Philippine National Anthem History & Culture (PDF)

Unlocking Content Area Vocabulary POST-WAR PHILIPPINES refers to the period after World War II, starting in 1945, when the country recovered from wartime devastation, gained independence from the U.S. in 1946 Kundiman Art Song expresses the lofty sentiment of love, and even...

Unlocking Content Area Vocabulary POST-WAR PHILIPPINES refers to the period after World War II, starting in 1945, when the country recovered from wartime devastation, gained independence from the U.S. in 1946 Kundiman Art Song expresses the lofty sentiment of love, and even heroism in a melancholy mood.  LUPANG HINIRANG also known as Marcha National Julián Filipina. composed by ______________ 189 Felipe in. The lyrics were adopted from 8 Spanish poem "Filipinas", written the by José Palma in 1899. The national anthem’s last revision was made in 1962. Lupang Hinirang is sung rid with p ignit , d , utmost e y respe , and allegiance to the country. The ct singing and playing of the Philippine national anthem is governed by the law, specifically R.A. 8491 or the “Flag and Heraldic Code of the Philippines.” As stipulated in Section 37, “The rendition of the National Anthem, whether played or sung, shall be in accordance with the musical arrangement and composition of Julian Felipe” (Filipinas Heritage Library, 2018) Moreover, according to Section 38, the attending public shall sing the anthem whenever it is played at a public gathering. While doing so, the public shall stand at attention facing the Philippine flag as a sign of respect. The other provisions on the national anthem are detailed in Chapter II, Sections 35 to 39 of R.A. 8491 (Filipinas Heritage Library, 2018). The development of the Philippine national anthem into what it is today took several years. It began in 1898 with Julian Felipe’s composition titled Marcha Nacional Filipina (also known as Himno Nacional Filipino). In 1899, Jose Palma’s poem Filipinas was used as lyrics which were later translated into English in the 1920s. It was translated into Filipino in 1956 and the version which is now sung publicly is a product of revisions made in 1962 (Filipinas Heritage Library, 2018). In the 1930s to 1940s, Antonino Buenaventura also used nationalist themes in his compositions like Pandanggo sa Ilaw and Mindanao Sketches which was based on Manobo themes. Other composers who made use of indigenous themes were Juan Hernandez in Mga Katutubong Tanawin and Lucio San Pedro in the Malakas at Maganda Overture. It was first performed by the Municipal Symphony Orchestra of Manila on May 15, 1948 at the UST Gymnasium. The world premiere performance of Mindanao Sketches was on Aug. 19, 1948 in Honolulu, Hawaii. It was also performed in USA, Europe and Soviet Russia. A recording was cut by London Symphony Orchestra under conductor Redentor Romero. The Mindanao Sketches is based on rhythm of the dances and songs of the Manobo tribe who duel in the hinterland of Bukidnon. The use of native gongs, clapping of hands, human voices and other percussion instruments make the two movements "Offering to the Gods" and depicts its original form in a most enjoyable"A Village Festival Dance" experience From the American period onward, nationalistic Filipino composers, like Francisco Santiago, incorporated ethnic elements into their music. Santiago, known as the “Father of Nationalism in Music," elevated the kundiman from a folk song to an art song, requiring advanced vocal skill and often performed on concert stages. Bayan Ko Constancio de Guzmán (music) and José Corazón de Jesús [Huseng Batute] (lyrics) were the men responsible behind this kundiman. This version was performed by Arturo Navera (Baritone) and Julie Mendoza (Piano). Bayan Ko The Spanish lyrics of Bayan Ko were originally written for the Severino Reyes’ zarzuela, Walang Sugat ("no wound"). Attributed to the propagandista, General José Alejandrino, the song expressed opposition to the ongoing American Occupation (Araneta, 2007). The popular and mainly used 1929 Tagalog version is attributed to José Corazón de Jesús, and the music to Constancio de Guzmán. While the popular Bayan Ko was mainly used during the American colonization, it continued to be sung during the Philippine post-war period. Bayan Ko Bayan Ko, as a kundiman, is about the Philippines’ struggle for independence during the American regime. Because of this nationalistic sentiment, the song was also performed to convey the same desire for freedom during the Japanese occupation (and even after the war), including the protest marches against the Marcos government in the early ‘80s (Gil, 2017) Kundiman The kundiman, known to be songs of admiration and longing for a woman’s love, became translatable to declarations of love to the mother country. It influenced the composers to branching out kundiman out from love songs to nationalistic songs, albeit done incognito. The kundiman served to hide its true nature – a secret battle cry with strong anti-colonialist sentiment. It allowed Spain (and even Americans) to continue thinking that Filipinos were just singing their miserable love songs. Some claim that there were guerilla battle codes and instructions embedded in the lyrics of the kundiman songs (Aguilar, 2023).  Father of Kundiman Art Song. Kundiman, (Anak Dalita)”, the first Kundiman art song. Francisco Santiago (1889-1947) Kundiman Art Song expresses the lofty sentiment of love, and even heroism in a melancholy mood. Nicanor Abelardo the piano accompaniment generally follows the contour of the melody. Abelardo set the text to music, making the piano accompaniment match the declamation of the text and creating text painting. Plenary Analysis Directions: Listen to a recording of the 2 versions of “Bayan ko”. Compare and contrast the two versions by answering the guide questions. Bayan Ko has renditions of by different composers and singers, notably by Lucio D. San Pedro (National Artist for music), Asin, and Freddie Aguilar. Aguilar's cover is one of the most famous renditions of the song; an often- overlooked detail is that the instrumental section of this version is Pilipinas Kong Mahal, another Filipino patriotic song. The Filipino struggle for freedom identity and dignity has a long and continuous history since the 16th century when Spanish colonization began. The Filipinos were the very first Asian peoples to wage and win a war in 1898 against Western colonialism in Asia. We were also the first Constitutional Republic in Asia. A commitment to one’s country and pride in being Filipino, though only discernible among a minority (thus, a subculture), is as alive today as it was in the past, and this devotion has always been well-served by the musical expressions of the nation, particularly the kundiman, a song of devotion to a selfless and noble cause. It is the kundiman that has always embodied the Filipinos’ intense and lofty patriotism, as in the songs Bayan Ko, Jocelynang Baliwag, and Sariling Bayan (De Leon, 2018). The kundiman is a tenderly lyrical song in moderately slow triple meter with melodic phrases often ending in quarter and half note values. It is mainly a song of selfless devotion to a loved one, the motherland, a spiritual figure, an infant, a lofty cause or an object of compassion (De Leon, 2018) Indonesia Raya Written by Wage Rudolf Supratman in 1928, “Indonesia Raya” was first recorded in 1950, in a performance by Dutch composer Jos Cleber and the resident symphony orchestra of Republic of Indonesia Radio (RRI). It became the official recording, used by RRI and the government for almost 50 years (Agato, 2021). It was adopted by Indonesia since the Proclamation of Indonesian Independence on August 17, 1945 Indonesia Raya Indonesia Raya, as a national anthem is full of optimism. Indonesia’s founding president, Soekarno, was involved in the musical arrangement of “Indonesia Raya”. “During the pre-chorus or bridge, it turns soft. While the previous part is tutti [all instruments playing], Soekarno wanted the bridge to be calmer and more textured, less monotonous so that when it hits the chorus, it soars (Agato, 2021) Addie Muljadi Sumaatmadja, legendary composer and conductor better known as Addie M.S., the Indonesian national anthem is uniquely memorable for its directness.