I would like to begin my paper with my own understanding about the book of Christi-

Anne Castro entitled, ‘Musical Renderings of the Philippine Nation (Oxford University Press,

2011). The book can be described as a very timely study regarding the creation and the

mediation of cultural tradition in the twentieth century in the Philippines. It includes excellent

interview with people near to the institutions and personalities covered, making it well-

researched. It is a book that outlines the cultural history of the Philippines and the role of music

and performance in defining nation, as well as the influence of national-level politics on shaping

musical expression which was accomplished through several episodic studies on specific

cultural objects and institutions, namely the national anthem of the Philippines, twentieth-

century Filipino composers and composers’ organizations, the institutionalization of culture

through the Cultural Center of the Philippines (CCP) under the Marcos regime, the folkloric

performance of the nation by the Bayanihan Philippines National Folk Dance Company, the

musical ambassadorship of the Philippine Madrigal Singers, and the alternate expressions of

nationalism or songs emerged from the era of People Power (EDSA) Revolution in 1986. We can

also include in this context the products of musical nationalism created for the 1998 centennial

of independence from Spain because the historical trajectory is maintained through using these

examples to show how the state progressively commandeered such artistic expression to

embody a national culture, which reached its culmination peak during Marcos’ years. It is when

these companies were transformed into instruments of foreign policy. The study also includes

vignettes of the ways in which music was employed to celebrate occasions such as the said

independence in 1998. Much so, it is also a book about how the post-World War II Philippine

nation-state has helped to shape the contours of creative expression in the arts, not only for its
residents in meaningful ways, but also for those listening and performing throughout the

Filipino diaspora. She has set an example of how nation, state and cultural forms have become

braided in curious and sometimes frustrating ways.

The “renderings” in the title of the mentioned book can serve as an operative word as

the book itself is structured around three case studies or general themes that suffuse the

musical articulation of nation and nationalism. The first theme is the broad concern with

regards to modernism as an impulse in the development of the Philippine national character in

a post-colonial setting, and more specifically, how modernism becomes apparent in music. The

second one is the inescapable condition of hybridity that pervades nationalistic expression as

much as it does other aspects of individual, community, and national identity. The last

mentioned theme in the book deals with the cultural politics, including the tensions between

official statements and the multifarious expression of artists that are variously in compliance

with and in contestation against the aims of the state. As Castro says, the Philippines has “a

complicated history” no less in its music and performance than in any other facer of its national

profile.

Now, to conclude my position with regard to Christi-Anne Castro’s Musica Renderings of

the Philippine Nation, I stand the it is an immensely informative book that provides insight int o

the cultural complexity that makes the archipelago and its people so fascinating, a solid piece of

scholarship, something that is well worth reading.

Music is such a beautiful and spontaneous expression of character and individuality of

the people. Whether in the middle of a civilization or barbarism, joys or sorrows, at their
temples or their festive tables, war or in peace, victory or defeat, every people resort to music

to give vent to the feelings of their soul. Lucky enough, the Filipinos have such natural born

talent in music, only enhance by the colonizers that have set their foot in our dear archipelago,

but as time passes by, the Philippine nation was, and still, working through having its own

identity despite being influenced by a lot of factors from their environment, which differs in

every major island here in the Philippines.

Which now leads me to talking about the articles entitled ‘The Development of Music in

the Philippines’ by Francisco Santiago (1931), and the other one called ‘Constructing a National

Identity through Music’ by Ramon P. Santos, Ph. D. Both articles have discussed the evolution of

music here in the Philippines; how it was greatly influenced not just by colonial factors, but also

the different beliefs and traditions all throughout the archipelago, and how it greatly influenced

the people of the Philippines in return.

In the article of Santiago, there seem to have a cover of three major period of the

Philippine Music, which are the pre-historic period, the Spanish period, and the last is the

American occupation.

During the Pre-historic period, there has said to be four characteristics of the Philippine

Music, specifically with the Filipino folk songs. First is the religious one. I think it is quite obvious

why, because as the Spanish brought us our religion which is Christianity, they also brought to

us the liturgical music that is bonded with the religion itself. Lots of liturgical music was used

during holy ceremonies, and also especially during the lent season. Some also had prayers in

song form when they praise and glorify their lords, gods or goddesses. This is usually done
when they ask for more blessings or as a thank you song for the gods and goddesses for

blessing them with good such as rice and other crops for them to live peacefully. The rest of the

characteristics are classified as belligerent, funeral and festive. Among the belligerent folk

songs, we mention the Tagumpay, which is such when great tribal battles are commemorated,

and whose purpose to acclaim, as chieftain of the victorious tribes, the man who had excelled

in the fight. We also have the Sambotani, which is then performed by the people accompanied

by shouting and clapping of hands, while playing to the tempo of the kudyapi, a Philippine

instrument. The Comintang is also a war song, rendered to inflame the spirit of the combats.

Though, there are three classes of Comintang: The Comintang of the Conquest which is the

music of pristine beauty, usually used for courtship, The Comintang of the Balayans or Tagalog

Bridal Feasts which are described as less autochthonous as compared to the first one because

this one has much more Spanish influence with regards to how the song was executed, and

lastly, The Comintang with which the awits or narrative songs are accompanied which are

usually used for expression.

Moving on to the second period, which is the Spanish Period, this, I think, is the peak of

appreciation of music here in the Philippines. We cannot just simply speak about musical

development in the Philippines without mentioning the prominent part played by the religious

order of the Augustinian friars. They were those who were endowed with high musical training

and ability in the use of instruments such as Fray Marcelo, and Fray Juan Boliver. A church

orchestra was also organized in the 1870, with Marcelo Adonay as its first director and it

attained a well-deserved reputation for its interpretation of classical music, until it disbanded

during the revolution against Spain. The “Hispanization” during the three centuries after the
year 1521 was tied up with religious conversion so much that it affected the people’s musical

thinking and what evolved into a mixture expression colored with Hispanic flavor. All these

produced religious music that is connected to and outside the Catholic liturgy and some

European-inspired secular music modified by the Filipinos and reflected it in their folk songs

and also, instrumental music.

The last major period mentioned in Santiago’s article is the American Occupation. The

American regime lasted from 1898 to 1946 in which time the Philippine music underwent

another process of transformation. Music conservatories and colleges were established at this

timeframe and music was included in the curriculum at the elementary and high school level.

Works of the graduates from these institutions were written in Western idioms and forms and

due to the successful effort of prominent Filipinos and especially Joaquin Luna, a new avenue

was opened to the Filipino youth to take up music as a worthy profession. But even then,

Filipino musicians could not resist the temptation of composing cheap dance music to meet the

increasing demand for light music. Recorded music was also introduced to us by the Americans

but only blew up when some of the Filipinos who were studying and enhancing their knowledge

in music and vocal performances in Europe recorded songs in Germany that it apparently “sold

like hot cakes”.

Basically Santiago and Santos’ article both just revolved around how the Philippine

music was evolved and how it was influenced by a lot of factors. My final stand in this paper is

that, we should definitely know how our music has begun and actually evolved throughout the

time but we should not stay in our pre-historic era of Philippine Music because as said earlier in
this paper, the Filipinos have so much talent in music, it is already innate to us. We have so

much more potential than just sticking to our “old” type of music. Yes, we can still appreciate it

and listen to it as much as we want to, but as musicians, we should always aim for development

and improvement, I think, not just as performers or researchers in music, but as a person as

well. I think that’s the main point of knowing all these history of Philippine music: to be able to

appreciate how our music was born, and how it was evolved, and how the youth of our present

time should continue it and not just stop the progress just because it’s “enough” or “okay for

the people” already. There will always be room for improvement in everything most especially

in music most especially now that there are already tons of individuals that are expressing their

passion in not just performing, but also studying music – our music.