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Period in history of philippine music

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Mark Daniel Alcazar

Early Filipino music was simple, using indigenous instruments like bamboo. Their songs had religious and social functions and were often recitative with two-note melodies. Later influences included neighboring cultures through trade, introducing instruments and scales. Theaters emerged in the 18th century for plays featuring musical genres like moro-moro, carillo and zarzuela. Formal music education developed under American influence. The 20th century saw the rise of original Pinoy music genres and greater nationalism in musical forms and organizations.

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Fundamentals of Music 1
Fundamentals of Music 2
 Filipinos are said to be Musical Peoples.  In most cases, singing is accompanied by dancing.  Theyused Bamboo canes, Palm leaves and bark of trees to write their songs and a piece of sharp stick or iron for their pen.  Eventheir instruments were made of Bamboo and wood which indicated their primitiveness. Fundamentals of Music 3
 Functions of their music:  Religious  Social life  Characteristics of their Music:  Recitative  Mostly simple two note music  Example of these are:  Dal-lot – a song sung by farmers during wedding, baptismal and others parties accompanied by Kutibeng (guitar).  Pamulinawen – is a love song  Dung-aw – is a song requesting a dead person to be good in his next life. Fundamentals of Music 4
Early Filipinos music was influenced by trade relations other races like:  Malays  Indonesians  Arabs  Chinese  Indo-Chinese  Japanese and  Hindus Fundamentals of Music 5
 Chinese,Japanese and Hindus introduce their five-tone scale called pentatonic.  Therhythmic effects through the use of gongs, drums and cymbals were brought by Hindus and Mohammedans.  Reedtype of wind instruments were brought by Japanese and Chinese Fundamentals of Music 6
 Ordinary songs (diyuna, talindaw)  Street songs (indulamin, suliranin)  Sorrow (dalit, umbay)  Wedding (ihiman)  Rowing (tigpasin, kalusan)  Lullaby (hele-hele, hili, oyayi, iyaya)  Success (baling- kungkong, dapayanin, hiliran, sambotani, tag umpay)  House (tingad)  General merry making (kalipay)  Counting (urukay) Fundamentals of Music 7
Musical Airs From different Regions FilipinoMusic has grown from the simple two note melody to the music that has become today. The following are the native music from different provinces in the Philippines. Fundamentals of Music 8
 BontocProvince:  Ayegkha  Agusan  Pagpag  Tub-ob  Bontoc  Annaoy  Zambales  Whistle  Davao  Toddonan  Sulu  Tungungo  Igorot  Milling Ayoweng Fundamentals of Music 9
 Negros  Benguet  Kalooye  Igorot  NuevaIcija   Kadumang Bukidnon  Dilay-on  Abra  Diwdiw-as  Bunkaka  Batanes  Kalusan Fundamentals of Music 10
Forms Their songs were more of recitative but the melody exudes customs, traditions and aspirations. Origins Most of the songs were adapted to other countries who traded with them, like:  Malays  Indonesians  others Fundamentals of Music 11
Fundamentals of Music 12
CHARACTERISTICS  More conservative style of sacred music.  Minor key at the beginning shifts to a major key in the 2nd-half Kundiman.  Canto Ilocano, monophonic unmeasured style notated utilizing note shapes diferrent from the neumes of Gregorian chant (composition of the Kirial).  Canto de Oregano, simple polyphonic settings in to two or more vocal portraying.  Religiosity and Musicality – salvation of self- expression Fundamentals of Music 13
Musical Forms  Sacred Music  Figured Chant Music  Measured Plainsong  1795 (Golden Age of Sacred Music)  Passion Song Other Musical Forms  Songs  Harana Fundamentals of Music 14
Music  as a fine art  as a subject to be taught Fundamentals of Music 15
Spanish Period Fundamentals of Music 16
1.Tagulaylay: counterpart of “lamentation” 2. Palimos: song for begging Fundamentals of Music 17
3.Kumintang: originated in Balyan, Batangas a. Kumintang of the conquest b. Kumintang of the Balayan c. Kumintang with which the Awits are accompanied Examples:  “La Tagala” -- Jose Estella  “Amihan” -- Antonio Molina  “Auras de Terruno” -- Juan S. Hernandez  “Pagdilidli” -- Lucino Sacramento Fundamentals of Music 18
4. Awit Examples:  “Awit” -- F. Santiago  “Ang Ulila” -- Antonio Molina  “Batingaw na Pilak” -- Antonio Molina  “Recuerdo de Filipinas y Sus cantares”--Diego Perez Fundamentals of Music 19
5. Balitaw  Balitaw Mayor  Visayan Balitaw  Tagalog Balitaw  Dansa Menor  Examples: 1. “Hating-gabi” -- Antonio Molina 2. “Sampaguita” -- Dalores Paterno 3. “Ay, Ay, Kalisud” -- Visayan Folksong 6. Kundiman: came from the words “king hindi man” Fundamentals of Music 20
Fundamentals of Music 21
There are 175 folk dances in the Philippines in which Jose Rizal was all praise for these. Filipinosenjoyed European dances like the: (next slides) Fundamentals of Music 22
LA CUCARACHA Fundamentals of Music 23
FANDANGO Fundamentals of Music 24
SAPATAEDO Fundamentals of Music 25
TANGO Fundamentals of Music 26
RIGODON Fundamentals of Music 27
These dances reflect almost all facets of the people’s lives such as: Religious Occupational Entertainment Recreational Courtship Marriage Baptism War Fundamentals of Music 28
Best exports of the Philippines and propagandize of the country’s vast reservoir of inalienable heritage:  Bayanihan Dance Troupe  Barangay Dance Troupe Fundamentals of Music 29
Well known choreographer of the world famous Bayanihan Dance troupe who said that Philippine indigenous music can be divided into 3 distinct groups: (featured in next slides) Fundamentals of Music 30
Fundamentals of Music 31
A string band consisting of plucked instruments as the guitar, banduria, octavina, laud, and banjo. Fundamentals of Music 32
Fundamentals of Music 33
GANSA KULINTANG Fundamentals of Music 34
Bamboo Flute Gong Fundamentals of Music 35
Fundamentals of Music 36
 Tondo Theatre – was erected mainly to stage Tagalog plays in 1841. Spanish dramas were acted also there.  TeatroCastellano – better known as Teatro de Binondo was built by Engineer Jose Bosch for Manuel Ponce de Leon of where a variety of songs and plays are exhibited.  TeatroComico in Manila – Wenceslao Retana y Gamboa mentioned the existence of these theatre in 1790. Fundamentals of Music 37
 Arroceros Theatre - near the Mehan garden presented Tagalog plays according to Juan Atayde.  Casino in Intramuros – here, evening parits were held by social gatherings particularly the Recreational Society. Fundamentals of Music 38
CENACULOS Fundamentals of Music 39
PASSION PLAYS Fundamentals of Music 40
 Performances were held in vacant lots or fields.  During celebrations such as town fiestas, performers used provisional stage of nipa and bamboo.  Later, theatre bodegas, as those seen over cockpits appeared. Fundamentals of Music 41
 In 1841, Tondo Theatre was erected mainly to stage tagalog plays.  Teatro Castellano or Teatro de Binondo was built by Jose Bosch.  In 1790, Teatro Comico de Manila was mentioned by Wenceslao Retana Y Gamboa  Social gatherings were held at the Casino in Intramuros by the Sociedad de Recreo. There were dancing, singing and instrumental performances. Fundamentals of Music 42
Fundamentals of Music 43
Moro moro -depicts the battle between the Christians and Muslims and the adaptations of the legends about knight-errant’s and princesses. Fundamentals of Music 44
Carillo is a shadow play using puppets made from cardboard. The themes were derived from the libretto from “Don Quixote”, “Buhay ng Mahal ng Panginong Hesukristo” Fundamentals of Music 45
Zarzuela Piece of entertainment with improvised plots that used in comic, tragic, fantastic,, melodramatic or a combination of all. Later, these “Fiestas de Zarzuelas” were simply called Zarzuela that involves singing and dancing in it. It has no definite form. Singing was free and imaginative. Audience swapped comments with the artists called Piscatory Eclogue. Fundamentals of Music 46
Piscatory Eclogue is preceded by loa and mojiganga. Loa  is a prologue, spoken by two of more actors. Mojiganga  -a popular festival and carnival time, a sort of burlesque masquerade accompanied by flute, castanets and side drums.  Aftermiddle of the 17th century the mojiganga was replaced by the “Fin de fiesta”.  The best zarzuelistas are from Pampanga Fundamentals of Music 47
Fundamentals of Music 48
 The American Educational System have greatly influenced the Philippine system of music education with the treatment of music as a part of broad pattern of liberal education.  With the establishments of conservatories (schools for special instruction in music), formal education in music started. Fundamentals of Music 49
Fundamentals of Music 50
 Philippine Opera evolved from the Zarzuela.  Zarzuelawas based on the European metrical tales and set to the familiar Spanish tunes which easily gained approval among the traditionally theater loving Filipinos.  All Zarzuelas are nationalistic in nature Fundamentals of Music 51
Examples of Zarzuelas:  Minda Mora (Minda, the Moro Girl) – Juan Hernandez  Pa-ibig sa Tinubuang Lupa (Love of Country) – Pascual Poblete  Tanikalang Guinto (Chain of Gold) – Juan Abad  Walang Sugat (No Wound) – Severino Reyes Fundamentals of Music 52
Characteristics:  American singing trough jazz invaded the country  Most of the songs are nationalistic in nature  Instrumental music and vocal music are both important in this period  Non-commercial Musical Form(s):  Symphony  Opera  Opera Buffa Fundamentals of Music 53
Fundamentals of Music 54
Their desire to propagate nipongo as the common language was a dismal failure. This was the darkest period in the history of the Philippines. Fundamentals of Music 55
 Pentatonic  Employs the universal material of sound organized by rhythm, melody and tone quality  Monophonic  Sentimental and religious  uplifting, driving, and rollicking  emotional, poetic, or even somber  emotional, poetic, or even somber  The rhythms are based on ma; silence is important  The tempo usually starts out very slow and gets faster, returns to being slow again, and has a drawn-out ending FORMS  Musical March  Symphony  Orchestra Fundamentals of Music 56
Fundamentals of Music 57
 The reawakening of interest in diverse forms of culture is manifested in the proliferation of ensembles, vocal and instrumental not only in schools but also in churches, government and private offices, communities and within the family.  Need for professional growth is evident in holding of in-service-training programs, seminars, workshops, and conferences sponsored by schools, government agencies and musical organizations such as the Philippine Society for Music Education, and the Philippine National Society for music Education. Fundamentals of Music 58
 Vocal and instrumental music are both important  Emotional and creative  Songs of nobility and nationalism were common in that period  The use of found sounds, recorded voices, the shift from increasingly chromatic surfaces to more triadic ones or the reverse, the use of new instrumental combinations FORMS:  Symphony  Orchestra  Sacred/Religious  Instrumental soloist Fundamentals of Music 59
Fundamentals of Music 60
A. Nationalism in Music B. Passage of R.A. 4723 C. Formation of Music Organizations A. The Music promotion Foundation was created B. The Philippine Theater of Performing Arts produces operas and musicals. D. Use of Educational Television Fundamentals of Music 61
Fundamentals of Music 62
 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.  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  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.. Fundamentals of Music 63
1. Christmas in Our Hearts 1990 Jose Mari Chan (20x Platinum) 2. Constant Change 1989 Jose Mari Chan (10x Platinum) 3. Cutterpillow 1995 Eraserheads (10x Platinum) 4. Nina Live! 2005 Nina (8x Platinum) 5. Forevermore EP 1995 Side A (8x Platinum) 6. Paraiso 1991 Smokey Mountain (8x Platinum) 7. Smokey Mountain 1989 Smokey Mountain (8x Platinum) 8. Halik 2000 Aegis (7x Platinum) 9. Ten Years Together 1980 APO Hiking Society (7x Platinum) 10. 10 Habang May Buhay 1995 Donna Cruz (7x Platinum) Fundamentals of Music 64
Fundamentals of Music 65
 Juan Dela Cruz Band, a Garage Rock- and Blues Rock-influenced group consisting of guitarist Wally Gonzalez, bassist Mike Hanopol, and drummer Pepe Smith, are often credited for ushering in the first "rock & roll revolution" in the Philippines that lasted from the late '60s to the late '70s (also known as the Golden Age of Pinoy Rock). Considered by many to be the "grandfathers" of Pinoy 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. Fundamentals of Music 66
Pepe Smith Wally Gonzales Mike Hanopol Fundamentals of Music 67
 Folk-rockbecame 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  1990ssaw 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. Fundamentals of Music 68
 Philippine rock musicians added folk music, and other influences  Pop-rock groups became more popular among teens  The Neo-Traditional genre in Philippine music is also gaining popularity  Vocal music is more important than instrumental music  An aim of appealing to a general audience, rather than to a particular sub-culture or ideology  An emphasis on recording, production, and technology, over live performance Fundamentals of Music 69
Fundamentals of Music 70

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Period in history of philippine music

  • 3.  Filipinos are said to be Musical Peoples.  In most cases, singing is accompanied by dancing.  Theyused Bamboo canes, Palm leaves and bark of trees to write their songs and a piece of sharp stick or iron for their pen.  Eventheir instruments were made of Bamboo and wood which indicated their primitiveness. Fundamentals of Music 3
  • 4.  Functions of their music:  Religious  Social life  Characteristics of their Music:  Recitative  Mostly simple two note music  Example of these are:  Dal-lot – a song sung by farmers during wedding, baptismal and others parties accompanied by Kutibeng (guitar).  Pamulinawen – is a love song  Dung-aw – is a song requesting a dead person to be good in his next life. Fundamentals of Music 4
  • 5. Early Filipinos music was influenced by trade relations other races like:  Malays  Indonesians  Arabs  Chinese  Indo-Chinese  Japanese and  Hindus Fundamentals of Music 5
  • 6.  Chinese,Japanese and Hindus introduce their five-tone scale called pentatonic.  Therhythmic effects through the use of gongs, drums and cymbals were brought by Hindus and Mohammedans.  Reedtype of wind instruments were brought by Japanese and Chinese Fundamentals of Music 6
  • 7.  Ordinary songs (diyuna, talindaw)  Street songs (indulamin, suliranin)  Sorrow (dalit, umbay)  Wedding (ihiman)  Rowing (tigpasin, kalusan)  Lullaby (hele-hele, hili, oyayi, iyaya)  Success (baling- kungkong, dapayanin, hiliran, sambotani, tag umpay)  House (tingad)  General merry making (kalipay)  Counting (urukay) Fundamentals of Music 7
  • 8. Musical Airs From different Regions FilipinoMusic has grown from the simple two note melody to the music that has become today. The following are the native music from different provinces in the Philippines. Fundamentals of Music 8
  • 9.  BontocProvince:  Ayegkha  Agusan  Pagpag  Tub-ob  Bontoc  Annaoy  Zambales  Whistle  Davao  Toddonan  Sulu  Tungungo  Igorot  Milling Ayoweng Fundamentals of Music 9
  • 10.  Negros  Benguet  Kalooye  Igorot  NuevaIcija   Kadumang Bukidnon  Dilay-on  Abra  Diwdiw-as  Bunkaka  Batanes  Kalusan Fundamentals of Music 10
  • 11. Forms Their songs were more of recitative but the melody exudes customs, traditions and aspirations. Origins Most of the songs were adapted to other countries who traded with them, like:  Malays  Indonesians  others Fundamentals of Music 11
  • 13. CHARACTERISTICS  More conservative style of sacred music.  Minor key at the beginning shifts to a major key in the 2nd-half Kundiman.  Canto Ilocano, monophonic unmeasured style notated utilizing note shapes diferrent from the neumes of Gregorian chant (composition of the Kirial).  Canto de Oregano, simple polyphonic settings in to two or more vocal portraying.  Religiosity and Musicality – salvation of self- expression Fundamentals of Music 13
  • 14. Musical Forms  Sacred Music  Figured Chant Music  Measured Plainsong  1795 (Golden Age of Sacred Music)  Passion Song Other Musical Forms  Songs  Harana Fundamentals of Music 14
  • 15. Music  as a fine art  as a subject to be taught Fundamentals of Music 15
  • 17. 1.Tagulaylay: counterpart of “lamentation” 2. Palimos: song for begging Fundamentals of Music 17
  • 18. 3.Kumintang: originated in Balyan, Batangas a. Kumintang of the conquest b. Kumintang of the Balayan c. Kumintang with which the Awits are accompanied Examples:  “La Tagala” -- Jose Estella  “Amihan” -- Antonio Molina  “Auras de Terruno” -- Juan S. Hernandez  “Pagdilidli” -- Lucino Sacramento Fundamentals of Music 18
  • 19. 4. Awit Examples:  “Awit” -- F. Santiago  “Ang Ulila” -- Antonio Molina  “Batingaw na Pilak” -- Antonio Molina  “Recuerdo de Filipinas y Sus cantares”--Diego Perez Fundamentals of Music 19
  • 20. 5. Balitaw  Balitaw Mayor  Visayan Balitaw  Tagalog Balitaw  Dansa Menor  Examples: 1. “Hating-gabi” -- Antonio Molina 2. “Sampaguita” -- Dalores Paterno 3. “Ay, Ay, Kalisud” -- Visayan Folksong 6. Kundiman: came from the words “king hindi man” Fundamentals of Music 20
  • 22. There are 175 folk dances in the Philippines in which Jose Rizal was all praise for these. Filipinosenjoyed European dances like the: (next slides) Fundamentals of Music 22
  • 28. These dances reflect almost all facets of the people’s lives such as: Religious Occupational Entertainment Recreational Courtship Marriage Baptism War Fundamentals of Music 28
  • 29. Best exports of the Philippines and propagandize of the country’s vast reservoir of inalienable heritage:  Bayanihan Dance Troupe  Barangay Dance Troupe Fundamentals of Music 29
  • 30. Well known choreographer of the world famous Bayanihan Dance troupe who said that Philippine indigenous music can be divided into 3 distinct groups: (featured in next slides) Fundamentals of Music 30
  • 32. A string band consisting of plucked instruments as the guitar, banduria, octavina, laud, and banjo. Fundamentals of Music 32
  • 34. GANSA KULINTANG Fundamentals of Music 34
  • 35. Bamboo Flute Gong Fundamentals of Music 35
  • 37.  Tondo Theatre – was erected mainly to stage Tagalog plays in 1841. Spanish dramas were acted also there.  TeatroCastellano – better known as Teatro de Binondo was built by Engineer Jose Bosch for Manuel Ponce de Leon of where a variety of songs and plays are exhibited.  TeatroComico in Manila – Wenceslao Retana y Gamboa mentioned the existence of these theatre in 1790. Fundamentals of Music 37
  • 38.  Arroceros Theatre - near the Mehan garden presented Tagalog plays according to Juan Atayde.  Casino in Intramuros – here, evening parits were held by social gatherings particularly the Recreational Society. Fundamentals of Music 38
  • 39. CENACULOS Fundamentals of Music 39
  • 40. PASSION PLAYS Fundamentals of Music 40
  • 41.  Performances were held in vacant lots or fields.  During celebrations such as town fiestas, performers used provisional stage of nipa and bamboo.  Later, theatre bodegas, as those seen over cockpits appeared. Fundamentals of Music 41
  • 42. In 1841, Tondo Theatre was erected mainly to stage tagalog plays.  Teatro Castellano or Teatro de Binondo was built by Jose Bosch.  In 1790, Teatro Comico de Manila was mentioned by Wenceslao Retana Y Gamboa  Social gatherings were held at the Casino in Intramuros by the Sociedad de Recreo. There were dancing, singing and instrumental performances. Fundamentals of Music 42
  • 44. Moro moro -depicts the battle between the Christians and Muslims and the adaptations of the legends about knight-errant’s and princesses. Fundamentals of Music 44
  • 45. Carillo is a shadow play using puppets made from cardboard. The themes were derived from the libretto from “Don Quixote”, “Buhay ng Mahal ng Panginong Hesukristo” Fundamentals of Music 45
  • 46. Zarzuela Piece of entertainment with improvised plots that used in comic, tragic, fantastic,, melodramatic or a combination of all. Later, these “Fiestas de Zarzuelas” were simply called Zarzuela that involves singing and dancing in it. It has no definite form. Singing was free and imaginative. Audience swapped comments with the artists called Piscatory Eclogue. Fundamentals of Music 46
  • 47. Piscatory Eclogue is preceded by loa and mojiganga. Loa  is a prologue, spoken by two of more actors. Mojiganga  -a popular festival and carnival time, a sort of burlesque masquerade accompanied by flute, castanets and side drums.  Aftermiddle of the 17th century the mojiganga was replaced by the “Fin de fiesta”.  The best zarzuelistas are from Pampanga Fundamentals of Music 47
  • 49.  The American Educational System have greatly influenced the Philippine system of music education with the treatment of music as a part of broad pattern of liberal education.  With the establishments of conservatories (schools for special instruction in music), formal education in music started. Fundamentals of Music 49
  • 51.  Philippine Opera evolved from the Zarzuela.  Zarzuelawas based on the European metrical tales and set to the familiar Spanish tunes which easily gained approval among the traditionally theater loving Filipinos.  All Zarzuelas are nationalistic in nature Fundamentals of Music 51
  • 52. Examples of Zarzuelas:  Minda Mora (Minda, the Moro Girl) – Juan Hernandez  Pa-ibig sa Tinubuang Lupa (Love of Country) – Pascual Poblete  Tanikalang Guinto (Chain of Gold) – Juan Abad  Walang Sugat (No Wound) – Severino Reyes Fundamentals of Music 52
  • 53. Characteristics:  American singing trough jazz invaded the country  Most of the songs are nationalistic in nature  Instrumental music and vocal music are both important in this period  Non-commercial Musical Form(s):  Symphony  Opera  Opera Buffa Fundamentals of Music 53
  • 55. Their desire to propagate nipongo as the common language was a dismal failure. This was the darkest period in the history of the Philippines. Fundamentals of Music 55
  • 56. Pentatonic  Employs the universal material of sound organized by rhythm, melody and tone quality  Monophonic  Sentimental and religious  uplifting, driving, and rollicking  emotional, poetic, or even somber  emotional, poetic, or even somber  The rhythms are based on ma; silence is important  The tempo usually starts out very slow and gets faster, returns to being slow again, and has a drawn-out ending FORMS  Musical March  Symphony  Orchestra Fundamentals of Music 56
  • 58.  The reawakening of interest in diverse forms of culture is manifested in the proliferation of ensembles, vocal and instrumental not only in schools but also in churches, government and private offices, communities and within the family.  Need for professional growth is evident in holding of in-service-training programs, seminars, workshops, and conferences sponsored by schools, government agencies and musical organizations such as the Philippine Society for Music Education, and the Philippine National Society for music Education. Fundamentals of Music 58
  • 59.  Vocal and instrumental music are both important  Emotional and creative  Songs of nobility and nationalism were common in that period  The use of found sounds, recorded voices, the shift from increasingly chromatic surfaces to more triadic ones or the reverse, the use of new instrumental combinations FORMS:  Symphony  Orchestra  Sacred/Religious  Instrumental soloist Fundamentals of Music 59
  • 61. A. Nationalism in Music B. Passage of R.A. 4723 C. Formation of Music Organizations A. The Music promotion Foundation was created B. The Philippine Theater of Performing Arts produces operas and musicals. D. Use of Educational Television Fundamentals of Music 61
  • 63. 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.  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  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.. Fundamentals of Music 63
  • 64. 1. Christmas in Our Hearts 1990 Jose Mari Chan (20x Platinum) 2. Constant Change 1989 Jose Mari Chan (10x Platinum) 3. Cutterpillow 1995 Eraserheads (10x Platinum) 4. Nina Live! 2005 Nina (8x Platinum) 5. Forevermore EP 1995 Side A (8x Platinum) 6. Paraiso 1991 Smokey Mountain (8x Platinum) 7. Smokey Mountain 1989 Smokey Mountain (8x Platinum) 8. Halik 2000 Aegis (7x Platinum) 9. Ten Years Together 1980 APO Hiking Society (7x Platinum) 10. 10 Habang May Buhay 1995 Donna Cruz (7x Platinum) Fundamentals of Music 64
  • 66. Juan Dela Cruz Band, a Garage Rock- and Blues Rock-influenced group consisting of guitarist Wally Gonzalez, bassist Mike Hanopol, and drummer Pepe Smith, are often credited for ushering in the first "rock & roll revolution" in the Philippines that lasted from the late '60s to the late '70s (also known as the Golden Age of Pinoy Rock). Considered by many to be the "grandfathers" of Pinoy 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. Fundamentals of Music 66
  • 67. Pepe Smith Wally Gonzales Mike Hanopol Fundamentals of Music 67
  • 68.  Folk-rockbecame 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  1990ssaw 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. Fundamentals of Music 68
  • 69.  Philippine rock musicians added folk music, and other influences  Pop-rock groups became more popular among teens  The Neo-Traditional genre in Philippine music is also gaining popularity  Vocal music is more important than instrumental music  An aim of appealing to a general audience, rather than to a particular sub-culture or ideology  An emphasis on recording, production, and technology, over live performance Fundamentals of Music 69