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Philippine music is rich beyond compare. Most Filipinos, however, do not know this wealth, victims as they are of a broadcast media that propagate Western, particularly American entertainment music, day in and day out.

Philippine music is a huge arsenal, with both local and international genres. Philippine musical compositions are often a mixture of indigenous styles, and various Asian, Spanish and Latin American, and American influences. Filipino songs and music is a fusion of American, European and indigenous sounds. It is influenced by Spanish colonization, pop music, rock and roll and hip hop music from US.

Music, therefore, is the collective expression of the musical genius of a particular people. Such is the case of Philippine music which today is regarded as a unique blending of two great musical traditions – the East and the West. The native arts have suffered a great deal of transformation and fundamental ideas but thanks to a patriotic spirit of renaissance and to the enthusiasm of scholars, something is now done to preserve the few remnants of the old and truly Oriental civilization.

Philippine Music is divided into four eras or traditions, namely the Ethnic, Spanish Colonial, American Colonial and Contemporary tradition. The majority of Philippine Music revolves around cultural influences from the West, due primarily to the Spanish and American rule for over three centuries. Oriental (ethnic) musical backgrounds are still alive, but mainly thrive in highland and lowland barrios where there is little Western influence.

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Indigenous music: The indigenous peoples, often called lumad, are the closest to nature. Life to them is an indivisible whole. Art, myth, ritual, work, and activities of everyday life are all integrated into one. Spirit and matter, God and nature, the visible and invisible worlds are not a dichotomy but interpenetrate in many ways. Of all Filipino subcultures, indigenous art is the most integrated with everyday life, multifunctional and participatory.To the lumad everything is alive: rocks, rivers, the wind, fire and air, though to lesser degree, are permeated by the same vital energy that animates biological life.

Listen: https://www.youtube.com/watch?v=HhWzj4FmcS0

Muslim music: Islamized Filipinos of Mindanao, Palawan, and Sulu, namely the Magindanaw, Maranaw, Tausug, Sama, Badjaw, Yakan, Sangil, Iranun, Jama Mapun, Palawani, Molbog, and so on. Their music may collectively be referred to as Moro music (ex. kulintang music). Muslim Filipinos are among the most creative in the arts. Their religion cultivates a mystical surrender to God’s will. The music of Muslim Filipinos in Mindanao, Sulu, and Palawan, blends West Asian mysticism with indigenous Southeast Asian animism.The vocables and nature sounds of this indigenous music become parts of a seamless rhythmic and melodic web, achieving a sense of flow that is at once majestic and serene.

Fiesta music: The music of the so-called Hispanized lowland Christian, fused with a strong animistic core, though with elements of Latin culture (Mexican, Italian or Hispanic).The devotional orientation of the lowland folk is a valuable resource for creative yet painstaking and repetitive tasks that require great patience like weaving, embroidery, carving, and metalwork. Their music is often referred to as folk music (ex. pasyon, balitaw, daigon). Some notable examples of Filipino folk music are: Putungan_, a Marinduque traditional ritual for welcoming important guests; Pamulinawen, a favorite Ilocano song in polka form about a hardhearted woman’s deafness to a lover’s supplications: an Ilonggo-Kiniray-a song medley; and Rosas Pandan, a Cebuano balitaw which celebrates the beauty and charm of a village maiden.

Listen: https://youtu.be/mZQy6vfcRko

Tinikling is a traditional dance in the Filipines: https://www.youtube.com/watch?v=kckR6wf5xe8

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Indigenous Filipino Music | "Firelighting Ceremony"

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This type of music started around the late 18th century, with the lowland Christian Filipinos that lived in town centers or poblacions. It's the beggining of the "Western type of music" in the Philippines. Here, instead of being extemporaneous and oral, music creation is done on paper by an individual author whose name appears manuscripts or printed music sheets.

In this subculture emerged the typical European concept of melody functioning within a rational, linear, finite tonal-harmonic framework. Typical examples of this are Constancio de Guzman’s Tangi Kong Pag-ibig and Babalik Ka Rin (both danzas) or Santiago Suarez’ Bakya Mo Neneng (balitaw) and Dungawin Mo Hirang (danza). What the musical features of these songs indicate is that the musician is not fully separate from the society in which he lives. As an individual artist he can provide social entertainment to his community, yet shares much of its sentiments.

The culture of the poblacion, which is not quite rural yet not quite urban, is the wellspring of this cultural heritage. At present, the poblacion dweller is the dominant majority in this country. Thus, his culture may be considered the popular culture of the Philippines.

The popular culture of the Filipinos is not the same as the popular (the mass or “pop”) culture of the United States. The symbols, images and forms of Filipino popular culture are enduring while those of the latter are fleeting and ephemeral. The music of this subculture, often called light music, is the authentic popular music of the Filipinos, and not the one brought to us by American mass or “pop” culture, as is commonly thought.

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MUSIC  FOR NATIONAL IDENTITY BEING FILIPINO 

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MUSIC  FOR NATIONAL IDENTITY BEING FILIPINO 

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These are songs that celebrate or depict our struggles, hopes, and aspirations toward a Filipino identity and sense of nationhood.

The Filipino struggle for freedom identity and dignity has a long and continuous history since the 16th century when Spanish colonization began.
A commitment to one’s country and pride in being Filipino, 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 by Freddie Aguilar.

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.

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This is the music of highly urbanized and industrialized towns and cities. It is produced mainly for mass entertainment and it is what we know as “pop” music.

It was inculcated in the country by the American music industry through radio, television, movies, and other electronic media. Its most energetic adherents are the highly urbanized youth.

Though called OPM, Philippine popular music is mostly American in form and style and only its words are in Filipino. It is the least indigenized or “Filipinized” of all the foreign-influenced music traditions in the country.

Originating from the OPM genre, Pinoy pop or P-pop refers to contemporary pop music in the Philippines. With its beginnings in the late 1970s, Pinoy pop is a growing genre to this day.

Some very famous bands from this type of music are:

- 3rd Avenue
- SB19
- BINI
- Alamat
- 1st one

Top 50 - Phillipines: https://open.spotify.com/playlist/37i9dQZEVXbNBz9cRCSFkY?si=p3UTayipRgqgCrmUsdc8uw&nd=1

VS

Top 50 - Brasil:
https://open.spotify.com/playlist/37i9dQZEVXbMXbN3EUUhlg?si=0xtKJJ8vQlC9TnXo2yxvmQ