Music of Popular Sentiments: The Sanctity of the Home
This is the music of lowland Christian Filipinos living in town centers or poblacions.
The beginning of what we may consider Western type of music in the Philippines began in lowland Christian town centers, probably around the late 18th century. Instead of being extemporaneous and oral, music creation is now done on paper by an individual author whose name appears on manuscripts or printed music sheets. But with the oral tradition still a strong influence in society, what is written on these musical scores is not sacrosanct, and may be modified by another musician during the performance to allow for individual creative expression. The music may be individually authored but community opinion matters.
Music of the Concert Hall: The Autonomy of Music
This is the music of highly individualized composers who are formally trained in Western-style conservatories or colleges of music. This music is also known as “serious or classical music” (ex. Nicanor Abelardo’s Mutya ng Pasig, Francisco Santiago’s Taga-ilog Symphony, Lucresia Kasilag’s Divertissement for Piano and Orchestra).
Music for Mass Entertainment: The Consumerist Lifestyle
Most Westernized Filipinos listen to concert music and are thus the most individualistic. Self-reliance, self-promotion, and specialization are highly encouraged, resulting in a weaker sense of community and greater sense of privacy. Social interactions become more competitive and adversarial. Relationships become more impersonal, formal, and merely functional rather than holistic. Communication tends to be verbal and explicit, particularly through writing. Reflective, critical, analytic, linear, scientific, and dualistic thinking (left brain thinking) are highly valued.