]) Notes: Also available in an abridged version. Performance Issues: An avant-garde piece that features speaking parts,

glissando, intricate rhythms, and extreme dynamics. Selected Discography: Ateneo de Manila College Glee Club. Tagumpay Nating

Lahat. JB Music JB 06/230. CD. 2006. Selected Online Performance: http://www.youtube.com/watch?v=wZsqyPQwgj0

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http://www.youtube.com/watch?v=wZsqyPQwgj0

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CHAPTER 4

CONCLUSION AND RECOMMENDATIONS

The United States of America is a heterogeneous society. Different ethnicities are

represented and scattered all over the fifty states. The Asian community in the United

States, according to the U.S. Census Bureau’s 2004 American Community Survey, is

estimated to be 13.5 million or 4.7 percent of the U.S. population. The same survey also

lists Filipinos as the third largest Asian group in the United States, behind the Chinese

and Asian Indians.46

The majority of the Filipino population in the United States resides in California,

Hawaii, New Jersey, New York, Illinois, Texas, and Nevada.47 Because of the Filipino

demographics in these states, many Philippine-based choirs frequent these places when

they tour the United States, bringing with them a plethora of Philippine choral music.

American choral conductors and music educators who attend these concerts are

introduced to choral works by Filipino composers. This cultural exchange may be the

reason choirs in these states include Philippine choral works in their concert repertoire.

But for the majority of the states within the union, Philippine choral music remains a

mystery, unless the choir director or music educator is Filipino or is a regular attendee of

46 U.S. Census Bureau, “The American Community- Asians: 2004,” under “American Community Survey Reports,” http://www.census.gov/prod/2007pubs/acs-05.pdf (accessed July 19, 2010) 47 Migration Information Source, “US in Focus,” under “Filipino Immigrants in the United States,” http://www.migrationinformation.org/USfocus/display.cfm?ID=777 (accessed July 20, 2010)

http://www.census.gov/prod/2007pubs/acs-05.pdf

http://www.migrationinformation.org/USfocus/display.cfm?ID=777

conferences – such as the American Choral Directors Association and the World

Symposium on Choral Music, where Filipino choral works have been featured.

According to Joel Navarro, professor of music at Calvin College, choral music

from Asia is “under represented” in choral concerts by American choirs compared to

repertoire from Africa and Latin America.48 Could the lack of exposure and knowledge

of repertoire contribute to this issue? Could it be that the musical language of Asian

choral music is hard to grasp for the western European trained ear? Could the modal,

pentatonic, and hybrid scales sound too mystical? Could the ethnic instruments and the

mixture of western and eastern influences portray esotericism?

Perhaps inaccessibility of the music is a major factor. Of the forty-six choral

works featured in this research, only six compositions are published in the United States,

three in Slovenia, and the remainder are either out of print or available only through

interlibrary loan, an independent online publishing company, or from the composer.

Filipino composers, whose works are still unpublished, are more than willing to share

their music with choral pedagogues.

But America is changing and so is its musical landscape. The idea of

multiculturalism has become more popular in recent years. The altruism we witness of

welcoming and accommodating other nationalities, regardless of their ethnic origin,

religion, and upbringing, hopefully will continue to transpire in the field of choral music.

World music is a tool to build bridges and connect with another culture.

48 Joel Navarro, “Asian Choral Music” (lecture, American Choral Directors Association-Michigan Convention, Central Michigan University, Mount Pleasant, MI, October 31, 2009).

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This study revealed that music belonging to the First Stream embodies the

romantic period in terms of tonality, form, and harmonic functions. Composers even

exposed some sense of nationalism in their music, just like their European counterparts.

This changed, however, when composers began to adapt modern and avant-garde

techniques in their music, as epitomized by the Second Stream composers. After further

studies in Europe and the USA, they composed music that mixes western sounds with

Asian sonorities. Composers representing the Third Stream further developed this trend

by cultivating the music of the pre-colonial past. Music of the indigenous tribes became a

favorite compositional tool in creating a diverse and unique sound. The composers

representing the Fourth Stream showed eclecticism in combining all the preceding

mainstreams. Many of their compositions can be described as neo-renaissance and

Impressionistic. Most composers returned to traditional tonalities and utilized extended

tertian harmonies, creating works that are similar to the leading British and American

composers, such as Rutter, Chilcott, Lauridsen, Stroope, and Whitacre.

Philippine choral music, nonetheless, encompasses styles that can be European,

American, Asian, tribal, or a mixture of eastern and western influences. Its music is

reflective of the influences the country received from Spain and the United States. The

ethnicity is reflective of music by the tribal folk. These influences make music from the

Philippines unique and diverse. Therefore, a choral conductor or music educator is

presented with a variety of Philippine choral music suitable for many concert repertoire

needs.

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Recommendations

Aside from communicating with Filipino composers, connecting with Filipino

choral conductors or Philippine choral music scholars residing in the United States is

highly recommended. Associating with these conductors and scholars aids in learning

more about performance practice and emerging Philippine choral repertoire. Provided

below is a list with contact information of the selected Philippine and American

conductors and scholars who are experts in Philippine choral music:

Joel Navarro, DMA Associate Professor of Music, Calvin College [email protected] George Hernandez Director, Saringhimig Singers (San Francisco, California) [email protected] Gelo Francisco Director, Philippine Chamber Singers-Los Angeles, California [email protected] Katherine Doming, D.M. Director, Bloomington Peace Choir (Bloomington, Indiana) [email protected] Gene Peterson, D.M.A. Associate Director of Choral Activities, The University of Tennessee-Knoxville [email protected] André de Quadros Professor of Music, Boston University [email protected]

Choral music of major composers such as Bach, Mozart, and Schubert has

become a staple in any concert. Conductors lean on music by these great masters because

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mailto:[email protected]






of its educational value, ingenuity, and beauty. On the other hand, conductors also seek

for fresh and unique works for their choirs and audiences. Choral music from the

Philippines falls into the latter category. They are a product of western and eastern

thought, beautifully and scientifically crafted, and performance worthy.

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BIBLIOGRAPHY Books and Articles Baes, Jonas. “Composers in the Philippines: ‘Counterstreams in a Post-Colonial Epoch.’”

In Asian Composers in the 20th Century, edited by the Japan Federation of Composers. Tokyo, Japan: Hirakawa Kogyosha, 2002.

Dioquino, Corazon Canave. “An Overview of Philippine Music with Special Focus on

the Music of the Maguindanao.” In ASEAN Composers Forum on Traditional Music, edited by Khunying Maenmas Chavalit, 165-220. Bangkok, Thailand: ASEAN Committee on Culture and Information, 2003.

Evasco, Marjorie. A Life Shaped by Music: Andrea Ofilada Veneracion and the Philippine Madrigal Singers. Makati City, Philippines: Bookmark, 2001.

Feliciano, Francisco. Four Asian Contemporary Composers. Quezon City: New Day Publishers, 1983.

Maceda, Jose. “A Concept of Time.” In Arcana II: Musicians on Music, edited by John Zorn. New York: Hips Road, 2007.

______, ed. The Musics of Asia. Manila: UNESCO National Commission of the

Philippines, 1971. Pajaro, Eliseo M. The Filipino Composer and His Role in the New Society. Quezon City,

Philippines: University of the Philippines Press, 1976. Samson, Helen F. Contemporary Filipino Composers. Quezon City, Philippines:

Manlapaz Publishing Company, 1976. Santos, Ramon P. “Philippine Traditional Musics: Sources and Resources in

Contemporary Musical Life.” In Forum Papers: Presentations at the 2nd ASEAN Composers Forum on Traditional Music on Traditional Music, 11-24 April 1993, Singapore edited by Joseph Peters. Singapore: National Arts Council, 1994.

______. TUNUGAN: Four Essays on Filipino Music. Quezon City, Philippines:

University of the Philippines Press, 2005. Encyclopedias Tiongson, Nicanor, ed., Cultural Center of the Philippines Encyclopedia of Philippine

Art. Manila: Cultural Center of the Philippines, 1994. s.v. “Philippine Music,” by Jose Maceda, Corazon Dioquino, and Ramon Santos.

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______. Cultural Center of the Philippines Encyclopedia of Philippine Art. Manila: Cultural Center of the Philippines, 1994. s.v. “American Colonial and Contemporary Traditions,” by Ramon Santos.

Williams, Sean and Terry Miller, eds., Garland Encyclopedia of World Music: Southeast

Asia. New York and London: Garland Publishing Company, 1998. s.v. “Art Music in the Philippines,” by Ramon Santos.

Choral & Hymn Collections Feliciano, Francisco, ed. The AILM Collection: Hymns, Psalms, and Songs for Worship.

Quezon City, Philippines: Asian Institute for Liturgy and Music, 2005.

de la Peña, Verne. The NAMCYA Anthology of Philippine Choral Music. Intramuros, Manila: National Commission for Culture and the Arts, 2003.

______. Mga awiting bayan para sa korong Pilipino: 15 new choral works and arrangements in various Philippine languages. Intramuros, Manila: National Commission for Culture and the Arts, 2007.

Magdamo, Priscilla. Folk Songs of the Visayas. Vol. 3. Dumaguete City, Philippines: Silliman Music Foundation, 1958.

San Pedro, Lucio. The Choral Works of Lucio D. San Pedro. Quezon City, Philippines: Manlapaz Publishing Company, 1975.

Dissertations Domingo, Katherine. “Filipino Musical Identity in the 20th Century: An Analysis of Four

Mass Settings by Marcelo Adonay, Bonifacio Abdon, Francisco Buencamino, and Ryan Cayabyab.” D.Mus. diss., Indiana University, 2005.

Castro, Christi-Anne. “Music, Politics, and the Nation at the Cultural Center of the

Philippines.” PhD diss., University of California Los Angeles, 2001 Navarro, Joel. “A Style Study of Selected Choral Works of Ramon Pagayon Santos.”

D.M.A. diss., Michigan State University, 2005.

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APPENDIX A

Philippine Diction Issues

The modern Philippine alphabet, based on the Latin alphabet, consists of the standard 26 letters and two additional consonants. The two other consonants are ñ and ng. The vowel sounds are similar to Latin, Spanish, and Italian.

Vowel IPA Diphthong IPA /a/ [a] /ay/ [aɪ] /e/ [ɛ] /oy/ [ɔɪ] /i/ [i] /uy/ [ʊi] /o/ [o] /iw/ [iʊ] /u/ [u] /aw/ [aʊ] /ey/ [ɛɪ]

Consonant Issues

Consonant IPA Note /g/ [g] Always treated as hard; [h]

in borrowed Spanish words /j/

[dʒ] or [h]

[dʒ] is usually used in borrowed English words; [h] in borrowed Spanish words

/ñ/ [ɲ]

/ng/ [ŋ] Becomes [naŋ] when used as a separate word

/r/ [ɾ] Always flipped/rolled

/t/ [t] Always dental

The glottal stop ʔ This can be problematic because no symbol is used for words that require a glottal

stop. Words with and without a glottal stop may have two different meanings.

Mga This is a two-syllable article in plural form and is pronounced as [mɐɳa].

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APPENDIX B

Philippine Choirs

Philippine choirs are among the most awarded choirs in choral competitions and festivals around the world. The following ensembles travel to the United States frequently to give concerts, mostly in states where a large Filipino population exists such as Hawaii, California, New York, New Jersey, Illinois, Texas, and Nevada.

Philippine Madrigal Singers

Mark Carpio, choirmaster www.philippinemadrigalsingers.com

Selected Awards Grand Prize, 2007 European Grand Prix for Choral Singing Grand Prize, 2006 Tours Vocal Competition, France Grand Prize, 1997 European Grand Prix for Choral Singing Grand Prize, 1996 Tolosa Choral Competition, Spain Selected Discography Philippine Madrigal Singers. Acclamation. Sony BMG. CD. 2006. Philippine Madrigal Singers. Maior Caritas: The Choral Works of John Pamintuan. CD. 2009

University of Santo Tomas Singers Fidel Calalang, director www.ust-singers.com

Selected Awards

Choir of the World, 2010 Llangollen International Musical Eistenfodd, Wales, U.K.

Best Choir, 2004 World Choral Festival, Puebla, Mexico Festival Choir of the Year, 2002 International Choir Festival, The

Netherlands Grand Prize, 1998 International Choral Competition, Gorizia, Italy

Selected Discography University of Santo Tomas Singers. Journey On: The Best of

International, Filpino, and Popular Songs. CD. 2005. University of Santo Tomas Singers. Celebrate. CD. 2004.

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http://www.philippinemadrigalsingers.com/

http://www.ust-singers.com/

Ateneo Chamber Singers

Jonathan Velasco, director www.ateneochambersingers.ph

Selected Awards

First Prize (Polyphony Category), 2006 Tolosa Choral Contest, Spain

Philippine Representative, 2006 Polyfollia International Choral Festival, France

Selected Discography Ateneo Chamber Singers. Awit sa Panginoon. CD. 2003.

University of the Philippines Concert Chorus Jai Sabas-Aracama, director www.upconcertchorus.org

Selected Awards Prix du Public, 2008 Montreux Choral Festival, Switzerland

First Place (Folksong Category), 2003 International Polyphonic Contest, Italy

University of the Philippines Singing Ambassadors

Edgardo Manguiat, director Selected Awards Grand Prize, 2008 International Choral Festival, Sopot, Poland Grand Prize, 2001 International Polyphonic Contest, Arezzo, Italy

Himig Singers

Alvin Aviola, director www.himigsingers.org

Selected Awards

Asian Champion (Mixed Vocal Ensemble Category), 2007 Asian Choir Games, Jakarta, Indonesia

First Place (Mixed Choir Category), 1997 International Youth and Music Festival, Vienna, Austria

Selected Discography Himig Singers. Mga Awiting Pilipino. CD. 2000. Himig Singers. Paskung-Pasko. CD. 2000

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http://www.ateneochambersingers.ph/

http://www.upconcertchorus.org/

http://www.himigsingers.org/

United States-based Philippine choirs

The following Philippine choirs are based in California, one of the states where many Filipinos reside:

Philippine Chamber Singers of Los Angeles Gelo Francisco, director www.pcsla.org

Saringhimig Singers George Hernandez, director www.saringhimig.org

University of Santo Tomas Alumni Singers Allan Diona Sims, director www.ustsingersalumni.com-a.googlepages.com

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http://www.pcsla.org/

http://www.saringhimig.org/

http://www.ustsingersalumni.com-a.googlepages.com/

APPENDIX C

Books, Theses, and Dissertations on Philippine Ethnomusicology

The Philippines is home to over a hundred tribal groups. Each tribe has its own customs, traditions, language, and music. Provided below are books, theses, and dissertations on ethnomusicology of selected Philippine ethnic groups. Books Buenconsejo, José S. Songs and Gifts at the Frontier: Person and Exchange in the

Agusan Manobo Possession Ritual, Philippines. Vol. 4 of Current Research in Ethnomusicology. New York: Routledge, 2002.

Cadar, Usopay Hamdag. Context and Style in the Vocal Music of the Muranao in

Mindanao, Philippines. Iligan City: Coordination Center for Research and Development, MSU-Iligan Institute of Technology, 1985.

Theses & Dissertations Baes, Jonas. “Modes of Appropriation in Philippine Indigenous Music: The Politics of the

Production of ‘Cultural Difference’.” PhD diss., University of the Philippines, 2004.

Buenconsejo, José S. The Ted-Em Among the (Agusan) Manobo, Mindanao, Southern

Philippines: Musical and Textual Characteristics of an Improvised Discourse Sung in in-and-Out Group Performance Context. Ann Arbor, Mich: University Microfilms International, 2001. Microfilm.

Cadar, Usopay Hamdag. “The Maranao Kolintang Music; An Analysis of the Instruments,

Musical Organization, Etymologies, and Historical Documents.” Master’s thesis, University of Washington, 1971.

Chongson, Mary Arlene Pe. “Pasyon and Holy Week: A Study of Music, Acculturation,

and Local Catholicism in the Philippines.” PhD diss., University of Texas at Austin, 2000.

Maceda, José Montserrat. The Music of the Magindanao in the Philippines. Ann Arbor,

Mich: University Microfilms, 1981. Microfilm. Mora, Manolete. “Interpreting Utom: An Ethnographic Account of the Musical

Instrumental Practice of the T'boli of Mindanao, Philippines.” PhD diss., Monash University, 1990.

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109

Nicolas, Arsenio Magsino. “Musical Exchange in Early Southeast Asia: The Philippines and Indonesia, CA. 100 to 1600 CE.” PhD diss., Cornell University, 2007.

Prudente, Felicidad A. Musical Process in the Gasumbi Epic of the Buwaya Kalingga

People of Northern Philippines. Ann Arbor, Mich: University Microfilms International, 1987. Microfilm.

Trimillos, Ricardo D. Tradition and Repertoire in the Cultivated Music of the Tausug of

Sulu, Philippines. Ann Arbor, Mich: University Microfilms, 1972. Microfilm.