Volume 8
MAY-JULY 2000 ISSUE
 
AMP/OPM on B.I.D Memorandum of Agreement
 
Profiles: Prof. Arturo T. Molina
 
An Exodus of Filipino Musicians
 
Do You Know That, Atbp.
 


When that time comes, I am sure that the Filipino Musician will prove that he is still the best in the East. - Angel Pena


About AMPAMP MembershipSayTay!Contact AMP





HOME : SAYTAY : ARTICLES

An Exodus of Filipino Musicians
by Angel Pena

The following article was written in Tokyo. This was published in a major daily on May 1, 1955

Here in Tokyo, the "New York of the Far east," the Filipino musician has managed to make a comfortable living in spite of stiff competition from Japanese musicians who have improved surprisingly from the time the first Americans came here in 1945. the American on Japanese music, particularly in the field of Jazz, remains manifested whenever a Japanese musician picks up his instrument to play. I find, however, that our countrymen here are more than able to meet the standard of living which is quite expensive. It would of course be difficult to generalize their reasons for coming over but certainly they find life better in all respects than they did in Manila in as far as music and working opportunities are concerned.

Japanese progressive jazz playing, and the attitude of their ear-trained public to the latest trends of contemporary jazz, made a deep impression upon us here. Not only are they sharp on popular music; they are as well versed in classical music. Last year in my quarters, I was studying the score of Beethoven's Fifth Symphony when the sixteen year old daughter of our landlady sitting beside me started humming the theme of the first movement. I was surprised at such musical knowledge, until she told me that music appreciation is taught in Japanese high schools.

On the other hand, the good Filipino musician has within him the brilliant qualities of the artist-in all aspects of music, serious or popular. But as fate would have it, this good musician never won the chance to prove how good he was because of the limited places of musical employment in our country and the inclination of the Filipino audience toward music that is for the feet rather than for the ear.

But there is one thing that strikes me. The Japanese musicians have not as keen a sense of harmony as do Filipino musicians. I have found out that bass players and pianists use different notes to adapt to a certain melody. In this aspect, I believe that we are superior. This does not mean, however, that Japanese musician are not good. It is simply that they are still young and in the process of development while we have matured enough along this line.

The situation, however is not hopeless foe the young, progressive Filipino musician. His progress is hampered only by the lack of adequate music material and the places to use them. I have high praises for their attempts to improve their style. They are good musicians, academically equipped and yet full of expression and feeling in their playing and writing. It is not, I think, too much to hope that our musical field will expand very soon, something that would be identical with Tokyo's.


 
© Copyright 1999-2000. Asosasyon ng Musikong Pilipino Foundation, Inc. Hosted by Uplink Technologies, Inc. For your comments and questions about the website, please e-mail webmaster@amp.org.ph.