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Essays Musikang Pilipino

Muli akong nagpapaumanhin sa anumang pagkakamali ko sa paggamit ng wikang Filipino sa maikling kuro-kurong ito, ngunit naniniwala akong dapat isulat ang talang ito sa wikang Filipino.  Anyway, translation follows. – Marocharim

Tungkol sa Orihinal na Musikang Pilipino

Iniutos ni Pangulong Aquino na muling ipatupad ang Executive Order No. 255, na kung saan dapat magpatugtog ng apat na awiting Pilipino ang mga istasyon ng radyo sa Pilipinas kada oras sa kanilang mga programang pang-musika.

Hindi layunin ng koryong ito na makipagtalastasan tungkol sa kung ano nga ba ang “awiting Pilipino” na ipaloloob sa debate ng kabihasnan at nasyonalidad, ngunit hindi ito maiiwasan.  Hindi maipagkakaila na marami sa ating mga magagaling na mang-aawit ay bihasa sa mga awiting banyaga, sa mga cover version o sa revival, o di kaya’y sa pagsasalin (tulad ng inyong lingkod, bagamat hindi ako mang-aawit).  Maaari ding ipahayag na walang “orihinal na awiting Pilipino,” hindi dahil sa usapin ng kabihasnan, ngunit tungkol sa mga katangian ng makabagong OPM na di mapagkakailang halaw sa mga istilo ng banyagang kompositor at mang-aawit.

Para sa akin, ang konsepto ng OPM ay mga istilo at porma ng musika na bahagi na rin ng iba’t-ibang kultura sa Pilipinas, gamit ang kanilang mga instrumento, wika, at pananaw.  Ang musika ay bahagi ng ating kuwento at kasaysayan; bagamat ikinalulugod nating pakinggan ang mga awitin ng ibang bansa, hindi dapat natin kalimutan o di kaya’y kasuklaman ang mga awiting atin.

Bagamat dapat purihin ang layunin ng EO 255, naniniwala pa rin ako na ang musika ay isang personal na kagustuhan, libangan, o di kaya’y kahalingan.  Naniniwala po ako na hindi solusyon sa sitwasyon ng OPM ang pagsasabatas na dapat makinig at magpasahimpapawid ang mga istasyon ng radyo ng mga awiting Pilipino.  Sa aking palagay ay walang batas sa mga istasyon ng radyo na pumipigil sa mga empleyado nito na magpatugtog ng awiting banyaga.  Sa aking hamak na pagpapalagay ay taliwas sa napakapersonal na karakter ng musika na ipilit na ipasahimpapawid ang mga awiting sadya naman ayaw pakinggan ng makikinig, o di kaya’y hindi bagay sa imahe ng istasyon.

Nakalulungkot na isipin na ang isang instrumento ng kalayaan – ang musika – ay ginagamit sa isang mapagpilit na paraan.

Isa akong masugid na tagapakinig ng musikang Pilipino, at kung kailangan man ay narito ako para ipahayag ang kagandahan ng ating musika, at kahusayan ng ating mga artista at ng industriya ng musika sa Pilipinas.  Ngunit ang ating sariling panlasa at pagkatig sa musika ay mga suhestiyon lamang sa gustong makinig.  Naniniwala ako na mas mapapasigla ang OPM kung ito ay may matibay na pundasyon; kung mamumuhunan ang pamahalaan sa mga istasyong pag-aari nito at patuloy na magpatugtog ng OPM.  Lalung-lalo na, kung ito ang mangunguna sa pagtangkilik sa OPM.  Sa pamamagitan ng de-kalidad na mga istasyon, na may makabagong kagamitan at mga dalubhasang empleyado, ay mas epektibong maibabahagi sa sambayanan ang kagandahan ng ating mga awitin, at kagalingan ng mga mang-aawit, kompositor, at manunulat sa industriya ng musika sa Pilipinas, sila ma’y nagsisimula pa lamang o batikan na sa larangan.

Hamon na rin sa kinapipitagang industriya ng musika sa Pilipinas na patuloy na gumawa ng mga de-kalidad na awitin; hindi natitigil sa kung anuman ang uso o di kaya’y kung anumang revival ang kikita.  Ang musika ay hindi idinidikta, kundi pinakikinggan: kung maganda ang awitin ay tiyak na ito’y pakikinggan.  Muli, bagamat ang layunin ng kautusang ito ay kapuri-puri, ang pagsasapraktika nito ay sumasagi sa ating sariling panlasa – at sa isang kaduluhan, ang ating mga karapatan – na mamili kung ano ang musikang ating kinahuhumalingan at pinakikinggan.  Ang sagot ay nasa mga prayoridad ng pamahalaan at sa industriya na mismo, at hindi sa sapilitang pakikinig sa awiting atin.

Translation after the break.

Now for the translation:

On Original Pilipino Music

President Aquino ordered that Executive Order No. 255 be implemented, where all radio stations should play four Filipino songs every hour on their music programs.

In this post, I don’t intend to open dialogue about what “Pilipino music” is, within the debate of heritage and nationality, but it can’t be avoided.  There’s no mistaking the fact that many of our best singers make great renditions, cover versions, or translations (like myself, though I’m not a singer) of foreign songs.  One may even say that there is no “Original Pilipino music,” not because of origin, but because many of the characteristics of modern OPM are derived from the styles of foreign composers and artists.

For me, the concept of OPM encompasses the styles and forms of music shared by the many different cultures of the Philippines; through their instruments, languages, and world-views.  Music is part of our narrative and our history; while we may enjoy foreign songs, we must never forget – or frown upon – the songs from our country.

Indeed the spirit of EO 255 must be praised, but I believe that music is a personal choice, hobby, or even passion.  I believe that a mandatory law requiring stations to play OPM is not a solution to the situation of OPM.  There are no laws or rules in radio stations that prevent employees from playing OPM.  In my humble view, to force stations to play OPM runs against the grain of the very personal nature of listening to music; whether we don’t like to listen to it, or it doesn’t reflect the image the station wants to project.

It troubles me to think that an instrument of freedom – music – is used as an instrument of coercion.

I am an avid listener of Pilipino music; if need be, I am here to spread the message and to spread the word about the beauty of our music, and the skill of our artists and the Pilipino music industry in general.  However, our personal tastes and preferences to music are mere suggestions to others who also have their preferences and are willing to listen.  I believe that revitalizing OPM could only happen when it has a strong foundation; if the government would invest in its own radio stations and play OPM.  Especially if it’s the first patron of the industry.  With quality radio stations, with state-of-the-art equipment and experts in operations, we can effectively share to the public the beauty of our songs, and talent of our singers, composers, and lyricists in the music industry; whether they’re just starting out or are legends in the field.

It’s a challenge to the well-respected music industry in the Philippines to continue writing quality songs; that it should not stop at fads or profitable revivals.  Music is not something dictated, but listened to: if the song is great it will have its share of the airwaves.  Again, though the goal of the law is admirable, in practice it brushes against our own tastes – and on one extreme, our rights – to choose what sort of songs we listen to and are passionate about.  The answer is in the priorities of government and the industry itself, and not listening under duress.

Jazz Sessions: Pinoy Jazz All-Stars

Ayala Museum, Asosasyon Ng Musikong Pilipino, and Avida present

Jazz Sessions

Pinoy Jazz All-Stars

Friday, 28 July 2017 | 6:30 PM | Ayala Museum Ground Floor Lobby

An evening of the best homegrown musical talent playing an all OPM repertoire in celebration of Linggo ng Musikang Pilipino.

About the Artists


Jazz Keyboardist Henry Katindig has been a figurehead in the local jazz circuit for the past three decades. He is a respected bandleader and first-call session artist, and his prodigious style has been immortalized in countless recordings and festivals both here and abroad.  His style may be best described as Contemporary new jazz.

With a musical lineage that has spawned some of the country’s most revered jazz icons, some quarters may say that his destiny has been preordained. But despite the individual successes of his kin– Henry carved his own niche through sheer hard work and tenacity.


musical experience spans more three decades as a performer, arranger, composer and musical director. As a session musician Colby has played for almost all of the country’s top pop and jazz artists , toured extensively internationally  to almost every continent in the world. He has played twice in the North Sea Jazz Festival in The Hague (’94 and ‘95), the Jakarta Jazz Festival, Jazz Festivals in KL and Singapore, the Candid Records Jazz Festival held at the Pizza Express in London, and @ Billboard Tokyo with Eumir Deodato. Played with International Jazz performers Kevyn Lettau, Michael Shapiro, , Flora Purim, Airto Moriera, Jon Irabagon, Yuri Arimasa, Charito, Laura Fygi, Pauline Wilson, Dutch pianist Mike del Ferro and Swedish saxophonist Anders Paulsson, Swiss pianist Claude Diallo and NY pianist Edsel Gomez.

JUN VIRAY (Drums) 

“Jun”, as Hilarion is known in the jazz clique, is a rarity among drummers-he is one of the very few who, after making musical flights in soul and rock, made a smooth successful transition to jazz.

His first gig ever, was in the early 70’s, incredibly at the height of the war, where he and his brothers entertained the US troops in Vietnam,  It must be Fate that brought him to the new light because after that, he was sidetracked from his soul & rock gig and called to become a member of an international jazz group based in the Philippines, the New Society Jazz band. Tackling Coltrane and Herbie Mann tunes, he was jazzing it up at an age very much younger than Miles Davis’ drummer then, 19 year old late legend Tony Williams-Jun was, at the time, a prodigious 16 years of age.

Jun has been one of the central figures of emulation in the jazz drumming scenario in the country. Hearing him play on their CD, with his choice complements to the solos and sensitive fills, bears witness to the fact that his transition to jazz was an option well-made and most welcomed.


began her career at the age of 17, daughter of Emil Tiongco of the popular Tiongco Brothers trio in the 60s, Jeannie honed her craft by singing with masters like Bert Nievera, Tony Velarde, Eli Saison, and recently with Henry Katindig. Jeannie’s interpretation of classics are unadulterated yet powerful, characterized by sensitive phrasing and grace. Well versed in standard., mainsteam and fusion styles, she sang at the Manila Hotel, Sheraton, and Shangri-la and participated in local jazz festivals.


SANDRA is a Filipina jazz singer and recording artist who has performed internationally since the ‘70s.  Alarmed by the lack of interest for jazz in the midst of present-day pop culture, she decided to look closer into helping to create more awareness for jazz.

As President of The Jazz Society of the Philippines in 2005, Sandra was able to lay the organizational groundwork to further this jazz mission. In 2006, along with local fellow jazz artists and enthusiasts, she founded the non-profit Philippine International Jazz and Arts Festival Foundation, the organization which mounts the annual International Jazz Festival, P.I. JAZZFEST.

Sandra is currently bent on establishing an Artists Inter-Cultural Exchange and educational program in the Philippines. Sandra continues to represent the Philippines, either as festival organizer, or jazz performer or both.


Maritoni Falconi is one of Manila’s finest jazz vocalists, performing for the country’s most brilliant jazz instrumentalists and pioneers. Her prowess is not only celebrated here, but in Kuala Lumpur, Singapore and Jakarta as well. As a performer she has been true to her craft, having her own style and taste. She is Citylite’s Jazz Achievement  Awardee, performing with the likes of John Lesaca, Eddie K., Henry Katindig, Tateng Katindig and Boy Katindig in popular venues like Birds of The Same Feather, Holiday Inn, Gillespie’s Bar, The Papillon Bar, Birdland, The Vineyard, Tavern on the Square, Arkos, Music Hall, News Bar Café and at the Boy Katindig Jazz Café. She was also the youngest vocalist for Bong Penera’s band which had regular performances at the Calesa Bar in Hyatt.

Maritoni has done recordings of songs and jingles internationally and was one of the top ten finalists of the Tokyo Music Festival. She is currently the Vice Chairman of the Asosasyon ng Musikong Pilipino (AMP), a member of Organisasyon ng Pilipinong Mangaawit (OPM) and the Jazz Society of the Philippines (JazzPhil).


Before Jong became known as a flautist, he was back-up singer of good friend Randy Santiago in the 80’s. Many people do not know that Jong wanted to become a singer before he decided to make a career out of playing the flute. Jong’s talent in singing supported him while he was taking up music at the University of the Philippines.

Jong scored with his first gold album, “Nightwind,” his second of five albums under OctoArts EMI International, which sold more than 20,000 copies. He also released an album under BMG Records Pilipinas, his sixth commercial release entitled IMAGINE in July 2000.

Jong’s music has given the opportunity to perform both locally and abroad, interpreting his brand of music, through the sound of his flute. Before turning professional, he won at the national Music Competition for Young Artists (NAMCYA) at the CCP in 1980. As a professional, Jong was nominated twice for “Best Instrumental Performance,” by both the AWIT and ALIW Awards and was then awarded “Best Instrumentalist” by the ALIW awards in 2002. He was also given a Gold Record Achievement for his 2nd album under OctoArts International.

Like many veteran singers Megan Herrera started out as a child prodigy back in native Australia for radio, television and theater. She met and married legendary bassist Roger Herrera with whom she shared the stage with in Tehran, Bangkok and Hongkong. Settling back in Manila, she was the main singer at the historical Vineyard Pub. After a long hiatus, Megan is back onstage, often performing with Romy Posadas whenever the situation arises.


P 1000 Limited Premier
P 700 Regular
P 560 Discounted Rate**
P 500 Senior Citizens
P 300 Students

* Prices when bought at the Ayala Museum ticket counter. Tickets are also available at TicketWorld and Online service fees and additional charges may apply.

Tickets will also be available at the concert gate (Ayala Museum price) unless seats have sold out, which will be duly announced prior through Ayala Museum and TicketWorld communication channels.

** Discounted rate applies to Ayala Museum members, Ayala Group of Companies employees, MSO Subscribers, and Ayala Rewards Circle. Please see instructions below on how to avail of discounts.

Terms and Conditions for purchasing tickets:


  1. Tickets are now available for sale at the Ayala Museum, Makati Avenue corner De La Rosa Street, Greenbelt Park, Makati, open from Tuesday-Sunday, 9 AM to 6 PM. They can also be purchased from TicketWorld outlets or
    • Ayala Museum Ticket Counter: present your membership card/employee ID to the attending cashier.
    • TicketWorld outlets: present your membership card/employee ID and the PROMO CODE sent to you via Membership/HR channels.
    • Enter the PROMO CODE sent to you via Membership/HR channels in the designated box found at the top left of the event page before purchasing.
  3. Senior citizens and students are likewise requested to present valid IDs  upon purchase to avail of discounts.
  4. Cash payment is preferred when purchasing at Ayala Museum.
  5. Limited seats available. In the event the maximum seating capacity is already reached, succeeding buyers will be duly informed of standing room only status and can purchase tickets at the minimum price (P 300).
  6. It is best to call 759 82 88 local 8275 to get the latest update on the availability of tickets.

During concert date

  1. Counter for unclaimed and/or unsold tickets (if any) will open on the day of the concert at 5:30 pm.
  2. Concerts are FREE SEATING. In case of standing room only (SRO) status, SRO ticket holders are limited to a designated area in the concert venue.

For inquiries and reservations:
CALL: 759 82 88 local 8275

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