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Folk music musical instruments. The music of the Philippines' many Indigenous peoples are associated with the various occasions that shape life in indigenous communities, including day-to-day activities as well as major life-events, which typically include "birth, initiation and graduation ceremonies; courtship and marriage; death and funeral rites; hunting, fishing, planting and harvest ...
Ramón Pagayon Santos (born 25 February 1941) is a Filipino composer, ethnomusicologist, and educator known for being the Philippines' foremost living exponent of contemporary Filipino classical music, [1] [2] for work that expounds on "the aesthetic frameworks of Philippine and Southeast Asian artistic traditions," [2] and for finding new uses of indigenous Philippine instruments.
The Philippines is known to have the first hip-hop music scene in Asia, emerging in the early 1980s, largely due to the country's historical connections with the United States where hip-hop originated. Rap music released in the Philippines has appeared in different languages such as Tagalog, Chavacano, Cebuano, Ilocano, and English.
Some of the Filipino ethnic instruments Ayala is known to use include the two-stringed Hegalong of the T'Boli people of Mindanao, the Kubing, the bamboo jaw harp found in various forms throughout the Philippines, and the 8-piece gong set, Kulintang, the melodic gong-rack of the indigenous peoples of the southern regions of the country.
Pages in category "Philippine folk songs" The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes. A. Anak (song)
Ivatan residents of Mindanao and their descendants are also fluent speakers of Cebuano (majority language of large parts of Mindanao), Hiligaynon (main lingua franca of Soccsksargen) and various indigenous Mindanaoan languages in addition to their native language. However, Ivatan language has been endangered especially among newer generation of ...
She has published two award-winning books in the Philippines - Song of the Babaylan: Living Voices, Medicines, Spiritualities of Philippine Ritualist-Oralist-Healers (Institute of Spirituality in Asia, 2013), [53] edited by Carolina S. Malay, winner of the 2014 Gintong Aklat Book Award for Arts and Culture, [54] and the 2014 Jaime Cardinal Sin ...
During World War II, she took up composition, and on 1 December 1945, she performed her own compositions in a concert at Philippine Women's University. From 1946 to 1947, Kasilag taught at the University of the Philippines’ Conservatory of Music and worked as secretary-registrar at Philippines Women's University. [citation needed]