I would like to acknowledge my voice professor and mentor, Dr.

John Muriello for guiding me during my

research on Kundiman art songs. I have learned much about this scholarly work and have been inspired
to do more research in this topic. Secondly, I would like to thank Dr. Jos Uriarte, D.M.A. graduate in
Piano Performance from the University of Minnesota and private piano instructor at McPhail Center for
the Arts, Minneapolis, MN, for his language expertise and contributions in proof-reading my text
translations of the Kundiman art song selections in my essay. I would also like to thank Dr. Colleen
Jennings for her encouragement and making it possible for me to become acquainted with Dr. Raymond
Leslie Diaz, a Senior Lecturer at the University of the Philippines and Voice Faculty member at St.
Scholasticas College in Manila. His unique knowledge and experience with the International Phonetic
Alphabet system as it relates to the Tagalog language has given me a deeper insight in transcribing the
special nuances in the pronunciation of the Tagalog language. Last but not least, I would like to thank my
mother, Mrs. Josie Anderson, for inspiring me and exposing me to numerous Filipino folk songs and
Kundiman songs since I was a child in the Philippines. She has been a great resource on my Tagalog
language translations. Her love for singing has made me what I am today. iii PUBLIC ABSTRACT In the
Philippines, a type of love song known as the Kundiman had existed since the early 19th century. But in
the early 20th century Kundiman had developed into art song. The term Kundiman comes from the
Tagalog phrase kung hindi man or if it were not so. Written in the Tagalog language, these folksongs
were subtly patriotic but typically disguised as love songs. Filipinos, in their long struggle against an
oppressive Spanish regime, saw it as a tool that would ultimately unite Filipino revolutionaries to wage
war against the Spaniards in 1896 during the Spanish-American War. The composer Francisco Santiago
(1889-1947) is sometimes called the Father of Kundiman Art Song. While his masterpiece is
considered to be his Concerto in B flat minor for pianoforte and orchestra, one of his most significant
piece is his song Kundiman, (AnakDalita), the first Kundiman art song. Santiago regarded the
Kundiman art song as something that expresses the lofty sentiment of love, and even heroism in a
melancholy mood. Given the cross-fertilization of Spanish and Filipino cultures in the 19th century,
Kundiman art songs were typically a blend of melodic material from native folksong and European music
traditions. The result is a song characterized by smooth flowing lines and beautiful melodies. The piano
accompaniments are typically full in texture, sometimes containing countermelodies, sometimes merely
harmonizing with the vocal line in thirds and sixths. One other significant early composer of Kundiman
art songs was Nicanor Abelardo (1893-1934). His songs, together with those of Santiagos became
models for other Filipino composers such as Constancio De Guzman (1903-1982) and Miguel Velarde, Jr.
(1913-1986) in the decades following Abelardos death. The purpose of this essay is to shed some light
on this unique genre of song, and provide the tools necessary to study and perform these
representations of Filipino culture and history. To iv do this, I have provided brief background
information on the origins of Kundiman art song. I have also provided a guide to pronunciation,
grammar and the idiosyncracies of the Tagalog dialect. Finally, this essay contains a performance guide
for 20 representative Kundiman art songs, including original texts, literal and prose translations,
International Phonetic Alphabet (I.P.A.) transcriptions, and suggestions for interpretation and style. In
researching and analyzing these songs I have gained an understanding of the aesthetic appeal of
Kundiman art songs. More importantly, these songs are not widely known in the classical world. But
because of their unique connection to Filipino history and culture, they deserve serious attention. These
songs would indeed make a great addition to a recital program.