JOSE MACEDA

Maceda was born in Manila, Philippines, and studied piano, composition and musical
analysis at École Normale de Musique de Paris in France. After returning to the Philippines, he
became a professional pianist, and later studied musicology at Columbia University,
and anthropology at Northwestern University.
Starting in 1952, he conducted fieldwork on the ethnic Music of the Philippines. From about 1954, he
was involved in the research and composition of musique concrète. In 1958, he worked at
a recording studio in Paris which specialized in musique concrète. During this period, he met Pierre
Boulez, Karlheinz Stockhausen and Iannis Xenakis. In 1963, Maceda earned a doctorate in
ethnomusicology from the UCLA. He began pursuing a compositional career more vigorously. At the
same time, he held concerts in Manila until 1969, in which he performed and conducted. This series
of concerts introduced Boulez, Xenakis and Edgard Varèse to the Filipino public.

SONG COMPOSE
Pagsamba for 116 instruments, 100 mixed and 25 male voices (1968); Cassette 100 for
100 cassette players (1971); Ugnayan for 20 radio stations (1974); Udlot-Udlot for several hundred
to several thousand people (1975); Suling-Suling for 10 flutes, 10 bamboo buzzers and 10
flat gongs (1985). In 1977, Maceda aimed to study Philippine folk songs which he describes as
having more focus on rhythm rather than time measure.[2] From the 1990s, he also composed for
Western orchestra and piano. The examples are: Distemperament for orchestra (1992); Colors
without Rhythm for orchestra (1999); Sujeichon for 4 pianos (2002)

REFERENCE: https://en.wikipedia.org/wiki/Jos%C3%A9_Maceda

JERRY A. DADAP
- first Filipino composer to conduct his own works at the Carnegie Recital Hall in New York
City, was born on November 5, 1935 in Hinunangan, Southern Leyte

- he earned his Bachelor’s ;pDegree in Music, major in Composition

at the Conservatory of Music, University of the Philippines
(UP) in 1964
- in 1968, he went to the USA on a study-observation grant from the Music Promotion
Foundation of the Philippines

- Dadap started composing when he was still studying at Silliman University in the southern city
of Dumaguete

- among his numerous compositions are The Passionate and the Wild
(), Mangamuyo I (1976) and Mangamuyo II (1977), The Redemption (1974), Five Little Fingers
(1975), Tubig ng Buhay (1986), Dakilang Pagpapatawad (1986), Andres Bonifacio, Ang
Dakilang Anak Pawis, Ang Pag-ibig ng Diyos, Balitaw Nos. 1-7, Lamang Epic, Lorenzo Ruiz,
Chorale Symphonic Ode Nos. 1 and 2, Aniway at Tomaneg, Song Cycle, Nos. 1-4, Choral Cycle
Nos. 1-3, and Diyos Ama ay Purihin

- his major works as composer-conductor were performed at the concert “LAHI” that featured
works by local major composers.
1 note Dec 12th, 2015

SONG COMPOSE
Saan Ka Man Naroroo

Alaala ng Lumipas

Ang Pangarap Ko’y Ikaw

Sa Libis ng Barrio

Di Ka Nag-iisa

Paano Kita Lilimutin.

REFERENCE: https://musicartspehelath.tumblr.com/post/135043337817/jerry-dadap-first-filipino-
composer-to-conduct

RAMON P.SANTOS
Ramon P. Santos and Francisco F. Feliciano are celebrated contemporary
composers and noted pedagogues. They have received international awards
and their works have been critically acclaimed.

They were buddies at the University of the Philippines College of Music,

where they took their undergraduate course in composition and conducting.

Both come from the vast province of Rizal and were born on the same year,
1941: Santos was born in Pasig and Feliciano in Morong.
 SONG COMPOSE
Saan Ka Man Naroroon

Alaala ng Lumipas

Ang Pangarap Ko’y Ikaw

Sa Libis ng Barrio

Di Ka Nag-iisa

Paano Kita Lilimutin.

REFERENCE: https://musicartspehelath.tumblr.com/post/135043055172/ramon-p-santos-was-
born-in-pasig-on-february

JOSEFINO JAVIER TOLEDO

Jesefino Chino Toledo was born on March 6, 1959 Manila, Philippines. Son of
Victor Odulio and Lolita Esteban (Javier) Toledo.

Jesefino studied music at the University of the Philippines in Manila, Philippines in

1979. Also, he was a student of the Conservatoire National Superieur de Musique
in Paris, France. In 1986 he studied at the Case Western Reserve University in
Cleveland, Ohio, United States at the Department of the Cleveland Institute of
Music.

SONG COMPOSE
 JONAS BAES
Jonas Baes is a Philippine composer born in Los Baños, Laguna in 1961. He enrolled in
the University of the Philippines' College of Music in 1977 as a student of Ramon P. Santos, and
encountered the musical compositions of Jose Maceda, attended several seminar-workshops of
visiting lecturers, and did research on the music of the Iraya-Mangyan people of Mindoro, which
became the inspiration for his compositions. From 1992-1994, he studied with Mathias Spahlinger in
Freiburg, Germany. Baes is known for writing music utilizing "unorthodox" musical instruments like
bean-pod rattles, leaves, iron-nail chimes, as well as various Asian instruments such as bamboo
scrapers, bamboo flutes, and vocal music using Asian vocal techniques. His early works in the
1980s were influenced by Maceda in the use of large numbers of performers, while in the 1990s he
experimented with various methods by which the audience becomes integral in the performance. At
the beginning of the new century, Baes experiments with notions of structure-agency integration
[after Anthony Giddens] and simulacrum [after Jean Baudrillard]. It is typical for social theory to
influence the work of Baes who has made a mark on contemporary music and cultural politics in the
Asian region. Jonas Baes is also active as an ethnomusicologist and writer.

SONG COMPOSE
Wala
Daluy
Ibon ibon
Salaysay
Patangis-buwaya
Pantawag
Basbasan
REFERENCE: https://en.wikipedia.org/wiki/Jonas_Baes

LUCRECIA R. KASILAG
Lucrecia R. Kasilag was born on the 31st of August, 1918 in San Fernando, La Union. She is the third of
six children of Marcial Kasilag Sr., a government engineer, and Asuncion Roces, a music teacher,
Lucrecia's first musical influence. A little after Kasilag's birth, the family moved to Albay and then to Manila.

At an early age, Lucrecia learnt to play the guitar. She graduated valedictorian from the Paco Elementary
School and from the Philippine Women's University High School. She finished her Bachelor of Arts degree
in English at the Philippine Women's University (PWU), after which she took piano lessons from Concha
Cuervo, and later, Pura Lacson Villanueva. She obtained her Music Teacher's degree from St. Scholastica's
College of Music in 1939. And she was sent on an Asian tour by impresario Alfredo Lozano. She finished
her Bachelor of Music degree at the PWU. She obtained her Master of Music degree, major in theory and
minor in composition at the Eastman School of Music, University of Rochester in New York. She was
conferred honorary doctorate degrees by the Centro Escolar University, the Philippine Women's University
and the St. John University, New York in 1981.

Lucrecia Kasilag taught at various colleges such as the St. Scholastica's College, Assumption College and
the University of the Philippines Conservatory of Music. She also did pioneering research in ethnic culture
and gained world-wide recognition as the Director of the Bayanihan Philippines Dance Company. She was
Dean of the PWU College of Music and Fine Arts. She served as Artistic Director and as president of the
Cultural Centre of the Philippines from 1969 until her retirement in 1986. She held so many other posts in
many different organizations. She held key positions in national and international music organizations and
has been recipient of different grants. In 1971, Lucrecia Kasilag was designated as a Colombo music expert
to advise the University of Singapore on the setting up of its music department. She has written several
articles and essays on various aspects of humanities and research in Asian music.

Lucrecia Kasilag began composing during World War II. Her over two hundred and fifty compositions range
from folk song arrangements, art songs, solo instruments pieces, chamber and orchestral works. She has
done significant pioneering work in combining the resources of occidental and oriental instruments in East
and West compositions.

In 1979, Kubing Records recorded some of her works such as "Toccata for Percussion and Winds" (1958),
"Divertissement for Piano and Orchestra" (1960), "Legend of Sarimanok" (1963), "Filiasiana", a choral
dance kaleidoscope (1964), "Dularawan" (Drama-Tableau) for indigenous instruments and mixed chorus
(1969), "Her Son, Jose", an operator (1976) and "Sisa", ballet music (1976).

Lucrecia Kasilag passed away on 16th August, 2008 at the age of 90.

SONG COMPOSITION
Works for Stage[edit]
 Dularawan: Salakot na Ginto (Image Play: The Golden Salakot) (1969)

 Her Son, Jose, operatorio (1977)

 The Spiritual Canticle, operatorio (1991)
 Filiasiana, choral dance kaleidoscope (1964)
 Sisa, ballet (1976)
 Why Flowers Bloom in May, opera (2008)
Concertos[edit]
 Violin Concerto no. 1 (1983)
 Violin Concerto no. 2 (1994)
 Divertissement for Piano and Orchestra (1978)
Choral music[edit]
 Misang Pilipino (Filipino mass) (1966)
 De Profundis (1977)
 Benedictus, cantata (1990)
 Ode to the President (1995)
Orchestral works[edit]
 Ang Pamana (The Heritage) (1966)

 The Legend of Sarimanok (1963)

 In the Beginning (1988)
 Centennial Tribute to Filipino Womanhood, Symphonic cycle (1998)
Chamber and solo music[edit]
 Derivations I-V, for piano (1961, 1963, 1966, 1969, 1982)
 Toccata, for Percussion and Winds (1958)
 Dialogue for Western Flutes and Pinoy Flutes (1996)
 Prelude Etnika and Toccata, for guitar (1996)
 Sonata Orientale, for piano (1961)
 Scherzino, for piano (1980)
 Rondeau, for piano (1981)
 Elegy on Mt. Pinatubo, for piano (1992)
 Serendipity, for piano (1994)
Music for Indigenous instruments[edit]
 Improvisations no. 2, for Muslim gamelan and tipangklong (1970)
 Ang Apoy ng mga Hayop (The Fire of Animals), musical tale (1986)

REFERENCE:
https://en.wikipedia.org › wiki › Lucrecia_Roces_Kasilag