SPANISH PERIOD

CHARACTERISTICS

žMore conservative style of sacred music.

žMinor key at the beginning shifts to a major key in the 2nd-half Kundiman.

žCanto Ilocano, monophonic unmeasured style notated utilizing note shapes diferrent from the neumes of Gregorian chant (composition of the Kirial).

žCanto de Oregano, simple polyphonic settings in to two or more vocal portraying.

žReligiosity and Musicality – salvation of self-expression

Musical Forms

žSacred Music

¡Figured Chant Music

¡Measured Plainsong

¡1795 (Golden Age of Sacred Music)

¡Passion Song

Other Musical Forms

¢Songs

1.Tagulaylay: counterpart of “lamentation”

2.  Palimos: song for begging

3.Kumintang: originated in Balyan, Batangas

  a. Kumintang of the conquest

  b. Kumintang of the Balayan

  c. Kumintang with which the Awits are accompanied

Examples:

ž“La Tagala”  --  Jose Estella

ž“Amihan”  --  Antonio Molina

ž“Auras de Terruno”  --  Juan S. Hernandez

ž“Pagdilidli”  --  Lucino Sacramento

. Awit

Examples:

ž“Awit”  --  F. Santiago

ž“Ang Ulila”  --  Antonio Molina

ž“Batingaw na Pilak”  --  Antonio Molina

ž“Recuerdo de Filipinas y Sus cantares”--Diego Perez

5. Balitaw

¡Balitaw Mayor

¢Visayan Balitaw

¢Tagalog Balitaw

¢Dansa Menor

žExamples:

  1. “Hating-gabi”  --  Antonio Molina

  2. “Sampaguita”  --  Dalores Paterno

  3. “Ay, Ay, Kalisud”  --  Visayan Folksong

6. Kundiman: came from the words “king hindi man”

7. Harana