Music of the Philippines
The latter were once ubiquitous throughout coastal, lowland Philippine societies before widespread Christianization, and less frequently imports of flat chau gongs from China.
Kulintang refers to a racked gong chime instrument played in the southern islands of the Philippines, along with its varied accompanying ensembles.
It is distantly related to the gamelan ensembles of Java, Bali, Sumatra & the Malay peninsula, and south Borneo, even moreso the ensembles of mainland Southeast Asia, primarily because of the usage for the same racked bossed gong chimes that play melody and/or percussion Philippine folk music has some Spanish and Latin American influence, derived from the period the country, along with Guam and the Mariana islands, was ruled from Mexico City and Madrid by the Spanish viceroyalty.
It is seen in folk and traditional music, of coastal lowland regions of Luzon, Visayas, and the predominantly Visayan north and east Mindanao alongside the westernmost tip of Zamboanga.
Aside from standardized genres are many precolonial musical forms syncretized with Catholic and general Hispanic idioms, typically involving in religious folk rituals.
The Pasyon chants ubiquitous among Christian Filipinos preserve prehispanicized vocal styles, and invocations of patron saints throughout many towns inherited precolonial forms of ancestor and spirit worship.
The rondalla is a traditional string orchestra comprising four-string, mandolin-type instruments such as the banduria and laud; a guitar; a double bass; and often a drum for percussion.
The kundiman, meanwhile, has precolonial origins from the Tagalophone parts of the country, uses a triple meter rhythm, and is characterized by beginning in a minor key and shifting to a major one in the second half.
Such native composers include Julián Felipe Jose Canseco, Jr., Marcelo Adonay, Simplicio Solis, Fulgencio Tolentino, Bonifacio Abdon and .
Most of the graduates of these schools became leading classical composers such as Franscisco Buencamino, Nicanor Abelardo, Francisco Santiago, and Antonio Molina.
It is often considered the "bright side" of the Philippine martial law era and has influenced most of the modern genres in the country, being the forerunner to OPM.
Original Pilipino Music, more commonly referred to as OPM, a commercial acronym coined by Danny Javier of the APO Hiking Society,[8] originally referred only to the pop genre of music from the Philippines, predominantly ballads and novelty numbers, that became popular after the wane of its direct 1970s commercial predecessor, Manila sound.
Before the emergence of OPM in the 1970s, Philippine popular music through the 1950s and 1960s encompassed songs, mostly with vernacular lyrics and frequently with cinematic themes as recorded by artists such as Sylvia La Torre, Diomedes Maturan, Ric Manrique Jr., Ruben Tagalog, Helen Gamboa, Vilma Santos, Edgar Mortiz, and Carmen Camacho, among many others.
There were exceptions, however, such as Pilita Corrales, dubbed Asia's Queen of Song, whose popular releases included Cebuano, Tagalog, English and Spanish adaptations.
Notable P-pop music artists who define the growth of this now mainstream genre include Regine Velasquez, Sarah Geronimo, Yeng Constantino, Erik Santos, KZ Tandingan, Moira Dela Torre, Morissette, SB19, and BINI.
The most notable achievement in Philippine rock of the 1960s was the hit song "Killer Joe", which propelled the group Rocky Fellers, reaching number 16 on the American radio charts.
Philippine rock musicians' acts were influenced by folk music and other various cultures, helping to lead to the 1978 breakthrough success of Freddie Aguilar.
Folk rock became the Philippine protest music of the 1980s, and Aguilar's rendition of "Bayan Ko" ("My Country") became popular as an anthem during the 1986 EDSA Revolution.
[18][circular reference] A 1990s death metal emergence (Skychurch, Genital Grinder, Death After Birth, Disinterment, Kabaong ni Kamatayan, Mass Carnage, Apostate, Murdom, Exhumed, Sacrilege, Rumblebelly, Disinterment, Dethrone, Aroma) had bands as prominent fixtures at Club Dredd of the "tunog kalye" era.
"All the punks disappeared," recalls Jep Peligro, creator of Konspirazine, a zine published in the late 1990s and early 2000s documenting the local DIY music scene.
The initial impetus was provided by groups such as JRCOBB Jazz Chamber; and bands such as WDOUJI (acronym: Witch Doctors of Underground Jazz Improvization)[24][25] that released an award-winning album in 2002 entitled Ground Zero (under the now-defunct N/A Records label); and Buhay (under the now-defunct Star Records label), led by saxophonist Tots Tolentino.
[37] Among the female jazz singer-songwriters, the British-Filipino Mishka Adams became very popular as a flagship artist of Candid Records, releasing two well-received albums.
In the Philippines, Francis M, Andrew E., Vincent Daffalong, Michael V., Denmark, and Gloc-9 are cited as the most influential rappers in the country, being the first to release mainstream rap albums.
A new breed of hip hop/rap/trap artists like Abra, Bassilyo, Curse 1, Flict-G, Smugglaz, Dello, Loonie, Shehyee, Shanti Dope, 1096 Gang, Al James, Because, Bugoy na Koykoy, Nik Makino, Honcho, Skusta Clee, Flow G, Ex Battalion, ALLMO$T, O.C.
"), Blakdyak, Vhong Navarro, Lito Camo, Sexbomb Girls, Joey de Leon ("Itaktak Mo"), Viva Hot Babes, and Willie Revillame.
Indie electronic producers, DJs, and artists like that of Somedaydream, Borhuh, Kidwolf, Zelijah, John Sedano, MVRXX, MRKIII, Bojam, CRWN, NINNO, Kidthrones, and Jess Connelly have also gained popularity.
Ato Mariano, an adherent of what he describes as "earth music", released a digital album[citation needed] containing sound samples of indigenous instruments that included various percussion.
Notable B-pop artists include Datu Khomeini Camsa Bansuan (dubbed as the "King of Moro Songs"), Tamtax, Shaira (dubbed as the "Queen of Bangsamoro Pop", known for her song "Selos"),[40] and Johnson Ampatuan, among others who perform in such venues as barangay basketball courts, residential neighborhoods, birthday or wedding parties and even remotest areas such as forest villages rather than clubs.
[41] Because Bangsamoro is a Muslim-populated region in the Philippines, female Bangsamoro pop artists often faced criticisms from ultra-conservative Muslim communities in the region especially from its religious scholars called ulamas, for showing sexual forms of dance such as twerking onstage and for wearing just shirts and jeans (even torn jeans) performing on public, instead of including hijab and abaya, concerning religious morality.
It was later banned by Marcos when it was deemed seditious under Martial Law, but it became an important rallying cry when protesters chose to sing it at funeral after the 1983 Assassination of Ninoy Aquino.
