2.  (b. January 31, 1917, Manila – d. May 5,
2004, Quezon City). Philippine composer
of interdisciplinary works that have been
performed throughout the world; he is
also active as an ethnomusicologist.
 He study piano,composition and music
analysis in Academy Of Music in Manila
and also in École Normale de Musique de
Paris .

3.  After he became a professional pianist He studied
again in many different school in USA.
-He studied musicology at Queen College and
Columbia University from 1950-52
-Then He studied anthropology at the University Of
Chicago and enthnomusicology at Indiana University
in 1957-58 and University Of California at Los Angeles
from 1961-63, where he earned his PhD.
-He also worked with the Groupe de Recherches
Musicales in Paris in 1958.

4.  Ugma-ugma – Structures (text by the composer), mixed chorus, rattle, tagutok
(scraper), carabao horn, whistle, shō (Japanese mouth organ), cowbells/other small
bells, clapper, pakkung (buzzer), tongatong (stamping tubes), kubing (mouth
harp)/aroding (mouth harp), Chinese pai-pan clappers, bamboo sticks, gabbang
(xylophone), kulintang (gongs in a row), gender (Indonesian metallophone),
suspended agung (gongs with stopped sounds), suspended gandingan (gongs with
freely-vibrating sounds), 1963
 Kubing (text by the composer), 5 male voices, 7 pairs of tongatong, 3 batiwtiw
(bamboo zithers), 3 tagutok, 7 pakkung, 7 kubing, 1966
 Pagsamba – Worship (ritual music for a circular auditorium, text from the Mass
[Tagalog translation]), 100 mixed voices, 25 male voices, 8 suspended agung, 8
suspended gandingan, 100 players (100 balingbing [bamboo buzzers], 100 palakpak
[bamboo clappers], 100 bangibang [yoke-shaped wooden bars; played with beaters],
100 ongiyong [whistle flutes]), 1968
 Udlot-udlot – Hesitations (open-air ritual, text by the composer), vocal group (100s of
voices; moving around every 10 minutes), bangibang group (100s of players; circling
around with formal steps), instrumental group (100s of players; balingbing,
tongatong, flutes) (sitting inside a circle), 1975 (also theatre version [VII (1)])

5.  Ading (text by the composer), 100 mixed voices, 100
players (100 pakkung, 100 bangibang, 100 batiwtiw,
100 tagutok), audience ad libitum, 1978
 Music for Indonesian
Gongs, Metallophones, Bamboos, Flute, Contrabass
oon, and Voices (text by the composer), 8 female
voices, 8 male voices, piccolo, contrabassoon,
pakkung (+ clapper, tagutok, 2 sticks, 2 tongatong,
shaker, whistle), ketuk (Indonesian gong) (+ kempul
[Indonesian gong], suwukan [Indonesian gong], 4
saron [Indonesian metallophones], 4 gender), 1997

6.  (1) Agungan – A Play of Gongs, 3 high suling
(bamboo flutes)/other flute-type instruments, 5
small suspended Tiruray agung, 4 kulintang, 6
gangsa (flat gongs; played with the hands), 6 gangsa
(played with sticks), 3 large suspended agung, 2
suspended gandingan, 4 sulibao (conical drums) (1
player), 1965

7. (1) Aroding (text from a Palawan
song), 7 male voices, 3 pispis (tiny
flutes), 40 aroding, 1983

8.  Cassettes 100, 100 tape recorders
(100 operators), 1971
 Ugnayan – Atmospheres, 20 radio
stations, 1974

9.  Siasid, 10 blown bamboo tubes/10 trombones, 10 violins,
4 percussion (3 bamboo slit drums, 3 tagutok, 3 pakkung,
3 conical Ibaloy drums/similar drums), 1983
 Suling-Suling, 10 suling/10 flutes, 10 kudlung (bamboo
string percussion)/10 pakkung/10 tagutok, 10 gangsa,
1985
 Strata, 5 flutes, 5 guitars, 5 celli, 10 balingbing/10 similar
instruments (+ 10 bangibang/10 Chinese pai-pan
clappers/10 similar instruments), 5 tam-tams, 1988

10.  Dissemination, olimong (whistle flute)/similar
instrument, 5 flutes, 5 oboes, 5 French horns, 5 violins, 3
celli, 2 double basses, 2 gongs/2 tam-tams, 1990
 Distemperament, 3 flutes, 3 oboes, 3 clarinets, 3 bass
clarinets, 3 bassoons, 3 French horns, 3 trumpets, 3
trombones, 3 violins, 3 violas, 3 celli, 3 double basses,
1992
 Music for Five Pianos, 1993

11.  Two Pianos and Four Winds, clarinet, bassoon,
French horn, trombone, 2 pianos, 1996
 Exchanges, Music for a Chamber Orchestra, 1997
 Colors without Rhythm, harp, piano, harpsichord,
celesta, vibraphone, xylophone, marimba, 10
percussion groups (10 total players), large orchestra,
1998

12.  Music for Two Pianos and Four Percussion Groups,
2 pianos, 4 percussion, 2000
 Sujeichon – Korean Court Music for Four Pianos,
2002
 Banter and Profundity, small orchestra (19 players),
2003

13.  Udlot-udlot (music theatre work, text by the
composer), voice, 4 flutes (all + balingbing,
tongatong), bangibang, 1997 (version of open-air
ritual work [I (4)])