2. Contemporary music in the Philippines
usually refers to compositions that have adopted
ideas and elements from twentieth century art
music in the West, as well as the latest trends
and musical styles in the entertainment industry.
3. The modern Filipino repertoire consist of
pieces that have been written in twentieth century
idioms that have evolved out of such stylistic
movements as impressionism, expressionism,
neo-classism, as well as the so-called avant-
garde and New Music.
20th century trend, particularly current in the
period between two world wars in which composers
sought to return to aesthetic precepts associated with
the broadly defined concept of “classicism”, namely
order, balance, clarity, economy and emotional
French for “advance guard” or “vanguard”.
Sometimes referred to as post – World War II music.
6. Lucio D. San Pedro is a master composer,
conductor, and teacher whose music evokes the folk
elements of the Filipino heritage. Cousin to painter
"Botong" Francisco, San Pedro has produced a wide-
ranging body of works that includes band music,
concertos for violin and orchestra, choral works,
cantatas, chamber music, music for violin and piano,
and songs for solo voice.
7. He was the conductor of the much acclaimed
Peng Kong Grand Mason Concert Band, the San Pedro
Band of Angono, his father's former band, and the
Banda Angono Numero Uno. His civic commitment
and work with town bands have significantly
contributed to the development of a civic culture
among Filipino communities and opened a creative
outlet for young Filipinos.
8. Maestro Lucio San Pedro was born on February
11, 1913 in Angono, Rizal. His involvement in music
started when his father Elpidio San Pedro, put up his
family band, thus exposing young Lucio to the world
of conducting and composition. He obtained his
teacher’s diploma in composition and conducting at
the University of the Philippines Conservatory of
9. He taught at various universities and colleges
such as St. Scholastica’s College, La Concordia
College, the Philippine Women’s University, and the
UP College of Music. For 60 years, he wrote hymns,
masses, chamber music, even incidental music and
movie themes and scores. He earned the Republic
Cultural Heritage Award in 1962 for his composition
10. Following in the footsteps of his father, he
led their family band, the Angono Municipal
Symphonic Band. His orchestral music include The
Devil's Bridge, Malakas at Maganda Overture,
Prelude and Fugue in D minor, Hope and
Ambition; choral music Easter Cantata, Sa Mahal
11. Rizal's Valedictory Poem; vocal music Lulay, Sa
Ugoy ng Duyan, In the Silence of the Night; and
band music Dance of the Fairies, Triumphal
March, Lahing Kayumanggi, Angononian March
among others. He was conferred the National
Artist for Music in 1991.
13. Antonio J. Molina, versatile musician,
composer, music educator was the last of the musical
triumvirate, two of whom were Nicanor Abelardo
and Francisco Santiago, who elevated music beyond
the realm of folk music. At an early age, he took to
playing the violoncello and played it so well it did not
take long before he was playing as orchestra soloist
for the Manila Grand Opera House.
14. Molina is credited for introducing such
innovations as the whole tone scale, pentatonic
scale, exuberance of dominant ninths and
eleventh cords, and linear counterpoints. As a
member of the faculty of the UP Conservatory, he
had taught many of the country's leading musical
personalities and educators like Lucresia Kasilag
and Felipe de Leon.
15. Born into a musically inclined family, he raised his
own family as music lovers as well, as three of his
children pursued careers in music, and succeeded; they
are Rostia, a pianist; Exequiel, a jazz musician; and
Antonio Maria Jr., conductor and composer based in
the US. In 1923, he obtained his teacher’s diploma in
violoncello from the UP Conservatory of Music, gaining
experience from such teachers as Nicanor Abelardo and
16. He was among the Filipino musicians who
used pentatonic scales and ethnic instruments
such as kulintang, and gabbang in his
symphonies. Molina's most familiar composition
is Hatinggabi, a serenade for solo violin and
17. Other works are (orchestral music) Misa
Antoniana Grand Festival Mass, Ang Batingaw,
Kundiman- Kundangan; (chamber music) Hating
Gabi, String Quartet, Kung sa Iyong Gunita,
Pandangguhan; (vocal music) Amihan, Awit ni Maria
Clara, Larawan Nitong Pilipinas, among others.
Molina has the distinction of being the first musician
to be conferred the National Artist Award in 1973.
He died on January 29, 1980.