BIENVENIDO B. CONSTANTINO, JR. PH.D. - Dr. Bienvenido ...



THE PHILIPPINE MUSIC

(The Spanish Influence to the Philippine Music)

The Spanish colonial regime from 1565-1898, re-shape the face of Philippine music. The singing of the exploits of epic heroes and the rhythm of the native drums and gongs retreated before the chants of the Christians church and the harmonies of the organ, harp and guitar. In order to clear the way for the Christian faith, the missionaries of the Spanish king sought first to eradicate the sounds of sights of the old rituals among those they converted. As a whole, the performance of the native music was discouraged so that much of these has now disappeared and only a very few have survived in an altered form. But even as they suppressed the native music, the missionaries doubled their effort at teaching European religious music to the new Christians who proved to be both a depth and enthusiastic in learning the plain song, the flute, the harp and the guitar

50 years after the conquest, the church had already established schools for teaching the “Indios”, the music of the new faith.

In 1601, the first orchestra was organized by the Augustinians in Guadalupe.

By 1609, there were already, according to Morga, fine choirs of chanters and musicians especially around Manila. In monasteries and churches, the first sound of the Christians church that the Indio heard was Gregorian chant, an austere, unaccompanied, monophony or plain chant which was established by Pope Gregory I in the 6th century A.D. Eight times each day at fixed hours, the public chanting of psalms, hymns and canticles in this style was observed all-over the Christianized islands.

By the middle 18th century, a full pledge conservatory of music, COLEGIO DE NINOS TIPLES DELA SANTA IGLESIA CATEDRAL had been established in Manila.

Solfeggio, vocalization, composition, organ and strings were taught. Graduates of the Colegio brought a new method into every Christianized province of the country. Thus, standardizing church music in the islands.

Aside from Gregorian chant, more elaborate music in harmonic styles was also performed for high masses during festival days. Often, this music was accompanied by instrumental ensembles led by the queen of the church instrument, the pipe organ. Many organs were imported from Spain, like that of the old church of Santo Domingo in Intramuros which supposedly possessed a fine double open-diapason on the pedals, its longest pipe rising 18 feet above the floor.

In time, some of the organs were manufactured locally. In 1818, a native organ made of bamboo was constructed in Las Pinas by the Recollects under the direction of Father Diego Cera. 950 pieces of bamboo were used and great care was taken to ensure the proper treatment of the fragile material. The builders had wait until the proper season to cut the wood which they then buried beside the sea for half a year to ensure durability.

An outstanding graduate of the Augustinian Colegio and premier composer of Original Filipino Liturgical music was Marcelo Adonay of Pakil, Laguna. Beginning as a sacristan, in the San Agustin Church at age 8, he became maestro de capella and director of church orchestra by 1870. An excellent example of Adonay’s style is the “Benedictus”.

Outside of the liturgy, many folk musical practices related to the Christian calendars developed, tolerated but not necessarily sanctioned by the church. Light and popular, this type of music was played by ordinary folk who travelled through the towns during festive season; singing, dancing and playing various instruments.

In Bicol region, the PASTORES appeared at Christmas time singing the VILLANSICOS, a traditional Spanish Christmas song in 6/8 time. Folk musicians however, often altered the rhythms.

On November 1, the day for the dead, the “Mangangaluluwa” of Tia-ong, Quezon wandering spirits of the dead, carol from house to house begging for alms and playing pranks especially for stingy house owners.

A colorful May time devotion in Canaman, Camarines Sur is the Lagaylay. Here, flowers and songs are offered to holy cross by young women, singing vocal duets in 3rd’s to the accompaniments of organ and the guitar.

In Gasan, Marinduque, the traditional Easter Sunday “SALUBONG” celebrates the start of the joyous season. Little girls and young women lift the blessed virgin’s black veil of mourning as they sing antiphonal alleluias in waltz time.

In Christian Philippines, they remain practices of ritual character that exist with or without church approval. Perhaps the most widespread of this practices which exhibit both Asian and Spanish influences is the “PABASA”, a public chanting of the “PASYON” or long verse narrative on the life and death of Jesus Christ found in almost every major Christian Philippine Language.

During the entire season of lent, group of singers come together in homes and make shift chapels to sing the five-lines stanzas of the “PASYON”, an activity that usually lasts at least12 hours. Called “PABASA” or simply “PASYON”, these events are held in fulfillment of “PANATA”, vows made to Jesus Christ in exchange for favor sought by or bestowed upon singer, host, their kin and community. The style of chanting varies not only from region to region but even from town to town. Some melody also called “PUNTO”, resemble plain chant.

Others are borrowed from popular songs and sung in two or three part western harmony. Still others are accompanied by instrument playing chordal ostinatos, the vocal timbres are the ornamentation of the melodies however, suggest an earlier pre-Spanish tradition.

Other ritual forms exist all over Catholic Philippines that these localized and limited in scope where Spanish influence is strongly evident is the “SAYAW” of Makati performed annually in the fulfillment of personal vows in honor of San Pedro and San Pablo.

The flavor is definitely Asian in “MAGSANGHIYANG” an unmetered chant, half spoken and half sang. As the ritual music of the native religion was mixed with the music of the new faith so as the many forms of indigenous secular music assimilated elements of European secular genre. The joyous music from greeting guest in the northern Cordillera is akin to the “BERSO GOLPEADO” of Cagayan Valley. This tradition greeting song in triple time is accompanied by a “SINGKO-SINGKO” guitar with strums out chordal progression reminiscent of western harmony. The Tuguegarao song expresses the desire for unity in a nation so that peace and harmony might prevail.

Secular ballads relating to historical events, heroic deeds or humorous anecdotes may still be found in Panay Area. This “COMPOSO” in triple time which tells a typhoon “UNDANG” and its disastrous effects on the people of Roxas City sows even more clearly the influence of western melody and harmonic progression.

Perhaps the most famous of all hybrids songs, forms and style is the “KUMINTANG”. In the 19th century, Filipino writers refer to it as the national song. Originating variant of the “AWIT”, a song in slow triple time. Cast in the clausal verse or court rage with 12 syllables to a line. The texts dealt mainly with love and courtship although more general topics such as the hypocrisy and the foolish of men were also the thought of the plot.

Secular music from Spain also made as impact in the form of light, popular songs and dances, The Spanish school system cultivated in native and mestizo elite, a taste of the Italian operas such as “AIDA” and Spanish Zarzuelas such as “JUGAR CON FUEGO” brought to the islands by the visiting troops from Europe especially at the opening of the Suez canal in 1869. Familiarity with European forms became a mark of gentility. Young women of good breeding were expected to play European waltz, Habaneras and Mazurkas at a Piano or Harp and sing popular arias at informal parties called “TERTULLAS”.

By the late 19th century musical groups performed all-over Christian Philippines musicians like Ladislao Bono. These ensembles of string instruments were known as “RONDALLAS” or “COMPARSA”, the standard repertoire of such group includes the “VALSE” or waltz, an Austrian dance in triple time, the “DANZA”, a slow Spanish dance in duple time and the “POLKA”, a lively Bohemian dance in duple meter.

Gradually, Philippine songs and dances modeled the original European forms developed. The most famous of these was the “KUNDIMAN”. The Kundiman is a lyrical song in moderate tripe time. It is divided into two or three sections may or may not be in different keys. The text of the song is usually about the romantic love, although love of country and sorrow over the lost of the love one are also common themes. To the 19th century Tagalog, the Kundiman was the very soul of the beloved motherland.

Another ensemble that was to have considerable impact in the Spanish-Philippines was the brass band. The first band was organized to provide marching music for the military. In time, this music is also used for major civic parade functions, as well as religious festival and processions. As the band grew in popularity, civic organizations even prominent families would organize band for their pleasure. At “SERENATAS”, held on the eve of the town fiesta, competing bands would show of their technical prowess and dexterity as well as their knowledge of the band repertoire which would include “MARCHAS” and overtures from operas by famous Italian composers to the delight of the audience.

An Indigenization of the band that deserves some mention is the MUSIKONG BUMBONG”. Some local account states that this group is the result of the attempts by the 19th century nationalists and “REVOLUCIONARIOS” to create a uniquely Filipino sound. This experiment led to this all-bamboo ensemble built along the lines of the marching bands and playing band music composed by Filipino composers.

The members of the St. Anthony original bamboo band of Tonsuya, Malabon are the 4th generation descendants of the band of “KATIPUNERONG MUSICIANS” who organized the “MUSIKONG BUMBONG” ensemble in 1896. Here they play their piece “VETERANOS DELA REVOLUCION”.

For nearly 14th century, European music was embedded into the consciousness of the Christian Filipinos. But the form that resulted from the colonial experience was not simple adaptation of western models. Today, we continue to find strong Asian themes and styles interweaving with western motives and forms creating an excitement and dynamic music that is uniquely Filipino.

................
................

In order to avoid copyright disputes, this page is only a partial summary.

Google Online Preview   Download