ABOUT THE FILIPINO SONG FORM: KUNDIMAN by Michael Dadap
The Kundiman song form is a specific Tagalog genre that rose to prominence in the mid-1800s, influenced by the growing patriotic and nationalistic sentiments among educated Filipinos. The word itself is a contraction of the Tagalog phrase "Kung Hindi Man" which loosely translates to "if it is possible, may I…?" This formal and polite way of asking permission and requesting approval was historically used to address elders or those in positions of authority during the Spanish colonization of the Philippines. The modern idiomatic equivalents are "maari ba?" or "OK lang ba?" or "ayos ba?" which all mean "is it alright?" Instead of the use of weaponry, Filipinos harnessed the power of beautiful Tagalog folk melodies. Filipino songwriters and composers creatively transformed these folk songs into Kundiman which became the signature song of resistance against Spanish oppression. The expressive, flowing, dramatic, and emotionally colorful melodies of Kundiman focus on themes of patriotism, deep faith, romance, and unrequited love. Kundiman starts in a minor key, followed by a bridge, and ends in a major key. A good example of the Kundiman song form is Bonifacio Abdon’s Kundiman, with its melodic theme (in major key) evoking the haunting melody of Joselinang Baliwag or the Kundiman of 1850. It is safe to assume that the Kundiman was the spark that ignited the fiery revolution against colonial Spain on August 23, 1896. Other examples of this song form include Francisco Santiago’s Anak Ng Dalita, Nicanor Abelardo’s Nasaan Ka Irog and Bituing Marikit, Resurreccion Bunyi’s Huling Awit, and Felipe De Leon’s Kay Tamis ng Buhay, among many others.
In this Masterclass, the singers chose Muyta ng Pasig, Magbalik Ka Hirang, Kay Tamis Ng Buhay, and Nasaan Ka Irog. Mutya ng Pasig is often considered a Kundiman but it is actually a Kumintang, a traditional war chant of the precolonial Filipino. Unlike the Kundiman, Kumintang pieces do not have a bridge between the first part in a minor key and last part in a major key. Kay Tamis Ng Buhay is an aria from Noli Me Tangere in the Kundiman style. Of the four pieces, Magbalik Ka Hirang and Nasaan Ka Irog are true Kundiman.
Written by Michael Dadap, classical guitarist, composer, conductor. One of Maestro Dadap’s patriotic works in Kundiman style includes Huling Pagsamo (The Last Plea) which he wrote in 1970.
Cathe Aguilar, Vice Consul, NY Philippine Consulate
Ruth Galiza, Cultural Attache, NY Philippine Consulate
Chiara Cox, Producer of Evelyn Mandac Documentary
Ramon Tenefrancia, Manhattan School of Music
