Note to Students:

Please attach this course pack to the one you have from your Prelim.

This is a continuation.
 TABLE OF CONTENTS
CHAPTER 6
Materials, Technique and Experimentation in Auditory Art
CHAPTER 7
Elements of Auditory Art
CHAPTER 8
Form, Content and Context of Auditory Art
CHAPTER 9
Traditional and Contemporary Auditory Art
 CHAPTER 6
Materials, Technique and Experimentation in Auditory Art
Literature and Music are both Auditory Arts for both deal with sound. But in literature, the
words do are not just sound but they carry meaning. Music carries a universal symbol compared to
literature. Sound in literature is created through the human voice while sound in music is created by
varied musical instruments. Musical experience is three–way: the composer, the performer and the
listener. The performer is not passive since they interpret the composition and does not necessarily
mean that 1 piece is performed exactly the same by other performers.
One song Different Performers
One Direction - https://www.youtube.com/watch?v=QJO3ROT-A4E
Boyce Avenue - https://www.youtube.com/watch?v=K0czg_TQAcA
Piano Guys - https://www.youtube.com/watch?v=0VqTwnAuHws

How do instruments make sound?

Most instruments have three things: a vibrator, a resonator, and a system for producing and
regulating fixed pitches. Sound is created through vibrations but specific pitches are created by regular
or periodic vibrations. But most musical instruments have limited range of pitches. Thus, they are
classified between low instruments (capable of producing pitches in the low range) and high
instruments (capable of producing pitches within a high range).
Different sounds in a stringed quarter https://www.youtube.com/watch?v=RxFNHeXKmrY
Kulintang Ensemble https://www.youtube.com/watch?v=SsH7sh92VUc

Viola and Violin are High instruments while the Cello and the Double Bass are low instruments.
In contrast, the harp has an extended range like the piano.

The vibrator is the part of the instrument which produces the regular vibrations. In stringed
instruments, the vibrator are the strings. The resonator is any material used to amplify the vibrations. In
the guitar, it is the body. The system that allows us to choose the pitch to be played at a certain time, in
a guitar are called frets.

In Western music, there are varied string, woodwind, and brass instruments.
https://www.youtube.com/watch?v=M0Jc4sP0BEE

There are two kinds of percussion instruments: those that produce definite pitch and indefinite
pitch. The kulintang is a percussion that produces a definite pitch just like a xylophone. The snare drum,
bass drum and the agong are percussions that do not have a definite pitch.

Kubing - https://www.youtube.com/watch?v=iVCd1n2fXm8 Hybrid – percussion and wind – it is a jaw

harp
Kudyapi - https://www.youtube.com/watch?v=2OGHt50WhcI – stringed instrument

Kudlong - https://www.youtube.com/watch?v=yEyBVig7JeQ&index=19&list=PL_3rNEuQGBi0cj-
lEwQb3FTJM6KIDpAKJ

Experimentation
Experimentation in music is commonly used in at least different senses: it usually refers (1) to
innovativeness in artistic creation, (2) to unpredictability or indeterminacy in procedures or outcomes,
or (3) to experimentation in the scientific sense.

Sound improvisation – is sound experimentation

Joey Ayala – https://www.youtube.com/watch?v=lL4zGJi6Exk

Waway Saway - https://www.youtube.com/watch?v=OpuCrqVFfMY

Kuntaw Mindanao - https://www.youtube.com/watch?v=SahB6AKHE5k

Walk off the earth - https://www.youtube.com/watch?v=YV5KAbV34NU,

https://www.youtube.com/watch?v=XZ6rv2ZC3Kc

Experimentation with other materials as instruments

https://www.youtube.com/watch?v=7VGlBZOywIg
 CHAPTER 7
Elements of Auditory Art

ELEMENTS OF MUSIC
1. Rhythm 4. Timbre
2. Tempo 5. Harmony
3. Melody 6. Dynamics

Rhythm
Meter
- For sound to be musical, it requires a pattern. In connection to beat, the regular succession of
accented and unaccented beats forms a pattern called meter.
- Music is played with regular pulsations called beats. The interval of one beat to another is
constant.
- Clapping of the hands while singing a song and marching or even walking make the beats
observable.
- Time signature or Meter signature two numbers at the left edge after the G clef. These indicate
the number of beats in a pattern and the duration of the beat i.e. 2/4, 3/4, 4/4, and 6/8. The
numbers above indicate the number of beats to a measure while the lower numbers represent
the duration of the value of the beats. In the measure 3/4, this means that there are 3 beats
and there will be 3 quarter notes or its equivalents.

Demonstrate Time Signature Patterns

1. The teacher demonstrates the conducting patterns for 2/4, 3/4 and 4/4.
2. The teacher can divide the class into 3 or 6 groups and have them demonstrate each
measure.
*the movement of each measure is affected by tempo but for demonstration please
emphasize that the movement is constant

Rhythm
- by accenting the last sound/clap we create a rhythmic pattern (referring to the previous activity)
- It refers to the distribution of notes in time – the arrangement of long and short notes and their
accentuation.
- In simple terms, it is how the notes are arranged into patterns of both sound and silence.
- It is the order of movement which gives us the duration of tones and the degree of accent
- By tapping out the melody of the song, we become aware of its rhythmic structure.
 - Rhythm is observable with the notes and rests found in a music sheet.
- Each note and rest has a corresponding beat but not all notes may be found in one meter.

- Syncopated rhythm or displaced beat are noted on an unaccented beat is accented and held
over into a strong beat or the tone begins after a beat and is carried over to the next one. One
example of a song that uses syncopated rhythm is “Thinking Out Loud” by Ed Sheeran.
Syncopation is also observed in reggae and jazz.

Closer Jazzified - https://www.youtube.com/watch?v=jemgIOAjGDw

Closer - https://www.youtube.com/watch?v=PT2_F-1esPk
Reggae – local artist - https://www.youtube.com/watch?v=21mB5tDUEew

Tempo
- Tempo refers to the speed at which music may move.
- Tempo is indicated by the following terms:
o Presto – very fast o Andante – moderately slow
o Allegro – fast o Adagio – slow
o Moderato – moderate o Largo – very slow
- The number of notes or beats per minutes is precisely indicated by a metronome.

When tempo is irregular, the composer writes ritardando. The gradual increase of speed is accelerando
and tempo rubato means the musing is to be played with as much irregularity as necessity.

Observe the varying tempo in the piece below

Czardas by Padayon Rondalla https://www.youtube.com/watch?v=2AZ2opgZjDI

Melody
- Any succession of single tones which, by being placed sequentially, give a sense of continuity
- Heard in terms of duration and pitch
- All pitches relate to one central tonality and all the durations relate to a basic metrical pattern
- Melody may be defined as a specific ordering in time of the pitches of the scale used
 - When certain patterns of intervals are repeated at a different pitch, we have a sequence
- In melody, tones are arranged in certain relationships to one another; tones of a melody
correspond to the words and must be arranged in rhythmic relationship.
- This is specifically and easily observed in monophonic patterns which has only one sound from
an instrument.

Pitch
- It refers to the relative highness or lowness of a tone.
- High pitch is produced by fast vibrations while low pitch is produced by slow vibrations.
- Some vibrations that are too fast or too slow for the human brain to perceive. i.e. When a dog
whistle is blown, only dogs react to this sound.
Octave

- It is the pitch added to rhythm and known as tune, air, theme, motif and melodic line.
- It contains a series of tones of varying pitches sounded in succession.
- The effect that melody has is created through the kind of scale which is used. The appeal of
rhythm is physical which makes us tap or dance to the beat of the song while melody appeals to
the emotion of the listeners.
o When major keys are used, the music is usually cheerful while minor keys create a sad
and melancholic effect.

- Chromatic Scale refers to It consists of twelve tones separated by half-step intervals.

o Half step intervals – the black keys in the piano keyboard or those note with sharp or
flat
o https://www.youtube.com/watch?v=nOhGPY4DrF4
- Pentatonic Scale refers to the scale that consists of five tones separated by whole-tone
intervals.
o hhttps://www.youtube.com/watch?v=EC0_F_isPfI
- Key Signature refers to the key in which the piece is written. This tell us the central tone or the
tonic.

o If the Key Signature is C, the scale pattern begins with C. Then followed by the scale
pattern of C (as what is shown in the image)
 o When doing an accompaniment, a musician asks the singer what KEY is he/she going to
sing with. Then, the musician adjusts the arrangement according to the key given by the
singer.

Family Chords Guide

Tone is Key of A – Bm F#m D C#m E

Scales – There are 6 scales where Western music is based.
1. Major – familiar to everyone; composed eight tones (7 different tones, first and last are the
tonic)
2. Minor – has eight tones, seven of which are different
*the main difference between major and minor scales are found in the third and sixth steps of
the scale
3. Pentatonic – oriental origin and very ancient
4. Chromatic – uses all twelve tones always progressing by half steps; never used for an entire
composition because it seems to have no beginning and no real end; used as part to add interest
to music based on the other scales, largely the major and the minor. Makes the music
harmonically richer because of the shifting tonality.
5. Whole – note – is composed of seven tones, each a whole tone from its nearest neighbor.; has a
limited use and mostly used in the late 19th and early 20th centuries; has an exotic, rather
noncommittal sound because the feeling of tonality has been weakened, because each interval
within the scale is alike.
6. Twelve – note – pitch organization based on the chromatic scale but designed to give that scale
a form which could relate the pitches of an atonal composition. Schoenberg arranged the twelve
chromatic pitches in a series which is called “twelve–tone row.” The arrangement of pitches
may vary from one composition to the next, once a row has been devised, it becomes the
standard for that next piece, and the entire composition is then based upon that row.

- The tone may be raised or lowered by half tone.

o Sharp #
 It is used to raise a note by half.

o Flat
 It is used to lower a note by half.
 o Natural Sign
 It cancels out the sharp or flat.
 The natural sign is found before the note.
Timbre
- It refers to tone color or tonal quality.
- It enables us to distinguish one sound from another i.e. Alto from soprano, guitar from flute
- It results from physical qualities of the object which vibrates while the thickness, length and
tautness with which it is stretched as well as the physical characteristics of the resonator.
- Resonator is any object that amplifies the sound(vibrations)
- This is taken advantage by the composer to create music.
- You can download these videos
o https://www.youtube.com/watch?v=17V-bP1XEao
o https://www.youtube.com/watch?v=5tGEDgkZlC8
o https://www.youtube.com/watch?v=zLh5WGs2Tio

Harmony
- when more than one note pitch is played at the same time. This is in contrast with melody which
has only one note playing at one time. A voice, flute, saxophone or trumpet for example cannot
play harmony by itself unless there are at least two of them playing different notes together. A
guitar, and piano can play chords, so can harmonize by itself.
- It refers to the simultaneous sounding of tones. This is greatly observed in polyphonic melodies.
- Harmony involves the combination of both consonance and dissonance.
- If melody is concern horizontal aspect of musical notes, harmony is concerned with the vertical
aspects of the piece.
- Consonance is a quality that results when the combination of sounds or tones which is satisfying
while dissonance is a jarring or unpleasant combination.
- Chords are groups of notes played together. A chord is composed of at least three notes and
played at the same time.
- Harmony is mainly observed in blending of voices or sounds of instruments
o https://www.youtube.com/watch?v=P95_pCbCPZw
o https://www.youtube.com/watch?v=9gwnMj4D-ts
o https://www.youtube.com/watch?v=fGsqpwt9yg0

- In mash ups, the DJ or singer needs to understand this concept to create consonance with two
or more songs.
o https://www.youtube.com/watch?v=K0MPuAaHVDw

Dynamics
- It refers to the degree and variation of volume and force, from soft to loud, with which music is
played.
- These are gradations of intensity are expressed in Italian words.
Symbol Italian Word Description
pp. pianissimo As soft as possible
p. piano Softly
mp. mezzo piano Somewhat softly
mf. mezzo forte Somewhat loudly
f. forte Loudly
ff. fortissimo As loudly as possible
cresc. crescendo Getting louder
decresc. Decrescendo Getting softer
dim. diminuendo Getting gradually softer
sf. sforzando Abruptly loud
 CHAPTER 8
Form, Content and Context of Auditory Art

“In songwriting, just like in language, in order to express a feeling, you absolutely have to capture and
seize the thought, the experience, the memory, the feeling, inside the mind, and be able to understand it.
In language, we’re already using ready-made templates reaching for the nearest possible word and then
adjusting our thoughts accordingly. But in songwriting, just like in art, just like in any accurate or faithful
self-expression, sometimes, we need to push a little further than that beyond the linguistic template.”

- Claudio

Form

Form does not have anything to do with in-depth meaning.

Musical form - structure of a musical composition

It is regularly used in two senses:

(1) to denote a standard type, or genre
(2) to denote the procedures in a specific work

Source: https://www.britannica.com/art/musical-form

 Melody – also called musical line. It is a combination of pitch and rhythm (some say
"duration"). Sometimes a melody is considered to be the theme of a composition.

 Tempo – speed at which music is or ought to be played or speed of the BEAT, which can
described by the number of beats/second

 Dynamics – loud or soft. A composition that has extremely soft passages as well as extremely
loud passages is said to have a large or wide dynamic range. Dynamics can change suddenly or
gradually (crescendo, getting louder, or decrescendo, getting softer.)
Melody, Dynamics - http://accounts.smccd.edu/mecklerd/mus250/elements.htm

Dynamics, Tempo - http://wmich.edu/mus-gened/mus170/RockElements.pdf

Content

Content contains the subject matter carrying the message of the work. If form is the embodiment of the
work, then content is its substance.

“Music has this unparalleled ability to take all of one’s pain, pull it into a single frame, and invite us to
relive it for all the joy of the experience, and none of the suffering. Like a wind turbine converts the wind’s
kinetic energy into electrical power, the songwriter has ability to convert the emotional experience, the human
experience, however transitory, and convert it into redeeming beauty long after the pain has passed.”

- Claudio

Context

Context refers to the varied situations in which the songs have been produced or interpreted. There are
two kinds of contexts: primary and secondary.

Primary context is the personal type, for it concerns the sentiments of the composer - his beliefs, values,
interests, attitudes and emotions.

On the other hand, secondary context refers to the place and period in which the composer has made
the song: the social, political and economic environment he is in; his and his society’s religious and
philosophical convictions; the climate and geography of the area in which the work is made; and his
purpose in making the song.

“The taking of something in the inner world, silent, formless, and finding a way to convert it into a
shareable, perceptible sonic language by rhythms, harmonies, beautiful noise, lyrics, whatever will get you
there, I call it translation. The reason why it’s a big deal is because if the songwriter gets it right, then
chances, are, that he or she gets it right on behalf of the listener also. And that’s a very powerful thing in a
world where we don’t always have the tools or the context to express the forms of who we are.

- Claudio
 CHAPTER 9
Traditional and Contemporary Auditory Art
Philippine Music, A Historical Overview (by CORAZON CANAVE-DIOQUINO)

The Philippines, an archipelago of 7,100 islands, is made up of 77 provinces grouped into 16 regions.
The main groups include Luzon, the Visayan islands, and the Mindanao islands. Based on religion, the
population may be grouped into three broad categories: Christian groups, indigenous religion groups,
and Muslim groups. The Christian groups are the largest and are concentrated in the lowlands of Luzon
and the Visayan islands. Indigenous religion groups are found in upland northern Luzon, Mindanao and
Palawan. Muslim groups are concentrated in Mindanao, the Sulu islands and southern Palawan.

Although, geographically, the Philippines belongs to the East, its music has been heavily influenced
by the West owing to 333 years of Spanish rule and 45 years of American domination. Music in the
highland and lowland hamlets where indigenous culture continues to thrive has strong Asian elements.
Spanish and American influences are highly evident in the music of the urban areas. In discussing
Philippine music, three main divisions are apparent: (1) an old Asian influenced music referred to as the
indigenous; (2) a religious and secular music influenced by Spanish and European forms; and (3) an
American/European inspired classical, semi-classical, and popular music.

The Indigenous Traditions

The indigenous traditions are practiced by about 10% of the population. Eight percent of this
minority comprises some 50 language groups of people who live in the mountains of northern Luzon and
the islands of Mindanao, Sulu, Palawan, and Mindoro in southern and western Philippines. The
remaining 2% of these groups are the Muslims from Mindanao and Sulu.

While there is no written information about the music in the Philippines before the arrival of
Magellan in 1521, subsequent reports made by friars, civil servants and travelers include descriptions of
instrumental and vocal music–sometimes mentioned in passing, other times in greater detail. From
these documents, various kinds of interments made of bronze, bamboo, or wood are cited. These
include gongs of various kinds of size and shapes, drums, flutes of different types, zithers, lutes,
clappers, and buzzers. Vocal genres include epics relating genealogies and exploits of heroes and gods;
work songs related to planting, harvesting, fishing; ritual songs to drive away evil spirits or to invoke
blessings from the good spirits; songs to celebrate festive occasions particularly marriage, birth, victory
at war, or the settling of tribal disputes; mourning songs for the dead; courting songs; and children’s
game songs. It is this type of music that is still practiced today by the indigenous groups.

The Spanish-European Influenced Traditions

With the coming of the Spaniards the Filipino’s music underwent a transformation with the influx of
western influences, particularly the Spanish-European culture prevalent during the 17th to the 19th
centuries. The Hispanization during the succeeding three centuries after 1521 was tied up with religious
conversion. It effected a change in the people’s musical thinking and what emerged was a hybrid
expression tinged with Hispanic flavor. It produced a religious music connected to and outside the
Catholic liturgy and a European-inspired secular music adapted by the Filipinos and reflected in their folk
songs and instrumental music.
The American Influenced Traditions

The American regime lasted from 1898 to 1946 during which time Philippine music underwent
another process of transformation.

In the newly established public school system, music was included in the curriculum at the
elementary and later at the high school levels. Music conservatories and colleges were established at
the tertiary level. Graduates from these institutions included the first generation of Filipino composers
whose works were written in western idioms and forms. Their works and those of the succeeding
generations of Filipino composers represent the classical art music tradition which continues to flourish
today.

Side by side with this classical art music tradition was a lighter type of music. This semi-classical
repertoire includes stylized folk songs, theater music, and instrumental music. The sarswela tradition
produced a large body of music consisting of songs patterned after opera arias of the day as well as
short instrumental overtures and interludes.

The strong band tradition in the Philippines, which began during the previous Spanish period and
which continues to this day, produced outstanding musicians, composers and performers. Another
popular instrumental ensemble was the rondalla which superceded an earlier type of ensemble called
the cumparsa. The latter was an adaptation of similar instrumental groups, the murza of Mexico and the
estudiantina of Spain.

American lifestyle and pop culture gave rise to music created by Filipinos using western pop forms.
Referred to as Pinoy pop it includes a wide range of forms: folk songs, dance tunes, ballads, Broadway
type songs, rock’ n’ roll, disco, jazz, and rap.

These three main streams of Philippine music– indigenous, Spanish influenced religious and secular
music, American/European influenced classical, semi-classical, and popular music comprise what we
refer to today as Philippine music.

About the Author:

Corazon Canave-Dioquino musicologist, is a professor at the University of the Philippines, College of

Music where she has taught for the past 42 years.She is actively involved in the collection and archiving
of musical Filipiniana at the UP Center for Ethnomusicology at Diliman, Quezon City.
Contemporary Music (by RAMON P. SANTOS, PH. D.)

Contemporary music in the Philippines usually refers to compositions that have adopted ideas and
elements from twentieth century art music in the West, as well as the latest trends and musical styles in
the entertainment industry. This brief introduction covers only the works written by the art music
composers.

The modern Filipino repertoire consist of pieces that have been written in twentieth century idioms
that have evolved out of such stylistic movements as impressionism, expressionism, neo-classism, as
well as the so-called avant-garde and New Music. A good number of these works have utilized the
standard formats of classical European music such as the concerto, the symphony, the symphonic and
tone poems, cantata, etc. and may therefore be broadly categorized as neo-classic. At the same time,
they have also been greatly influenced by the textural colors of Debussy’s music and the ambiguous and
“dissonant” tonalities of early 20th century expressionist compositions. Moreover, the sounds of non-
Western instruments have been added to the tonal fabric.

The first modern works that belong to the above descriptions are attributed to Nicanor Abelardo,
who from 1931 till his death in 1934 produced works that show a dramatic departure from his highly
chromatic–tonal idiom to dissonant and ambiguous tonalities and complex rhythmic textures. Some of
the representative works of that period are the “Sinfonietta for Strings” and the “Cinderella” Overture.
In Panoramas, a chamber music suite, Abelardo also experimented on unorthodox instrumental
combinations (flute, violin, viola, celesta, piano). Two short pieces for piano Dancing Fool and
Malikmata by Antoni Molina, Philippine Suite by Ramon Tapales, and Mindanao Sketches by Antonio
Buenaventura were isolated works that assumed some degree of modernistic structural elements,
immediately following Abelardo’s output.

Philippine neo-classism is significantly represented by three names: Eliseo Pajaro, Rosendo Santos
and Lucresia Kasilag. Most of Pajaro’s works (usually bitonally chromatic) are set in such extended
formats as the symphony; concerto; symphonic ode; e.g. Ode to Academic Freedom; and song cycles
using Filipino folk tunes (Himig Iloko). the prolific Rosendo Santos, also a versatile performer in the
keyboard, percussion, and wind instruments, has written hundreds of compositions for a variety of
instruments and instrumental combinations; e.g. Suite Brevet for clarinet, alto saxophone and piano,
Two Poems for flute, vibes, and percussion,Etude for six timpanist and multi-percussion, Fantasy for
Contrabass and Harp, etc.

Lucresia Kasilag, aside from using neo-classic idioms, has added a further dimension to her
compositions by infusing the sounds of native instruments as well as their scales, and experimenting on
new forms such as the operatorio Her son, Jose and Dularawan, a contraction of dula (theater) and
larawan (pictures). Some of her landmark compositions are Toccata for percussion (orthodox and
Muslim) and winds, and Orientalia Suite for Piano and chamber and Philippine percussion instruments.
She has also applied elements of improvisation in her Ekologie I: On a Day off for tape recorder and
indigenous instruments andImprovisations No. 3 and 4 for Moslem gamelan and tipangklong.

Another sub-classification of Philippine neo-classic works are those written by Alfredo

Buenaventura, Jerry Dadap, Eduardo Parungao, and Manuel Maramba. Their works are characterized by
the eclectic utilization of various harmonic idioms, from late romantic to early twentieth century.
 A departure from the standard forms of western classical music is a significant characteristic of the
works of composers who are exploring alternative directions and concepts in music composition. Led
and inspired by Jose Maceda, these works derive their essence, theoretical and structural parameters
from non-Western sources, specifically Asian music and Philippine indigenous cultural traditions. At the
same time, they have been initially influenced by the ideas of mass structures that were advanced by
such avant-garde composers as Edgar Varese and Iannis Xenakis, and later by the different streams of
indeterminacy and improvisation as explored by John Cage and his followers.

The initial works of Jose Maceda may be classified as color and cloud compositions, utilizing the
tones and timbres of non-Western instruments to create different blocks of sounds; e.g. Ugma-Ugma
and Agungan. His later works assumed overwhelming dimensions in the use of acoustical space, mass
performance and the concept of a modern ritual- Pagsamba, Udlot-Udlot, Ading, Ugnayan, etc. Also
belonging to this formal category are Ramon Santos’ Ritwal ng Pasasalamat I and II as well as his Likas-
An and Nagnit Igak G’nam Wag’ nwag Nila, a Philippine Centennial piece for orchestras, 7 choruses,
audience, and conductor. Jonas Baes also contributed to this literature with his Pantawag, Kalipay and
Yeyunan which is based in his study of Iraya mangyan culture.

Another category of New Music compositions are improvisational works. The early pieces of Ramon
Santos such as Radyasyon and Quadrasyon were later augmented by Toledo’s Samut-sari, Pintigan and
Terminal Lamentations, all written as musical graphics, and his Humigit Kumulang for Malay hadrah
and kompang. Baes’ Wala and Banwa, both written in 1997, uses audience as well as the participation
of traditional Philippine instruments.

One of the more preferred media by the younger generation of Filipino composers is mixed media
and theater forms. Santos has significantly contributed to this body of works with his Awit, Panaghoy,
(on the poetry and Ninoy Aquino), Ta-O at Dasalan and Pompyang at iba Pa by Chino Toledo. The
experimentalPanata ng Lupa by Francisco Feliciano and other composers is an outdoor theater that
fuses elements of opera and Kalinga rituals. Feliciano has also composed the music for the music
dramas Sikhay sa Kabila ng Paalamand Ashen Wings, as well as the monumental opera La Loba Negra.
Related to this category are ballet and dance compositions to which belong Kasilag’s Sisa, Legende, and
Tapestry; Santos’ Aninag; Jerry Dadap’sTomaneg at Aniway; Feliciano’s Yerma; Toledo’s Pilipino
Komiks and Abe… (on the music of Nicanor Abelardo)

Some works may be categorized as “unclassified” for their uniqueness in conceptual framework as
well as the musical materials used; e.g. Santos’ Yugto-Yugtong Tagpo na Hingango sa Makasaysayang
Panaginip ni Antonio Manggagawa, a modern epic; Jose Maceda’s Music for Five Pianos and Mosaic
for Gongs and Bamboo.

Reference/s:
De la Torre, Visitacion. Lucresia R. Kasilag: An Artist for the World. Vera-Reyes Inc., 1985 Feliciano, Francisco. Four Asian Contemporary
Composers: The Influence of Tradition in Their Works. Quezon City: New Day Publishers, 1983Kasilag, Lucresia R. The League of Filipino
Composers: 1996 Directory and Selected Works. 1996

Santos, Ramon P. (ed.) Tunugan ’97: Proceedings of the 18th Conference and Festival of the Asian Composers League. Manila: ACL Philippines,
1997

Samson, Helen. Contemporary Filipino Composers. Quezon City: Manlapaz Publishing Company, 1976

Articles
Maceda, Jose. “Contemporary Music in the Philippines and Southeast Asia”, National Centre for the Performing Arts quarterly Journal. Vol. XII
No. 4, 1983

Santos Ramon P. “American Colonial and Contemporary Traditions”, The CCP Encyclopedia of Philippine Art. Nicanor Tiongson (ed.) Volume VI.
Cultural Center of the Philippines, 1994

____________. “Art Music in the Philippines in the Twentieth Century”, The Garland Encyclopedia of World Music: Southeast Asia. Sean
Williams and Terry Miller, (eds.) New York and London: Garland Publishing Company, 1998
About the Author:
Ramon P. Santos, Ph. D. is a composer and musicologist, having received training at the University of the Philippines, Indiana University and the
State University of New York at Buffalo. He was a full fellow at the Summer Courses in New Music at Darmstadt and undertook post-graduate
work in Ethnomusicology at the University of Illinois with grants from the Asian Cultural Council and the Ford Foundation. His works have been
featured in major festivals in Europe and in Asia. Recently, he has been awarded residency fellowships at the Bellagio Study Center and the
Civitella Ranieri Center in Italy. In the field of musicology, he has undertaken researches not only in Philippine and Asian contemporary music,
but also studied Javanese gamelan music and dance and Nan Kuan, and engaged in continuing field studies of Philippine traditional music such
as the Ibaloi badiw, the Maranao bayok, and the musical repertoires of the Mansaka, Bontoc, Yakan, and Boholano. He has contributed major
articles on Philippine music to various encyclopedias and anthologies such as The Garland Encyclopedia of World Music, the Encyclopedia of
Philippine Art, the Compendium of the Humanities in the Philippines. He was chief editor and writer of the book Musics of the ASEAN, and has
produced CD’s on Mindanao Highland Music, Mansaka Music and Music of the Bontoc from the Mountain Province. He is currently serving as
University Professor of the UP, Commissioner for the Arts of the National Commission for Culture and the Arts, and 2nd Vice President of the
International Music Council.