Name required. Follow Following. Philippine Artists,Traditions and Culture. Sign me up. Already have a WordPress. Log in now. In Philippine music, Buenaventura became a byword. He was known not only as a fine composer, but also a competent conductor and a dedicated educator. He came from a family in Baliuag, Bulacan, where he was born on May 4, that is known as a family of fine musicians.
A great number of his songs have been written for the local movies, which earned for him the Lifetime Achievement Award from the Film Academy of the Philippines. Levi Celerio, more importantly, has enriched the Philippine music for no less than two generations with a treasury of more than 4, songs in an idiom that has proven to appeal to all social classes. A prime figure in the second generation of Filipino composers in the modern idiom, Santos has contributed greatly to the quest for new directions in music, taking as basis non-Western traditions in the Philippines and Southeast Asia.
His initial interest in Mahler and Debussy while still a student at UP waned as his compositional style shifted to Neo Classicism and finally to a distinct merging of the varied influences that he had assimilated abroad. His return to the Philippines marked a new path in his style. After immersing himself in indigenous Philippine and Asian Javanese music and dance, Chinese nan kuan music , he became more interested in open-ended structures of time and space, function as a compositional concept, environmental works, non-conventional instruments, the dialectics of control and non-control, and the incorporation of natural forces in the execution of sound-creating tasks.
All these would lead to the forging of a new alternative musical language founded on a profound understanding and a thriving and sensitive awareness of Asian music aesthetics and culture. Simultaneous with this was a reverting back to more orthodox performance modes: chamber works and multimedia works for dance and theatre. Panaghoy , for reader, voices, gongs and bass drum, on the poetry of Benigno Aquino, Jr. He has also done research and fieldwork among the Ibaloi of Northern Luzon.
His ethnomusicological orientation has but richly enhanced his compositional outlook. Embedded in the works of this period are the people-specific concepts central to the ethnomusicological discipline, the translation of indigenous musical systems into modern musical discourse, and the marriage of Western and non-Western sound. An intense and avid pedagogue, Santos, as Chair of the Department of Compositiion and Theory and formerly, as Dean of the College of Music, UP, has remained instrumental in espousing a modern Philippine music rooted in old Asian practices and life concepts.
With generation upon generation of students and teachers that have come under his wing, he continues to shape a legacy of modernity anchored on the values of traditional Asian music. This is all the more significant because it happened at a time when the Philippines and its people were scarcely heard of in Europe. He was the son of Luciano Buenaventura and Leocadia Ramirez. At a young age, he was already exposed to music.
He became proficient in playing the clarinet. Later on, he conducted the Banda Buenaventura. He studied at the Conservatory of Music in the University of the Philippines. While he was still studying at the Conservatory, he joined the Music Seniors Organization. He served as its first president He organized the first student string quartet.
Together with his colleagues, Francisca Reyes and Ramon Tolentino, he researched and documented the traditional music and dances of Filipinos around the country.
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