Philippine Choral Music
In the forefront of choral music in the Philippines, the Philippine Madrigal Singers has from its ranks produced more than 200 choral arrangers and composers who have contributed to the wealth of Philippines choral literature. They are the first and only two-time champions in the European Grand Prix for Choral Singing (1997, and 2007), widely considered the most prestigious choral competition in the world.
There are choirs in about every university, school, or church in the Philippines and most have gone and won on national and international competitions. Of mention are the University of Santo Tomas Singers, University of the Philippines Singing Ambassadors, University of the Philippines Concert Chorus, University of the Philippines Manila Chorale, Ateneo de Manila College Glee Club, Philippine Normal University Choral, Saint Louis University Glee Club (Baguio City), University of the East Chorale, Hail Mary the Queen Children's Choir, De La Salle University Chorale, and the Kilyawan Boys Choir (Claret School of Quezon City).
Filipino Composers
Immortal Composer such as the National Artist for Music Lucio San Pedro, who composed the famous "Sa Ugoy ng Duyan" that recalls about the loving touch of mother to her child. Another great composer who's know as patriotic composer, Alfredo Buenaventura.
OPM (Original Pilipino or Pinoy Music
Original Pilipino Music, now more commonly termed Original Pinoy Music or Original Philippine Music, (frequently abbreviated to OPM) originally referred only to Philippine pop songs, especially those in the ballad form, such as songs popularized in the 1970s through the present by major commercial Philippine pop music artists like Pilita Corrales, Nora Aunor, VST & Co., Ryan Cayabyab, Basil Valdez,Eraserheads, Freddie Aguilar, Rey Valera, José Mari Chan and APO Hiking Society.
OPM music was spearheaded between the 1980's and the 1990's, most singers like Sharon Cuneta, Regine Velasquez, Randy Santiago,Janno Gibbs, Ogie Alcasid, Donna Cruz, Lea Salonga, Snooky Serna, Raymond Lauchengco, Francis Magalona, Ariel Rivera and Gary Valenciano are more popularized with many songs; songs like Urong Sulong, Babaero, Di Bale Na lang and 'Wag Mo Na Sanang Isipin, etc., are frequently listened to listeners and fans, even on all FM stations. On July 25, 1987, President Corazon Aquino signed the Executive Order No. 255 as a law to play hourly OPMs on every FM station effectively and stations like DZOO, DWLS and others produced OPM songs mainly include Pinoy OPM disco-style dance and easy listening to shape-up Filipino culture as well. Christmas songs are also frequently listened every Christmas.
Handog ng Pilipino sa Mundo, Bayan Ko and Magkaisa are the post-People Power Revolt songs also played to immortalize the events brought after the revolution.
OPM pop has also been regularly showcased in the live band scene. Groups such as the Neocolours, Side A, True Faith, Passage, 3rd Avenue and Freestyle popularized songs that clearly reflect the sentimental character of OPM pop.
In the passage of time as well as the development of many diverse and alternative musical styles in the Philippines, however, the term OPM now refers to any type of Original Philippine Music created in the Philippines or composed by individuals of Philippine extraction, regardless of location at the time when composed. The lyrics may be in any Philippine languages or dialect. However, certain exceptions do exist, wherein foreign songs by foreign composers created specifically to be performed by Filipino singers are treated as OPMs as well.
For the past 20 years, OPM have been located in Manila, where Tagalog, and English are the dominant languages. Other ethnolinguistic groups such as the Visayan, Bikol, and Kapampangan, despite making music in their native languages are not recognized in the OPM category, except in phenomenal cases like the Bisrock (Visayan Rock music) song "Charing" by Davao band 1017.
Multiculturalism advocates, and federalists often connect this to the Tagalog cultural hegemony of the capital city of Manila.
Having successfully created a subgenre of Philippine Rock they called Bisrock, the Visayans by far have the biggest collection of modern music in their native language, with great contributions from Visayan bands Phylum, and Missing Filemon. However, a band called Groupies' Panciteria that hails from Tacloban, a Winaray-speaking city, launched a free downloadable mp3 album on Soundclick.com in 2009 containing 13 Tagalog songs and only one very short one in the Cebuano language.[1]
Following suit are the Kapampangans. The debut music video of "Oras" (Time) by Tarlac City-based Kapampangan band Mernuts has penetrated MTV Pilipinas, making it the first ever Kapampangan music video to join the ranks of other mainstream Filipino music videos. "RocKapampangan: The Birth of Philippine Kapampangan Rock," an album of modern remakes of folk Kapampangan extemporaneous songs by various Kapampangan bands was also launched last February 2008, which are now regularly played via Kapampangan cable channel Infomax-8 and via one of Central Luzon's biggest FM radio stations, GVFM 99.1. Inspired by what the locals call "Kapampangan cultural renaissance," Angeles City-born balladeer Ronnie Liang rendered Kapampangan translations of some of his popular songs such as "Ayli" (Kapampangan version of "Ngiti"), and "Ika" (Kapampangan version of "Ikaw") for his repackaged album.
Despite the growing clamor for non-Tagalog, and non-English music, and greater representations of other Philippine languages; the local Philippine music industry, which is located in Manila, is still sceptical in making investments. Some of their major reasons include the language barrier, the still-small market, and the demonisation of regionalism in the Philippine Islands.
In 2010, Click Music Philippines was formally launched on September 15, 2010 at the New Horizons Hotel, Mandaluyong City with members of the press, music industry personalities and radio station icons in attendance. The primary objective of the movement is to rekindle the pride in Original Pilipino Music. This is the first project that brings composers and radio networks together towards a unified business direction anchored on creative industries initiatives with a tighter focus on copyright ownership in the value chain during the production and distribution of creative content in the music industry.
Best-selling albums in the Philippines
The United States occupied the Islands in 1898 until 1946, and introduced American blues folk music, R&B, and rock and roll became popular. In the late 1950s, native performers adapted Tagalog lyrics for North American rock n'roll music, resulting in the seminal origins of Philippine rock. The most notable achievement in Philippine rock of the 1960s was the hit song "Killer Joe," which propelled the group "Rocky Fellers" which reached number 16 on the American radio charts.
Up until the 1970s, popular rock musicians began writing and producing in English. In the early 1970s, rock music began to be written using local languages, with bands like the Juan Dela Cruz Band being among the first popular bands to do so. Mixing Tagalog, and English lyrics were also popularly used within the same song, in songs like "Ang Miss Universe Ng Buhay Ko," by the band Hotdogs which helped innovate the Manila sound. The mixing of the two languages (known as "Taglish"), while common in casual speech in the Philippines, was seen as a bold move, but the success of Taglish in popular songs, including Sharon Cuneta's first hit, "Mr DJ," broke the barrier forevermore.
Philippine rock musicians added folk music, and other influences, helping to lead to the 1978 breakthrough success of Freddie Aguilar. Aguilar's "Anak" (Child), his debut recording, is the most commercially successful Filipino recording, and was popular throughout Asia, and Europe, and has been translated into numerous language by singers worldwide. Asin also broke into the music scene at the same period, and were popular.
Folk-rock became the Philippine protest music of the 1980s, and Aguilar's "Bayan Ko" (My Country) became popular as an anthem during the 1986 EDSA Revolution. At the same time, a counterculture rejected the rise of politically focused lyrics. In Manila, a punk rock scene developed, led by bands like Betrayed, The Jerks, Urban Bandits, and Contras. The influence of New Wave was also felt during these years, spearheaded by The Dawn.
The 1990s saw the emergence of a superstar pop-rock group, the Eraserheads, considered by many Philippine nationals as the number one group in the Philippine recording scene. In the wake of their success was the emergence of a string of influential Filipino rock bands such asYano, Siakol, Parokya ni Edgar, and Rivermaya, each of which mixes the influence of a variety of rock subgenres into their style.
Filipino rock has also developed to include some hard rock, heavy metal, and Alternative rock such as Razorback, Greyhoundz, Slapshock, Grin department,and the progressive band Paradigm.
Many of the so called “under ground” bands existed, though their exposure is limited to the public. Naming a few, The Zombies of Ateneo de Manila ( with Grigo Mendoza as front man), Circle’s End of Diliman (with Geno Georsua as “the dramatic song writer"....where are you going you are already there.) and the ethnic group band of Southern Philippines, the Kudyapi ni Bandong (with Zac Dugiung “string master”.)
The Neo-Traditional genre in Filipino music is also gaining popularity, with artists such as Joey Ayala, Grace Nono, Bayang Barrios, Cocojam, and Pinikpikan, reaping relative commercial success while utilizing the traditional musical sounds of many Indigenous tribes in the Philippines.
Today, the Philippines has notable metal bands such as SIN, COG, Bloodshedd, Imbue No Kudos, April Morning Skies, Valley Of Chrome, and Arcadia
In the Reggae Scene, Cebu is dubbed to be the "Reggae Capital of the Philippines" with the most numbered Reggae artists. Some of the influential reggae bands from cebu is Cooliedread and the Microphone Commanders, Bambu Spliff, Potent Bush, Roots Revival, Sefyla, Santing Scalawags, and more!
Filipino hip-hop is hip hop music performed by musicians of Filipino descent, both in the Philippines, and overseas, especially by Filipino-Americans. This article focuses first on Filipino hip-hop in the Philippines, and secondly on that in the USA. The Philippines is known to have had the first hip-hop music scene in Asia[1] since the early 1980s, largely due to the country's historical connections with the United States where hip-hop was originated. Rap music released in the Philippines has appeared in different languages such as Tagalog, Chavacano, Cebuano, Ilocano and English. In the Philippines, Francis M and Andrew E. are cited as the most influential rappers in the country, being the first to release mainstream rap albums. In the USA, Apl.de.ap of the Black Eyed Peas, Cassie Ventura and Chad Hugo of The Neptunes andN.E.R.D are cited as the most successful Filipino-Americans in the music industry.
Other genres
A number of other genres are growing in popularity in the Philippine music scene, including a number of alternative groups, and tribal bands promoting cultural awareness of the Philippine Islands.
Likewise, jazz has experienced a resurgence in popularity. Initial impetus was provided by W.D.O.U.J.I.(Witch Doctors of Underground Jazz Improvisation)with their award winning independent release "Ground Zero" distributed by the now defunct N/A Records in 2002 and the Tots Tolentino-led Buhay jazz quartet on the year before that. This opened up the way for later attempts most notable of which is the Filipino jazz supergroup Johnny Alegre Affinity releasing its eponymous debut album in 2005 under London-based Candid Records. Mon David has also made the rounds of the Las Vegas music circuit. Among the female performers, Mishka Adams has been the most prominent. A recent development is the fusion of spoken-word and jazz, and rock, chiefly attributed to Radioactive Sago Project. Other notable names of late are Bob Aves with his ethno-infused jazz, The Jazz Volunteers and Akasha which have anchored the now legendary underground jazz jams at Freedom Bar for almost half of the 11 years of its existence.
Bossa nova and Latino music has been popular since the 1970s. Performers like Annie Brazil were active in the 1970s, while more recently,Sitti has been earning rave reviews for her bossa nova covers of popular songs.
While there has long been a flourishing underground reggae and ska scene, particularly in Baguio City, it is only recently that the genres have been accepted in the mainstream. Acts like Brownman Revival, Put3Ska and Roots Revival of Cebu, Philippines have been instrumental in popularizing what is called "Island Riddims". There is also a burgeoning mod revival, spearheaded by Juan Pablo Dream and a large indiepop scene.
The tradition of ku'intang ensemble music itself is an regional one, predating the establishing of borders between the Philippines, Indonesia and Malaysia. It transcends religion, with animist and Christian ethnic groups in Borneo, Flores and Sulawesi playing kulintangan; and Muslim groups playing the same genre of music in Mindanao, Palawan and the Sulu archipelago. It is distantly related to the Gamelan music orchestras of Java and Bali, as well as the musical forms in Mainland Southeast Asia, mainly because of the usage for the same bossed racked gong chimes that play both melodical and percussive part
Gong Music ♥ ♥ :)
Philippine gong music can be divided into two types: the flat gong commonly known as gangsa and played by indigenous groups in the Cordillera region of Northern Philippines and the bossed gongs played among the Islam and animist groups in the Southern Philippines.
Philippine gong music can be divided into two types: the flat gong commonly known as gangsa and played by indigenous groups in the Cordillera region of Northern Philippines and the bossed gongs played among the Islam and animist groups in the Southern Philippines.
Kulintang refers to a racked gong chime instrument played in the southern islands of the Philippines, along with its varied accompanying ensembles. Different groups have different ways of playing the kulintang. Two major groups seem to stand-out in kulintang music. These are the Maguindanaon and the Maranaw. The kulintang instrument itself could be traced to either the introduction of gongs to Southeast Asia from China from before the 10th century CE, or more likely, to the introduction of bossed gong chimes from Java in the 15th century. Nevertheless the kulintang ensemble is the most advanced form of music from before the late 16th century and the legacy of hispanization in the Philippine archipelago.
Harana and Kundiman
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The Harana and Kundiman are lyrical songs popular in the Philippine Islands dating back to the Spanish period. Harana are traditional courtship songs in the Mexican-Spanish tradition based on the habanera rhythm while the Kundiman, which has pre-colonial origins from the Tagalog region, uses triple meter rhythm. Kundiman is also characterized by a minor key at the beginning and shifts to a major key in the second half. Its lyrics depict a romantic theme, usually portraying love, passion, or sadness.
In the 1920s Harana and Kundiman became more mainstream musical styles led by performers such as Atang de la Rama, Jovita Fuentes, Conching Rosal, Sylvia La Torre and Ruben Tagalog.
Tinikling
The Tinikling is a Philippine dance which involves two individual performers hitting bamboo poles, using them to beat, tap, and slide on the ground, and against each other in co-ordination with one or more dancers who steps over, and in between poles.
Cariñosa
The Cariñosa (meaning loving or affectionate one), is a Philippine national dance from the María Clara suite of Philippine folk dances, where the fan, and handkerchief plays an instrument role as it places the couple in romance scenario. The dance is similar to the Jarabe Tapatío. The Cariñosa is accompanied with Hispanic music, and language.
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