Martial Law and Philippine Music

Martial Law and Philippine Music

September twenty-third, nineteen seventy-two

Ferdinand Marcos declared Martial Law (many bombings and protests influenced by communists as justification for the proclamation)

- attempt to quell resistance and prevent the spread of radical and progressive thoughts

Former First Lady, Imelda Marcos, sponsored artists and provided recognition for their efforts, as well as encouraged the use of song to generate positive feelings amongst the public (used to draw attention to national issues)

Nineteen seventies. Manila Sound : genre itself drew influences from Anglo-American pop music, was characterized by its catchy lyrics and melodic phrases, and included different aspects from other genres like disco, pop, jazz, and rock.

Band : Hotdog : played a role in the genre's popularity with its hit, 'Ikaw ang Miss Universe ng Buhay Ko' in nineteen seventy-four. Miss Universe, Folk Arts Theater.

Popularity of Manila Sound: Memorandum Order No. seventy-five-thirty-one of the Broadcast Media Council in nineteen seventy-five.

OPM: recognized in the nineteen seventies and nineteen eighties, provided Filipinos with togetherness through its ideas and values as heard in the lyrics. It was characterized by standard, easy-listening chord progression and nationalistic lyrics. It is referred only to Philippine pop songs, particularly ballads, such as those popular after the collapse of its predecessor, the Manila Sound in the late nineteen seventies. Original Pilipino/Philippine Music.

Philippine National Artists for Music

contributed in the evolution and development of Philippine music dedicated their lives and their works in uplifting the standards of Philippine music

Antonio Molina

First National Artist / one of the pillars of Philippine Music equal with his peers (nationalistic movement in the country)

born to a family who was very musical (Molina Orchestra)

skill in playing the violin was noticed by many studied at Escuela Catolica de Nuestra Padre de Jesus in Quiapo from elementary to high school

Bachelor of Arts degree at Letran in nineteen nine

Bachelor of Laws degree at Escuela de Derecho de Manila attained a teacher's diploma in violoncello at the UP Conservatory of Music in nineteen twenty-three

MATINAL : first composition in nineteen twelve (Hatinggabi and Malikmata)

first to be conferred with the title National Artist of the Philippines for Music on June twelfth, nineteen seventy-three

Felipe de Leon translated the lyrics of the Philippine National Anthem to Filipino took a degree in fine arts in University of the Philippines but did not finish it due to the need to make a living worked as assistant conductor in Nueva Ecija School Orchestra

December eighth, nineteen seventy-seven, President FVR conferred him as a National Artist Award for Music

Lucio San Pedro believed that music has the power to strengthen our sense of nationalism served as faculty in several universities and schools for music including UP College of Music proclaimed as a National Artist of the Philippines for Music by then President Corazon C. Aquino on May ninth, nineteen ninety-one made the melody to Unggoy ng Duyan

Levi Celerio attended two semesters of violin course in UP

bad tree fall resulted to his wrist injury that prevented him of becoming a professional violinist his performance in the show caught the attention of the Guinness Book of World Records.

nineteen ninety-one, he was conferred as a National

Artist for Music and Literature made the lyrics to Unggoy ng Duyan

Prolific Lyricist (made music with a leaf)

Lucrecia R. Kasilag

Great Dame of Philippine Music known as "Tita King" to her students and colleagues introduced the fusion of indigenous music with Western music

Ernani J. Cuenco

In nineteen eighty-three and nineteen eighty-seven, he toured to the US with other Filipino performers, bringing with him Kayumanggi Kaligatan.

kundiman plus contemporary pop

Jose Maceda went into musicology studies at Queens College and Columbia University from nineteen fifty to nineteen fifty-two became the Director of UP Center of Ethnomusicology from nineteen ninety-seven to two thousand four