The music of the Philippines (Filipino: Musika ng Pilipinas) includes the musical performance arts in the Philippines and the music of Filipinos composed in various local and international genres and styles. Philippine musical compositions are often a mixture of Indigenous styles, and various Asian styles, as well as Spanish/Latin American and (US) American influences through foreign rule from those countries.

Notable folk song composers include the National Artist for Music Lucio San Pedro, who composed the famous "Sa Ugoy ng Duyan" that recalls the loving touch of a mother to her child. Another composer, the National Artist for Music Antonino Buenaventura, is notable for notating folk songs and dances. Buenaventura composed the music for "Pandanggo sa Ilaw".

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Philippine gong music today can be geographically divided into two types: the flat gongs commonly known as gangs unique to the groups in the Cordillera mountains and the bossed gongs of Muslim and animist groups spanning the Sulu archipelago, much of Mindanao, Palawan, and the inlands of Panay and Mindoro. The latter were once ubiquitous throughout coastal, lowland Philippine societies before widespread Christianization, and less frequently imports of flat chau gongs from China.

Kulintang refers to a racked gong chime instrument played in the southern islands of the Philippines, along with its varied accompanying ensembles. Different groups have different ways of playing the kulintang. Two major groups seem to stand out in kulintang music. These are the Maguindanaon and the Maranao. The kulintang instrument itself could be traced to either the introduction of gongs to Southeast Asia from China before the 9th century CE or more likely, to the introduction of bossed gong chimes from Java in the 16th century. Nevertheless, the kulintang ensemble is the most advanced form of ensemble music with origins in the pre-colonial epoch of Philippine history and is a living tradition in southern parts of the country.

The musical traditions involving the kulintang ensemble consist of regional musical styles and varying instrumentation transcending the present national borders of maritime Southeast Asia, comprising Buddhist, animist, Muslim, and Christian peoples around Borneo, lesser Sunda islands, Sulawesi, Maluku, Sulu, and Mindanao. It is distantly related to the gamelan ensembles of Java, Bali, Sumatra & the Malay peninsula, and south Borneo, even moreso the ensembles of mainland Southeast Asia, primarily because of the usage for the same racked bossed gong chimes that play melody and/or percussion

In 1994 Ato Mariano, the father of earth music, released an album entitled earth music containing sound samples of indigenous instruments that includes gangsa agung and kulintang under Backdoor Records.

Philippine folk music has some Spanish and Latin American influence, derived from the period the country, along with Guam and the Mariana islands, was ruled from Mexico City and Madrid by the Spanish viceroyalty. It is seen in folk and traditional music, of coastal lowland regions of Luzon, Visayas, and the predominantly Visayan north and east Mindanao alongside the westernmost tip of Zamboanga.

Hispanic music in the Philippines derived from Iberian and some Mexican traditions, owing to the Philippine colony's orientation as a distant entrept for resale of primarily Chinese and other Asian luxury goods across the Pacific to mainland New Spain (present-day Acapulco, Mexico). Aside from standardized genres are many precolonial musical forms syncretized with Catholic and general Hispanic idioms, typically involving in religious folk rituals. The Pasyon chants ubiquitous among Christian Filipinos preserve prehispanicized vocal styles, and invocations of patron saints throughout many towns inherited precolonial forms of ancestor and spirit worship. Examples include subli (Batangas), sinulog (Cebu), tinikling (Leyte), and bolibong kingking (Bohol).

Introduced during the Spanish colonial period, classical music was highly enjoyed by the wealthy elite class. From the latter part of the 19th century, the rise of the "illustrados" or the "educated natives" began to dominate the classical music scene. Such native composers include Jose Canseco, Jr., Marcelo Adonay, Simplicio Solis, Fulgencio Tolentino, and Bonifacio Abdon.[1]

The theatrical Spanish zarzuela was later adapted and localized in Philippine music. It was first introduced in 1879 and appeared in 1900.[2] During the aftermath of the American invasion, the colonizers view the music form as "seditious" due to its use to promote nationalistic sentiments.[1] Composers who specialized in zarzuela include Jose Estella and Bonifacio Abdon.[2] The zarzuela was considered to be the predecessor of kundiman.[1]

Inspired by American neoclassism, contemporary methods were employed by Lucrecia Kasilag and Eliseo Pajaro in their classical works. However, it was Jose Maceda who liberated Filipino expressionism from the European forms of classical music.[2]

Between the late 20th century and the 21st century, notable classical composers include Ramon Pagayon Santos and Francisco Feliciano. Groups who specialized in classical music include the Philippine Youth Orchestra, Manila Symphony Orchestra, and the U.P. Symphony Orchestra.[2]

Manila sound is a musical genre that began in the mid-1970s in the city of Manila. The genre flourished and peaked in the mid to late-1970s. It is often considered the "bright side" of the Philippine martial law era and has influenced most of the modern genres in the country, being the forerunner to OPM.

Original Pilipino Music, more commonly referred to as OPM, a term coined by Danny Javier of the APO Hiking Society,[3] originally referred only to the pop genre of music from the Philippines, mostly ballads, that became popular after the collapse of its predecessor, the Manila sound of the 1970s. Currently, the term "OPM" has been a catch-all description for all popular music of any genre composed and performed by Filipinos,[4] originating from the Philippines.

Before the emergence of OPM in the 1970s, popular music in the Philippines throughout the 50s and 60s was a varied showcase for songs with vernacular and movie themes performed by recording artists such as Pilita Corrales, Sylvia La Torre, Diomedes Maturan, Ric Manrique Jr., Ruben Tagalog, Helen Gamboa, Vilma Santos, Edgar Mortiz, and Carmen Camacho, among many others.

Since its origin, OPM has been centered in Manila, where Tagalog and English are the dominant languages. Bands and singers who use other regional languages, such as Cebuano, Kapampangan, Ilocano, and the other numerous languages of the Philippines, rarely break into the popular Filipino local music scene, with only a handful of exceptions, which include the Bisrock (Visayan rock music) song "Charing" by 1017, a Davao-based band, and "Porque" by Maldita, a Zamboanga-based Chavacano band. A lot of compositions of Bisrock are contributed by bands such as Phylum and Missing Filemon.

The debut music video of "Oras" ("Time") by Tarlac-based band Mernuts penetrated MTV Pilipinas, making it the first-ever Kapampangan music video to join the ranks of other mainstream Filipino music videos. RocKapampangan: The Birth of Philippine Kapampangan Rock,[5] an album of modern remakes of Kapampangan folk extemporaneous songs by various Kapampangan bands was also launched in February 2008, and was regularly played via Kapampangan cable channel Infomax-8 and via one of Central Luzon's biggest FM radio stations, GVFM 99.1. Inspired by what the locals call "Kapampangan cultural renaissance", Angeles City-born balladeer Ronnie Liang rendered Kapampangan translations of some of his popular songs such as "Ayli" (Kapampangan version of "Ngiti"), and "Ika" (Kapampangan version of "Ikaw") for his repackaged album.

Despite the growing clamor for non-Tagalog and non-English music and the greater representation of other Philippine languages, the local Philippine music industry, which is centered in Manila, is unforthcoming in venturing investments to other locations. Some of the major reasons for this include the language barrier, small market size, and socio-cultural emphasis away from regionalism in the Philippines. An example would be the Ilokano group The Bukros Singers,[6] who swept through Ilocandia in the 1990s and became a precursor for other Ilokano performers into the 2000s, but rarely broke through other music markets in the Philippines.

The country's first songwriting competition, Metro Manila Popular Music Festival, was first established in 1977 and launched by the Popular Music Foundation of the Philippines. The event featured many prominent singers and songwriters during its time. It was held annually for seven years until its discontinuation in 1985. It was later revived in 1996 as the "Metropop Song Festival", running for another seven years before being discontinued in 2003 due to the decline of its popularity.[7] Another variation of the festival had been established called the Himig Handog contest which began in 2002, operated by ABS-CBN Corporation and its subsidiary music label Star Music (formerly Star Records).

Five competitions have been held so far starting in 2000 to 2003 and were eventually revived in 2013. Unlike its predecessors, the contest has different themes which reflect the type of song entries chosen as finalists each year.[8][9] In 2012, the Philippine Popular Music Festival was launched and is said to be inspired by the first songwriting competition.[10] Another songwriting competition for OPM music being held annually is the Bombo Music Festival, being conducted by the radio network Bombo Radyo, first conceived in 1985.[11]

From the 2010s to the present day, Philippine pop music or P-pop went through a huge resurgence, with increased quality, budget, investment and variety, mirroring that of the country's rapid economic growth, and an accompanying social and cultural resurgence of its Asian identity. Heavy influence from K-pop and J-pop, Asian style ballads, idol groups, and EDM can be heard, with less reliance on Western genres, mirroring the Korean wave and similar Japanese wave popularity among young Filipinos and mainstream culture. Notable P-pop music artists who define the growth of this now mainstream genre include Regine Velasquez, Sarah Geronimo, Yeng Constantino, Erik Santos, KZ Tandingan, Moira Dela Torre, Morissette, and SB19. 0852c4b9a8

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