| This article is part of a series on the |
| Culture of the Philippines |
|---|
 |
| Society |
| Arts and literature |
| Other |
| Symbols |
 Philippines portal |
Themusic of the Philippines (Filipino:Musika ng Pilipinas) includes the musical performance arts in thePhilippines and the music ofFilipinos composed in various local and internationalgenres andstyles. Philippine musical compositions are often a mixture of Indigenous styles, and variousAsian styles, as well asSpanish/Latin American and (US)American influences through foreign rule from those countries.
Notable indigenous musicians include Ukà of Lange-Lange who specialized in thekutiyapi, the most difficult of all indigenous Philippine instruments,[2][3]Masino Intaray who specialized in the basal, aroding, and babarak,[4] andSamaon Sulaiman, who specializes as well in the kutiyapi.[3] Notable folk song composers include the National Artist for MusicLucio San Pedro, who composed the famous "Sa Ugoy ng Duyan" that recalls the loving touch of a mother to her child. Another composer, the National Artist for MusicAntonino Buenaventura, is notable for notating folk songs and dances. Buenaventura composed the music for "Pandanggo sa Ilaw".
Philippine gong music today can be geographically divided into two types: the flat gongs commonly known asgangsà unique to the groups in theCordillera mountains and thebossed gongs ofMuslim andanimist groups spanning theSulu archipelago, much ofMindanao,Palawan, and the inlands ofPanay andMindoro. The latter were once ubiquitous throughout coastal, lowland Philippine societies before widespread Christianization, and less frequently imports offlatchau gongs from China.
Kulintang refers to a rackedgong chime instrument played in the southern islands of the Philippines, along with its varied accompanying ensembles. Different groups have different ways of playing thekulintang. Two major groups seem to stand out inkulintang music. These are the Maguindanaon and the Maranao. The kulintang instrument itself could be traced to either the introduction of gongs to Southeast Asia fromChina before the 9th century CE or more likely, to the introduction of bossed gong chimes fromJava in the 16th century. Nevertheless, the kulintang ensemble is the most advanced form of ensemble music with origins in thepre-colonial epoch of Philippine history and is a living tradition in southern parts of the country.
The musical traditions involving thekulintang ensemble consist of regional musical styles and varying instrumentation transcending the present national borders of maritime Southeast Asia, comprisingBuddhist, animist,Muslim, and Christian peoples aroundBorneo,lesser Sunda islands,Sulawesi,Maluku,Sulu, andMindanao. It is distantly related to thegamelan ensembles ofJava,Bali,Sumatra & the Malay peninsula, andsouth Borneo, even moreso the ensembles ofmainland Southeast Asia, primarily because of the usage for the same racked bossed gong chimes that play melody and/or percussion
Philippine folk music has some Spanish and Latin American influence, derived from the period the country, along with Guam and the Mariana islands, was ruled from Mexico City and Madrid by theSpanish viceroyalty. It is seen in folk and traditional music, of coastal lowland regions ofLuzon,Visayas, and the predominantly Visayannorth andeast Mindanao alongside the westernmost tip ofZamboanga.
Hispanic music in the Philippines derived fromIberian and someMexican traditions, owing to the Philippine colony'sorientation as a distant entrepôt for resale of primarily Chinese and other Asian luxury goods across the Pacific to mainlandNew Spain (present-dayAcapulco,Mexico). Aside from standardized genres are many precolonial musical forms syncretized with Catholic and general Hispanic idioms, typically involving in religious folk rituals. ThePasyon chants ubiquitous among Christian Filipinos preserve prehispanicized vocal styles, and invocations of patron saints throughout many towns inheritedprecolonial forms of ancestor and spirit worship. Examples includesubli (Batangas),sinulog (Cebu),tinikling (Leyte), andbolibong kingking (Bohol).
Therondalla is a traditional string orchestra comprising four-string,mandolin-type instruments such as thebanduria andlaud; aguitar; adouble bass; and often a drum for percussion. The rondalla has its origins in the Iberianrondalla tradition and is used to accompany several Hispanic-influenced song forms and dances.
Theharana andkundiman are popular lyrical songs dating back to the Spanish period and are customarily used in courtship rituals. Theharana is rooted in theMexican-Spanish from Spain, traditional and based on the rhythmic patterns of thehabanera. Thekundiman, meanwhile, has precolonial origins from theTagalophone parts of the country, uses a triple meter rhythm, and is characterized by beginning in aminor key and shifting to a major one in the second half. Harana and kundiman are stylistically different. Whereas harana is in 2/4 time, kundiman is in 3/4. The formula is verse 1 on minor key followed by verse 2 on parallel major key midway through.
In the 1920s,harana andkundiman became more mainstream after performers such asAtang de la Rama,Jovita Fuentes, Conching Rosal,Sylvia La Torre, andRuben Tagalog introduced them to a wider audience.
Introduced during the Spanish colonial period, classical music was highly enjoyed by the wealthy elite class. From the latter part of the 19th century, the rise of the "illustrados" or the "educated natives" began to dominate the classical music scene. Such native composers includeJulián Felipe,Jose Canseco, Jr.,Marcelo Adonay, Simplicio Solis, Fulgencio Tolentino, and Bonifacio Abdon.[5]
.jpg)
The theatrical Spanishzarzuela was later adapted and localized in Philippine music. It was first introduced in 1879 and appeared in 1900.[6] During the aftermath of the American invasion, the colonizers view the music form as "seditious" due to its use to promote nationalistic sentiments.[5] Composers who specialized in zarzuela includeJose Estella and Bonifacio Abdon.[6] The zarzuela was considered to be the predecessor of kundiman.[5]
Formal classical music training appeared during the 1900s. Because of the new public school system, music was included in the curriculum. The establishment of music conservatories and colleges were implemented for tertiary education. The earlier schools include the Scholastica's College (1906) and the University of the Philippines Conservatory of Music (1916). Most of the graduates of these schools became leading classical composers such as Franscisco Buencamino,Nicanor Abelardo,Francisco Santiago, andAntonio Molina.[6]
Centro Scholar University founded in 1907 as Centro Escolar de las Señoritas had a Music department under the direction of the famous composer Francisco Buencamino, Sr. In 1930 the department was elevated to a Conservatory of Music with Buencamino as its first director. It was at this time that the CEU Rondalla and the CEU Choir were organized.[7]
Inspired by American neoclassism, contemporary methods were employed byLucrecia Kasilag and Eliseo Pajaro in their classical works. However, it wasJose Maceda that made a Filipino expressionism that is distinct from the traditional European forms of classical music.[6]
Between the late 20th century and the 21st century, notable classical composers includeRamon Pagayon Santos andFrancisco Feliciano. Groups who specialized in classical music include the Philippine Youth Orchestra,Manila Symphony Orchestra, and the U.P. Symphony Orchestra.[6]
Choral music has become an important part of Philippine music culture. It dates back to the choirs of churches that sung during mass in the old days. In the middle of the 20th century, performing choral groups started to emerge and increasingly become popular as time goes by. Aside from churches, universities, schools, and local communities have established choirs.
Philippine choral arrangers like Robert Delgado, Fidel Calalang,Lucio San Pedro,Eudenice Palaruan among others have included in the vast repertoires of choirs beautiful arrangements of OPM, folk songs, patriotic songs, novelty songs, love songs, and even foreign songs.
ThePhilippine Madrigal Singers (originally the University of the Philippines Madrigal Singers) is one of the most famous choral groups not only in the Philippines, but also worldwide. Winning international competitions, the group became one of the most formidable choral groups in the country. Other award-winning choral groups are theUniversity of Santo Tomas Singers, the Philippine Meistersingers (Former Adventist University of the Philippines Ambassadors), theU.P. Singing Ambassadors, and theU.P. Concert Chorus, among others.
Manila sound is a musical genre that began in the mid-1970s in the city ofManila. The genre flourished and peaked in the mid to late-1970s. It is often considered the "bright side" of thePhilippine martial law era and has influenced most of the modern genres in the country, being the forerunner toOPM.
Original Pilipino Music, more commonly referred to as OPM, a commercialacronym coined byDanny Javier of theAPO Hiking Society,[8] originally referred only to the pop genre of music from the Philippines, predominantly ballads and novelty numbers, that became popular after the wane of its direct 1970s commercial predecessor,Manila sound. The term"OPM" became a catch-all description for all popular music of any genre composed, performed and recorded by Filipinos in the Philippines,[9] originating from the Philippines.
Before the emergence of OPM in the 1970s, Philippine popular music through the 1950s and 1960s encompassed songs, mostly withvernacular lyrics and frequently withcinematic themes as recorded by artists such asSylvia La Torre,Diomedes Maturan,Ric Manrique Jr.,Ruben Tagalog,Helen Gamboa,Vilma Santos,Edgar Mortiz, andCarmen Camacho, among many others. There were exceptions, however, such asPilita Corrales, dubbedAsia's Queen of Song, whose popular releases includedCebuano,Tagalog,English andSpanish adaptations. From its heyday, OPM was entrenched in Manila, as Tagalog and English stood as the dominant languages. It was also heavily influenced from Americancountry music.
The country's first songwriting competition,Metro Manila Popular Music Festival, was first established in 1977 and launched by the Popular Music Foundation of the Philippines. The event featured many prominent singers and songwriters during its time. It was held annually for seven years until its discontinuation in 1985. It was later revived in 1996 as the "Metropop Song Festival", running for another seven years before being discontinued in 2003 due to the decline of its popularity.[10] Another variation of the festival had been established called theHimig Handog contest which began in 2002, operated byABS-CBN Corporation and its subsidiary music labelStar Music (formerly Star Records).
Five such competitions were staged between 2000 and 2003 and was revived in 2013. Unlike their predecessors, the contest had different themes which reflect the type of song entries chosen as finalists each year.[11][12] In 2012, thePhilippine Popular Music Festival was launched and is said to be inspired by the first songwriting competition.[13] Another songwriting competition for OPM music being held annually is the Bombo Music Festival, being conducted by the radio networkBombo Radyo, first conceived in 1985.[14]
Recording artists of other regional languages, such asCebuano,Kapampangan,Ilocano and otherslanguages of the Philippines rarely broke into national prominence until the 1970s and after, particularly in the emergence ofBisrock (Visayan rock music); exemplified by1017, a Davao-based band andMaldita, aZamboanga-basedChavacano band.
The debut music video of "Oras" ("Time") byTarlac-based band Mernuts 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,[15] an album of modern remakes of Kapampangan folk extemporaneous songs by various Kapampangan bands was also launched in February 2008, and was 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 balladeerRonnie 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 the greater representation of otherPhilippine languages, the local Philippine music industry, which is centered in Manila, is unforthcoming in venturing investments to other locations. Some of the major reasons for this include the language barrier, small market size, and socio-cultural emphasis away from regionalism in the Philippines. An example would be theIlokano group The Bukros Singers,[16] who swept throughIlocandia in the 1990s and became a precursor for other Ilokano performers into the 2000s, but rarely broke through other music markets in the Philippines.
.jpg)
While Filipino pop music artists have existed for decades,P-pop emerged in the 2010s with increased quality, budget, investment and variety, mirroring that of the country's rapideconomic growth, and an accompanying social and cultural resurgence of its Asian identity. Heavy influence fromK-pop andJ-pop, Asian style ballads, idol groups, and EDM can be heard, with less reliance on Western genres, mirroring theKorean wave and similar Japanese wave popularity among young Filipinos and mainstream culture. Notable Filipino pop music artists who define the growth of this now mainstream genre includeRegine Velasquez,Sarah Geronimo,Yeng Constantino,Erik Santos,KZ Tandingan,Moira Dela Torre, andMorissette, as well as P-Pop bandsSB19 andBINI.
TheUnited States occupied the Islands from 1898 until 1946 and introduced Americanblues,folk music,R&B androck & roll which became popular. In the late 1950s, native performers adapted Tagalog lyrics for North American rock & 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 groupRocky Fellers, reaching number 16 on the American radio charts.
Up until the 1970s, popular rock musicians wrote and produced songs primarily in English. In the early 1970s, rock music began to be written using local languages, with bands like theJuan Dela Cruz Band being among the first popular bands to do so. Mixing Tagalog and English lyrics within the same song was also popular, an example of which includes the song "Ang Miss Universe Ng Buhay Ko ("The Miss Universe of My Life") by the bandHotdog, who was a primary innovator in theManila sound scene. The mixing of the two languages (known as "Taglish"), while common in casual speech in the Philippines,[citation needed] was seen as a bold move,[citation needed] but the success of Taglish in popular songs, includingSharon Cuneta's first hit, "Mr. DJ", broke the barrier.
Philippine rock musicians' acts were influenced byfolk music and other various cultures, helping to lead to the 1978 breakthrough success ofFreddie 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 languages by singers worldwide.Asin also broke into the music scene in the same period and was popular. Other similar artists includedSampaguita, Coritha,Florante,Mike Hanopol, andHeber Bartolome.
Folk rock became the Philippine protest music of the 1980s, and Aguilar's rendition of "Bayan Ko" ("My Country") became popular as ananthem during the1986 EDSA Revolution. At the same time, a counterculture rejected the rise of politically focused lyrics. InManila, an underground Do-It-Yourselfhardcore punk,punk rock scene developed, led by bands like Betrayed,the Jerks, Urban Bandits, and Contras. The influence ofnew wave was also felt during these years, spearheaded bythe Dawn.
The 1990s saw the emergence ofEraserheads, considered by many Filipinos as the number one Filipino musical artist. The wake of their success saw the emergence of a string of influential Filipino rock bands such asTrue Faith,Yano, Siakol, the Youth, Introvoys, After Image,Teeth,Parokya ni Edgar andRivermaya, each of which mixed the influence of a variety of rock sub-genres into their style.[18][circular reference] A 1990sdeath metal emergence (Skychurch, Genital Grinder, Death After Birth, Disinterment, Kabaong ni Kamatayan, Mass Carnage, Apostate, Murdom, Exhumed, Sacrilege, Rumblebelly,Disinterment, Dethrone, Aroma) had bands as prominent fixtures atClub Dredd of the "tunog kalye" era.
By the 1990s, thehardcore punk scene had begun to die down in Manila. "All the punks disappeared," recalls Jep Peligro, creator ofKonspirazine, a zine published in the late 1990s and early 2000s documenting the local DIY music scene. Still, there were hubs of activity, such as in Laguna, a province southeast of Manila with a rich DIY punk culture, and the neighboring Cavite region, which is jointly called Strong South known as thepunk capital of the Philippines.[19]
Filipino rock in the 2000s also developed to includepunk rock,hardcore punk,emo,hard rock,heavy metal, andalternative rock, with acts likeRazorback,Wolfgang,Greyhoundz,Slapshock, Queso,Typecast, PILEDRIVER,Chicosci,Kamikazee,Bamboo,Franco,Urbandub,Tanya Markova, Kiko Machine, and theprogressive bands Paradigm, Fuseboxx, Earthmover, and Eternal Now.
The 2010s saw the rise of various unsigned acts of different subgenres from another format of rock,independent music which includedindie acts such asAutotelic,Ang Bandang Shirley,the Ransom Collective,Ben&Ben,December Avenue,IV of Spades,Munimuni, and the Purplechickens[20] among others.
Rock festivals have emerged, becoming annual events for rock and metal enthusiasts. One big event is thePulp Summer Slam where local rock/metal bands and international bands such asLamb of God,Anthrax,Death Angel, andArch Enemy have performed.[21] Another all-local annual event,Rakrakan Festival, is one where over 100 Pinoy rock acts perform.
The neo-traditional genre in Filipino music is also gaining popularity, with artists such asJoey Ayala,Grace Nono,Bayang Barrios, Kadangyan, andPinikpikan reaping relative commercial success while utilizing the traditional musical sounds ofIndigenous peoples in the Philippines.
The 2020s gave birth of new breed of rock and indie artists/bands:Magnus Haven,Bandang Lapis,the Vowels They Orbit andNobita.Zild Benitez, who previously played for IV of Spades, also made his solo recordings.
Jazz music in the Philippines originated during theAmerican occupation of the Philippines between 1910s and 1920s. At this period, Filipinos began experimenting with Afro-American and Hispano-Filipino music. One of the notable musicians of this age was the self-proclaimed"King of Jazz",Luis Borromeo. The music produced by Borromeo wasragtime which was common among his contemporaries. Other composers such as classical composers likeFrancisco Santiago andJose Estella began fusing jazz elements, which was considered "modern music" at the time, and created new genres of dance music such as "himno one-step", "Filipino foxtrot", and "‘Filipino tango-foxtrots". During the 1920s, with the arrival of recording companies such asParlophone and with the gained momentum of the aforementioned hybrid dance genres, many department stores and shopping streets especially atEscolta, Manila began selling and advertising for new "Filipino Dance Records".[22] Furthermore, the original compositions of Filipino bassist Angel Peña in the 1950s became a catalyst for theJazz Friends to converge, consisting of alto saxophonist Lito Molina, pianist Emil Mijares, drummer Tony Velarde and other jazz orchestra professionals.
According to theFilipinas Heritage Library, Pinoy jazz became a unique genre because it mixed Filipino folk music elements with the emerging modern jazz trends of the '70s and onwards, with the JEM Records albums of Eddie Munji andRyan Cayabyab music in the mid-1970s.[23] A renewed interest in their recordings caused a resurgence of Pinoy jazz, reinvented asAdobo Jazz in the late 1990s and after. The initial impetus was provided by groups such as JRCOBB Jazz Chamber; and bands such as WDOUJI (acronym: Witch Doctors of Underground Jazz Improvization)[24][25] that released an award-winning album in 2002 entitledGround Zero (under the now-defunct N/A Records label); andBuhay (under the now-defunctStar Records label), led by saxophonistTots Tolentino.[26] After-hours jazz jams became a norm in venues such as Freedom Bar (located along Anonas Street inCubao,Quezon City) during the early 2000s; and Tago Jazz Cafe in the 2010s,[27] (also located in Cubao) that became incubators for emerging jazz groups and recording talent.[28]
Pinoy jazz paved the way for post-modern innovations, most notably the Filipino jazzsupergroupJohnny Alegre Affinity,[29] releasing its eponymous debut album in 2005 under theUK-basedCandid Records.[30][31] Other notables were guitarist Bob Aves[32] with his ethno-infused jazz recordings,[33][34][35] and thespoken-word fusion ensembleRadioactive Sago Project also displayed jazz underpinnings. TheKapampangan singerMon David [pam][36] likewise cultivated his persona as a Filipino jazz vocalist to win the London International Jazz Competition for Vocalists in 2006.[37] Among the female jazz singer-songwriters, the British-Filipino Mishka Adams became very popular as a flagship artist ofCandid Records, releasing two well-received albums.[38][39] The multi-awarded music ofHumanfolk in the new millennium became a cause for fusing genuineindigenous music rhythms and instrumentation withurban folk music and jazzharmonization.
Many other genres are growing in popularity in the Philippine music scene, including several alternative groups and tribal bands promoting cultural awareness in the Philippines.
Filipino hip-hop iship hop music performed by musicians of Filipino descent, both in the Philippines and overseas, especially by Filipino-Americans. The Philippines is known to have the first hip-hop music scene in Asia, emerging in the early 1980s, largely due to the country's historical connections with the United States where hip-hop 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,Andrew E., Vincent Daffalong, Michael V., Denmark, andGloc-9 are cited as the most influential rappers in the country, being the first to release mainstream rap albums. A new breed of hip hop/rap/trap artists likeAbra, Bassilyo, Curse 1, Flict-G, Smugglaz, Dello, Loonie,Shehyee,Shanti Dope, 1096 Gang,Al James, Because, Bugoy na Koykoy, Nik Makino, Honcho,Skusta Clee,Flow G,Ex Battalion,ALLMO$T,O.C. Dawgs andEz Mil would later follow in the early 2010s to present.
Pinoynovelty songs became popular in the 1970s up to the early 1980s. Popular novelty singers around this time wereReycard Duet,Fred Panopio andYoyoy Villame. Novelty pop acts in the 1990s and 2000s includedMichael V.,Bayani Agbayani, Grin Department, Masculados ("Lagot Ka!"),Blakdyak,Vhong Navarro, Lito Camo,Sexbomb Girls,Joey de Leon ("Itaktak Mo"),Viva Hot Babes, andWillie Revillame.
 | This sectionneeds additional citations forverification. Please helpimprove this article byadding citations to reliable sources in this section. Unsourced material may be challenged and removed. Find sources: "Music of the Philippines" – news ·newspapers ·books ·scholar ·JSTOR(June 2024) (Learn how and when to remove this message) |
Afro-Cuban a.k.a. "latin andbossa-nova rhythms in Philippine popular music became pervasive through the Philippines' post-Liberation years and onwards. Performers such as Annie Brazil and her son Richard Merk, the Katindig family of musicians (Eddie Katindig, Romy Katindig, Boy Katindig, Henry Katindig and Tating Katindig), Bo Razon, Eileen Sison andSitti, achieved popularity and commercial success with latin and bossa-nova inflected live performances and recordings.
While there has long been a flourishing undergroundreggae andska scene, particularly inBaguio, it was only recently that such genres were accepted into the mainstream scene. Acts likeTropical Depression,Brownman Revival,Put3ska,Roots Revival of Cebu, and the Brown Outfit Bureau ofTarlac City have been instrumental in popularizing what is called "Island Riddims". There is also a burgeoningmod revival, spearheaded by Juan Pablo Dream and a large indie-pop scene.
Electronic music began in the mid-1990s in the Manila underground spearheaded by such acts as Manolet Dario of the Consortium. In 2010, local artists started to createelectropop songs themselves. As of now, most electronic songs are used in commercials. The only radio station so far that purely plays electronic music is 107.9 U Radio. The 2010s also saw the rise ofbudots, popularly known as "bombtech" fromDavao City, regarded as the first "Filipino-fied" EDM, as well as high-profilenightclub venues such as The Palace Manila (BGC, Taguig) and Cove Manila (Okada Manila in Parañaque). Indie electronic producers, DJs, and artists like that ofSomedaydream, Borhuh, Kidwolf, Zelijah, John Sedano, MVRXX, MRKIII, Bojam, CRWN, NINNO, Kidthrones, and Jess Connelly have also gained popularity. Some mainstream club DJs, including the likes of Ace Ramos, Mars Miranda, Marc Marasigan, Martin Pulgar, Katsy Lee, Patty Tiu, and David Ardiente, has also made their names on popular club concerts and festivals which featured international DJs. Ato Mariano, an adherent of what he describes as "earth music", released a digital album[citation needed] containing sound samples of indigenous instruments that included various percussion.
Centered inMaguindanao del Norte,Maguindanao del Sur andSoccsksargen, an underground pop music scene known as Bangsamoro pop (B-pop; also called Moropop) emerged in the late 2000s, gaining local radio listeners and fans in the area, but also attracted some worldwide following among Maguindanaon diaspora thanks toYouTube. Notable B-pop artists include Datu Khomeini Camsa Bansuan (dubbed as the "King of Moro Songs"), Tamtax,Shaira (dubbed as the "Queen of Bangsamoro Pop", known for her song "Selos"),[40] and Johnson Ampatuan, among others who perform in such venues as barangay basketball courts, residential neighborhoods, birthday or wedding parties and even remotest areas such as forest villages rather than clubs. Similar to adangdut music scene in Indonesia, the genre's lyrics are mainly written in both Maguindanaon and Tagalog, and has influences from other genres, especially EDM.[41] Because Bangsamoro is a Muslim-populated region in the Philippines, female Bangsamoro pop artists often faced criticisms from ultra-conservative Muslim communities in the region especially from its religious scholars called ulamas, for showing sexual forms of dance such astwerking onstage and for wearing just shirts and jeans (even torn jeans) performing on public, instead of including hijab and abaya, concerning religious morality.[citation needed]
The Philippines has had a long history of songs associated with associated with protest and social change, dating back to the days of thePhilippine Revolution, during which important protest music included patriotic marches and the traditional Filipinokundiman.[42] One of the most notable examples of protest songs from this early period wereJulián Felipe's 1898 composition "Marcha Nacional Filipina", which was combined withJosé Palma's 1899 poem "Filipinas" to createLupang Hinirang, now the Philippines' official National anthem. Another song that nearly became the Philippines' national anthem wasJulio Nakpil's 1896 compositionMarangal na Dalit ng Katagalugan (Honorable Hymn of the Tagalog Nation/People) which was commissioned byAndres Bonifacio as the anthem of the revolutionaryTagalog Republic.[43][44][45][46]
The songBayan Ko was an important protest song from theAmerican Occupation period, with theTagalog version composed in 1929 by Constancio de Guzmán with lyrics attributed toJosé Corazón de Jesús based on a Spanish piece attributed toPropaganda Movement heroJosé Alejandrino. It was later banned byMarcos when it was deemed seditious under Martial Law, but it became an important rallying cry when protesters chose to sing it at funeral after the 1983Assassination of Ninoy Aquino.[47]
The use of music as protest became more widespread and began to incorporate popular, folk, and rock music during the years of theMarcos dictatorship, especially after thehuman rights abuses that came after the1972 proclamation ofMartial Law.[48] The trend towards the popular use of music as protest continued until Marcos was deposed during the 1986People Power revolution,[49] after which the use of songs as protest or as a means of advocating social change became a constant feature of Filipino musical culture.[50][51]
This annual songwriting competition was geared toward discovering new Filipino talent in popular music, and produced a rich repertoire of Filipino music ...
"Lupang Hinirang" (Philippine national anthem) | ||
| Traditional |  | |
| Post-1960s | ||
| Charts | ||
| Record companies | ||
| Musicians | ||
| Years | ||
| Other topics | ||
Philippines articles | |||||||
|---|---|---|---|---|---|---|---|
| History |
| ||||||
| Geography | |||||||
| Politics |
| ||||||
| Economy | |||||||
| Society |
| ||||||
