Philippine Classical Music (3 of 6)

Literary-musical organizations appeared in Manila and nearby provinces. Foreign artists and musical groups came to the Philippines in the 19th century in the course of their Asian torus and presented a wide range of concerts, operas, literary and brass band concerts.

American Period (1898-1946)

A co-educational system of public education was introduced by the American colonizers. Filipino and foreign folksongs were taught by rote throughout the country. American jazz and film music gained a foothold among the younger generation. European classical music and a new method of piano pedagogy was introduced by Sister Baptista Battig, a German Benedictine missionary who studied with Ludwig Deppe in Germany. In 1908, she founded the music school of the St. Scholastica’s College where there influence was lasting.

The Conservatory of Music of the University of the Philippines was established in 1916 to counteract the onslaught of American jazz and to raise the standards of performance and public appreciation for fine classical music. The first two directors were Wallace George and Robert L. Schofield, succeeded in 1926 by Alexander Pippay, a Viennse conductor/composer who introduced changes in the curriculum and appointed European artists in the teaching staff. He resigned in 1931 and founded the Manila Academy of Music.

Francisco Santiago (1881-1983), Santiago formed a triumvirate of composers known for their sense of nationalism, teachings and compositions. They wrote works n the larger forms: sonata, concerto, symphony, symphonic poems, mostly based on folk themes.

Founded in 1903 under the direction of Walter H. Loving, the Philippine Constabulary Band carried a long tradition of brass bands dating back to the 19th century. The PC Band gained international recognition when it won the first prize at the St. Louis Exposition in Missouri in 1904.

Philippine Classical Music (5 of 6)

The works of Japanese composers like Kozyak Yamada were performed in special concerts. However, Japanese music left no imprint on the style and content of Philippine music.

Post-war/Contemporary Period (1946 to date)

After independence in 1946, Philippine music showed a marked growth in cultural consciousness and nationalism. Music schools increased from the pre-war 12 to 33, offering Bachelor of Music courses in piano, voice, strings and wind instruments, music theory, composition and music education. Some schools offer course for the Master of Music degree.

The League of Filipino Composers was established in 1955with 11 charter members. Filipino composers continued writing major works using western idioms with conventional traditions utilizing folk themes and legends. The concerto, symphony, symphonic poem, overture, suite, opera, choral, chamber, art song, ballet and incidental music were written during this period.

Contemporary composers utilized percussive dissonance, polyrhythm, atonality, music concrete, electronic music, synthesis of East/West in fresher modes, producing works of distinct cultural personality.

The ethnomusicologist/composer Jose Maceda whose exposure to Asian music and Filipino tribal music has produced an embodiment of his advanced thinking combining sounds with 20th century techniques in his avant-garde compositions.

Pioneering on the synthesis of East/West idioms, this writer has utilized ethnic Filipino/Asian instruments in her works. The younger group of composers led by Ramon P. Santos and Francisco P. Feliciano and followers like Ruben Federizon have pursued Asian environmental orientation, producing avant-garde works like Santos’ Singaw for jew’s harp, takumbo, gongs, violin, and Tinig for voices and percussions; Federizon’s Gabag-an for voices and ethnic instruments, and Tinig ng Lupa (Song of the Earth).