Jerry Amper Dadap

{{Infobox person | name = Jerry Amper Dadap | image = Jerry_Dadap_2018.jpg | caption = Jerry Amper Dadap, composer (2018) | birth_date = November 5, 1935 | birth_place = Hinunangan, Southern Leyte, Commonwealth of the Philippines | occupation = Composer, conductor, educator | years_active = 1959–present | known_for = Philippine nationalist concert music; expansion of the rondalla as a symphonic ensemble | notable_works = ''Andrés Bonifacio: Ang Dakilang Anak-Pawis'', ''Alay sa Inang Bayan'', ''Aleluya'', ''Sumikat na ang Araw'', ''Philippine Symphonic Medley'' | organizations = Andrés Bonifacio Concert Choir }}

'''Jerry Amper Dadap''' (born November 5, 1935) is a Filipino composer, conductor, and educator known for his contributions to Philippine nationalist music. His work is associated with post-independence developments in Philippine art music. He is particularly noted for expanding the symphonic and concert repertoire of the Philippine rondalla. Dadap has composed orchestral, choral, rondalla, and theatrical works that integrate classical concert forms with elements of Filipino musical traditions, frequently drawing on Philippine historical and cultural themes. His works have been performed in the Philippines and internationally. == Early life and family == Dadap was born on November 5, 1935, in Hinunangan, Southern Leyte, the ninth of fourteen children of Vedasto Dadap and Dionisia Amper.<ref name="Samson1976">{{cite book |last=Samson |first=Helen F. |title=Contemporary Filipino Composers: Biographical Interviews |publisher=Manlapaz Publishing Co. |year=1976 |location=Quezon City |pages=59–67 }}</ref><ref name="CCP-EPA">{{cite encyclopedia |last1=Hallazgo |first1=Julie Ann |last2=Hila |first2=Antonio C. |last3=Macazo |first3=Crisancti L. |title=Dadap, Jerry |encyclopedia=Encyclopedia of Philippine Art |publisher=Cultural Center of the Philippines |publication-date=18 November 2020 |url=https://epa.culturalcenter.gov.ph/5/42/3954/ |access-date=12 January 2026 }}</ref><ref name="Guerrero2018"> Guerrero, Amadís Ma. (20 August 2018). "Composers Dadap hold ‘sentimental’ concerts in old Southern Leyte hometown". ''Philippine Daily Inquirer''. </ref> He attributed his early musical exposure primarily to his mother’s family, the Ampers of Bohol, who were known locally for their musical activities. His maternal grandfather formed a small-town orchestra made up of coconut field workers and taught them solfeggio and instrumental performance.<ref name="Samson1976"/>

He married the late Celeste Dadap (née Icban),<ref name="CCP-EPA"/><ref name="InquirerGuerrero2025">{{cite news |last=Guerrero |first=Amadís Ma. |title=The symphonies on Jerry Dadap’s mind |work=Philippine Daily Inquirer |date=May 26, 2025 |page=C2 }}</ref> who earned a master’s degree in music education from Columbia University in New York City and taught humanities at the University of the East. She died on March 3, 2002.<ref>{{cite news |last=Tariman |first=Pablo |title=Coping with the Miserere in the performing arts |newspaper=Philippine Daily Inquirer |date=March 18, 2002 |page=D2 }}</ref> They had four children: Jerry Jr., a composer and classical guitarist who is also trained as a physicist; Gerald, a visual artist; Jeremy, a violinist; and Bettina Celeste, a singer.<ref name="InquirerGuerrero2006">{{cite news |last=Guerrero |first=Amadís Ma. |title=A composer in these troubled times |work=Philippine Daily Inquirer |date=November 13, 2006 |page=A26 }}</ref> His younger brother, Michael Amper Dadap, is a classical guitarist and composer.<ref name="Samson1976"/><ref name="CCP-EPA"/>

== Education and career == Dadap’s earliest formal music instruction came from his elder sister, Feri, who taught him organ and piano for church settings. He later studied theology at Silliman University in Dumaguete City (1954–1956), where he continued music studies and began composing songs and choral works while remaining active in church music. He then enrolled at the Conservatory of Music<ref>{{cite web |title=College of Music – University of the Philippines Diliman |url=https://music.upd.edu.ph/ |website=University of the Philippines College of Music |access-date=21 December 2025 }}</ref> of the University of the Philippines, where he earned a Bachelor of Music in Composition and Conducting in 1963.<ref name="Samson1976"/>

While still a student at the University of the Philippines, Dadap composed his first orchestral work, the symphonic poem ''The Passionate and the Wild'' (1959), which won Second Prize at the National Composition Contest in 1960. He later described the work as “modern” in style and noted that it was written before he had received formal training in orchestration, drawing instead on his experience performing with the University of the Philippines Symphony Orchestra.<ref name="Samson1976"/>

In addition, Dadap served as a carillonneur of the UP Diliman Carillon<ref>{{cite web |title=UP Carillon Tower’s Original Bells |url=https://www.atlasobscura.com/places/up-carillon-tower-original-bells |website=Atlas Obscura |publisher=Atlas Obscura |access-date=21 December 2025 }}</ref> from 1960 to 1964.<ref>{{cite web |title=Carillon |url=https://iskomunidad.upd.edu.ph/index.php/Carillion |website=Iskomunidad |publisher=University of the Philippines Diliman |access-date=21 December 2025 }}</ref><ref>{{cite web |title=UP Diliman Carillon |url=http://www.towerbells.org/data/PHQZNCYP.HTM |website=Tower Bells International Database |publisher=Tower Bells International |access-date=21 December 2025 }}</ref><ref name="Ylagan2006">{{cite news |last=Ylagan |first=Amelia H. C. |title=The Carillon must sing again |newspaper=BusinessWorld |date=May 29, 2006}}</ref> Contemporary newspaper accounts identify him as the fourth carillon player at the university, following Flora Zarco-Rivera, Wesley Tabayoyong, and Crisostomo Gonzales.<ref name="PDI-Carillon2006">{{cite news |last=Llaguno |first=Frankie |title=Bells ring once more from Diliman carillon |newspaper=Philippine Daily Inquirer |date=November 12, 2006 |page=A22 }}</ref> During his tenure, Dadap performed daily programs that included university hymns, Western classical repertoire, Filipino folk songs, and popular music of the period, at the request of then UP president Carlos P. Romulo.<ref name="PDI-Carillon2006"/> These performances, together with his work as a janitor at a men’s dormitory, provided essential income while he was a working student at the university.<ref name="PDI-Carillon2006"/>

Following his graduation, Dadap began his teaching career at Ramon Magsaysay High School in Cubao, Quezon City (1962–1968), where he taught music and rondalla while continuing his work as a composer and conductor.<ref name="Samson1976"/>

In March 1968, shortly before leaving for the United States, Dadap presented a farewell concert at the Philamlife Auditorium in Manila featuring the first concert-stage performance of ''Symphony No. 2 (Enfant Terrible)'', as well as a performance of his earlier ''Symphony No. 1 (Primeval)''. Reviewing the event for ''The Manila Times'', critic Exequiel S. Molina described ''Symphony No. 2'' as characterized by dense blocks of sound and the juxtaposition of atonal and polyrhythmic passages, noting Dadap’s growing focus on contemporary compositional techniques and “absolute music,” then uncommon in Philippine symphonic literature.<ref name="Molina1968">{{cite news |last=Molina |first=Exequiel S. |title=Familiar with Techniques |work=The Manila Times |date=March 14, 1968 |page= }}</ref>

In the same year, Dadap received a study-observation grant to the USA, from the Music Promotion Foundation of the Philippines,<ref name="MusicPromotionFoundationLaw"> {{cite web |title=Republic Act No. 1370 – An Act Creating a Public Corporation for the Promotion of Music |url=https://ldr.senate.gov.ph/legislative-issuance/republic-act-no-1370 |website=Senate of the Philippines Legislative Reference Bureau |access-date=30 December 2025 }} </ref> a government music promotion body created under Republic Act No. 1370.<ref name="Samson1976"/> From 1968 to 1971, he pursued advanced studies in composition at the Mannes College of Music in New York City on a full scholarship from the United Presbyterian Church (USA).<ref name="Samson1976"/>

According to the ''Encyclopedia of Philippine Art'', Dadap was the first Filipino to conduct his own works at Carnegie Recital Hall in New York City in 1971.<ref name="CCP-EPA"/> Contemporary accounts further document his active concert presence in the United States during this period, including a 1971 concert of his works at Mannes College of Music in New York City, listed in the Village Voice concert calendar.<ref>{{cite news |title=Concert, works by Jerry Dadap |newspaper=The Village Voice |date=April 22, 1971 |page=96 |location=New York City }}</ref> He also presented his music at composers’ symposia and academic institutions abroad, including the New England Conservatory of Music in Boston (1970), Yale University (1971), and the Conservatoire de musique de Montréal (1971), where his works were heard by international audiences.<ref name="ManilaStandard1987"> {{cite news |title=Jerry Dadap: Tracing musical roots |newspaper=Manila Standard |date=October 1, 1987 |page=2 }} </ref>

In The New York Times, critic Peter G. Davis reviewed the Carnegie concert, noting the composer’s emphasis for formal symmetry and structural clarity in his chamber music. Davis described that the second movement of ''Symphony No. 2'' (1967), performed for string orchestra, stood apart stylistically, describing it as “pleasantly impressionistic,” “melodically direct,” and “altogether more inventive.”<ref name="NYTDavis1971">{{cite news |last=Davis |first=Peter |title=Jerry Dadap Music Played in Concert |url=https://www.nytimes.com/1971/03/02/archives/jerry-dadap-music-played-in-concert.html |work=The New York Times |date=March 2, 1971 }}</ref><ref>{{cite news |title=At Carnegie Hall |newspaper=The Manila Times |date=1 April 1971 |page=9 }}</ref>

Upon returning to the Philippines later in 1971, he became active as a music educator, teaching theory, ear training, composition, and orchestration at the Conservatory of Music of the Santa Isabel College of Manila, and later serving on the faculty of the University of Santo Tomas Conservatory of Music.<ref name="Samson1976"/><ref name="CCP-EPA"/>

== Major works == Early in his career, Dadap was recognized in ''Art: Perception and Appreciation'' as a composer of note for works that integrate Filipino indigenous ensembles with symphonic concert forms. This approach is evident in works such as ''Choral Symphonic Ode No. 1 for Chorus, Rondalla, and Orchestra''. He also explored indigenous instruments in theatrical works such as ''Lam-ang: Son of Namongan'', ''Tomaneg at Aniway'', and ''Sultan Kudarat''.<ref>{{cite book |last1=Ortiz |first1=Ma. Aurora R. |last2=Erestain |first2=Teresita E. |last3=Guillermo |first3=Alice G. |last4=Montano |first4=Myrna C. |last5=Pilar |first5=Santiago A. |title=Art: Perception and Appreciation |year=1976 |publisher=Manila: Rex Book Store |isbn=971-11-0933-6 |pages=309}}</ref>

=== Dance and ballet works === Dadap composed music for modern dance and ballet and collaborated with several Filipino choreographers.<ref name="Villaruz2006">{{cite book |last=Villaruz |first=Basilio Esteban S. |title=Treading Through: 45 Years of Philippine Dance |publisher=University of the Philippines Press |year=2006 |isbn=978-971-542-509-4 |pages=250, 258, 259, 373 }}</ref><ref name="CCP-EPA-Dance">{{cite book |title=Philippine Dance |series=CCP Encyclopedia of Philippine Art |volume=5 |publisher=Cultural Center of the Philippines |location=Manila |year=1994 |isbn=9789718546284 |pages=26, 35 }}</ref>

One of his early works in this area is ''Lam-ang: Son of Namongan'' (1974),<ref name="Samson1976"/> a theatrical production based on the Ilocano epic ''Biag ni Lam-ang'' that included a ballet component. The ballet was choreographed by Corazon Generoso Iñigo for the UE Dance Company. The production has been described in the literature as an early adaptation of a Filipino epic into modern ballet.<ref name="Villaruz2006"/><ref name="CCP-EPA-Dance"/>

In 1975, Dadap composed the music for ''Tomaneg at Aniway'', a modern dance work choreographed by Gener Caringal that drew on indigenous ritual and performance traditions as structural sources for contemporary ballet and modern dance.<ref name="CCP-EPA-Dance"/><ref>{{cite book |last=Santos |first=Ramon P. |chapter=Philippine Music: Pluralism and Change |editor-last=Dioquino |editor-first=Corazon C. |title=Compendium of the Humanities of the Philippines: Musical Arts |publisher=National Research Council of the Philippines |location=Quezon City |year=1998 |isbn=9789719193258 |pages=16 }}</ref>

In 1980, he composed the music for ''La Lampara'', a ballet staged by Ballet Philippines and choreographed by Basilio Esteban S. Villaruz. Villaruz later noted that Dadap conceived the score as an abstract musical work, which the choreographer shaped into a narrative portraying José Rizal’s final hours. The ballet was revived in 1991 in connection with the centenary of ''El Filibusterismo'' and has been cited for its symbolic treatment of Rizal’s life and ideals.<ref name="Villaruz2006"/><ref name="CCP-EPA-Dance"/>

=== Theatrical and multimedia works === ''The Redemption'' (1974)<ref name="CCP-EPA"/><ref name="Teodoro2018"> Teodoro, John Iremil E., ed. (2018). ''Ang imahen ng Filipino sa sining: sangguniang aklat sa pagpapahalaga sa sining''. Manila: Komisyon sa Wikang Filipino. ISBN 978-621-8064-60-7. </ref> was commissioned by cultural advocate Victor Puyat<ref>{{cite web |last=Espiritu |first=Luis |title=Art comeback |url=https://tribune.net.ph/2024/10/27/art-comeback |website=Daily Tribune |publisher=Daily Tribune |date=27 October 2024 |access-date=27 December 2025 }}</ref> for the unveiling of Eduardo Castrillo’s Last Supper monument at Loyola Memorial Park in Marikina. ''Redemption'' is a large-scale orchestral and choral work that includes the seminal choral piece ''Aleluya'', which was later adapted as an a cappella work and has since been performed in the Philippines and abroad.

In 2004, ''Aleluya'' was included in a yearlong series of all-Filipino concerts by the San Miguel Philharmonic Orchestra and the San Miguel Master Chorale, where it was described as technically demanding and characterized by polymetrical rhythm.<ref>{{cite news |last=Cortes |first=Joseph |title=A year of all-Filipino concerts from San Miguel orchestra, chorale |newspaper=The Philippine Star |date=March 8, 2004 |url=https://www.philstar.com/lifestyle/arts-and-culture/2004/03/08/241788/year-all-filipino-concerts-san-miguel-orchestra-chorale }}</ref> A contemporary review noted that Dadap's ''Aleluya'' concluded the first half of the concert program with "a vibrant, rhythmically exciting work that spanned a dynamic, wide range."<ref>{{cite news |last=Hila |first=Antonio C. |title=Thank you for the music! |newspaper=Philippine Daily Inquirer |date=March 22, 2004 |page=D1 }}</ref> In a 2014 review of the album ''Beyond the Eastern Wind'' by the Danish choir Collegium Vocale in International Record Review, critic William Hedley described the piece as “a highly rhythmic, tonal cry of joy.”<ref>{{cite journal |last=Hedley |first=William |title=Beyond the Eastern Wind |journal=International Record Review |date=December 2014 |pages=79 }}</ref>

A later large-scale sacred work, ''The Resurrection and Redemption Story'' (2007), was commissioned by St. Stephen High School for its 90th foundation anniversary and premiered as part of the choral concert ''Images of Christ'' in Manila. Scored for chorus, soloists, and orchestra, the work depicts the Passion, Death, and Resurrection of Christ and concludes with Dadap’s choral setting Aleluya, a piece that also appears in his earlier oratorio ''The Redemption''.<ref>{{cite news |last=Hila |first=Antonio C. |title=Choral concert highlights St. Stephen High School’s classical music tradition |newspaper=Philippine Daily Inquirer |date=December 10, 2007 |page=D4 }}</ref>

''Andrés Bonifacio: Ang Dakilang Anak-Pawis (1979)'' ("Andrés Bonifacio, The Great Plebeian") is a musical based on the life of revolutionary leader Andrés Bonifacio. It was first presented in 1979 at the Cultural Center of the Philippines Main Theater (now Tanghalang Nicanor Abelardo) with an original cast of 200 performers.<ref name="InquirerGuerrero2006"/> Dadap collaborated with playwright Dionisio Salazar and poet Rogelio Mangahas, both Palanca Award recipients, who served as librettists, and Paulino Capitulo as historical consultant.<ref name="InquirerGuerrero2006"/> The title role of Bonifacio was portrayed by baritone Elmo Makil, with Gregoria de Jesus sung by mezzo-soprano Jay Valencia-Glorioso, and the narrator played by Tommy Abuel.<ref name="InquirerGuerrero2006"/><ref name="InquirerGuerrero2019">{{cite news |last=Guerrero |first=Amadís Ma. |title=Final days of Bonifacio recalled in musical play |work=Lifestyle.Inquirer.net |date=July 13, 2019 |url=https://lifestyle.inquirer.net/340319/final-days-of-bonifacio-recalled-in-musical-play/ |access-date=2026-01-16}}</ref> The production was sponsored by businessman Alfonso “Jing” Puyat and was scored for orchestra and choir.<ref name="CCP-EPA"/><ref name="InquirerGuerrero2006"/><ref name="Guerrero2013">{{cite news |title=Granddaddy of Bonifacio plays to be restaged this September |url=https://lifestyle.inquirer.net/122867/granddaddy-of-bonifacio-plays-to-be-restaged-this-september/ |work=Philippine Daily Inquirer |author=Amadís Ma. Guerrero |date=August 31, 2013 |publisher=Inquirer Group |access-date=21 December 2025 }}</ref><ref name="Guerrero2014">{{cite web |title=Dadap's musical 'Andrés Bonifacio: Ang Dakilang Anak-Pawis' to be presented anew |url=https://lifestyle.inquirer.net/176000/dadaps-musical-andres-bonifacio-ang-dakilang-anak-pawis-to-be-presented-anew/ |website=Lifestyle Inquirer |publisher=Inquirer.net |date=October 31, 2014 |access-date=December 21, 2025 }}</ref>

While the work is commonly described as a musical in Philippine sources, international theatre surveys and scholarly journal articles have also classified it among original Filipino operas of the late twentieth century.<ref>{{cite book |title=The World Encyclopedia of Contemporary Theatre Volume 5: Asia/Pacific |editor-last=Brisbane |editor-first=Katherine |editor2-last=Chaturvedi |editor2-first=Ravi |editor3-last=Majumdar |editor3-first=Ramendu |editor4-last=Chua |editor4-first=Soo Pong |editor5-last=Tanokura |editor5-first=Minoru |publisher=Taylor & Francis Group |year=1998 |isbn=9780415059336 }}</ref><ref>{{cite journal |last=Fernandez |first=Doreen G. |title=Contemporary Philippine Drama: The Liveliest Voice |journal=Philippine Studies |volume=31 |issue=1 |date=First Quarter 1983 |pages=5–36 |publisher=Ateneo de Manila University }}</ref> The work has been noted as a popular musical in the Philippines,<ref>{{cite book |last=Kabristante |first=George Vail |chapter=Philippines |editor-last=Herbert |editor-first=Ian |editor2-last=Leclercq |editor2-first=Nicole |title=The World of Theatre: Edition 2000 |publisher=Routledge |year=2000 |isbn=978-0-415-23866-3 |pages=185 }}</ref> and has continued to be staged in later years; coverage in the Philippine Daily Inquirer reports on productions mounted in 2013 and 2014.<ref name="Guerrero2013"/><ref name="Guerrero2014"/>

Dadap also composed an opera on San Lorenzo Ruiz, commissioned by the University of Santo Tomas Conservatory of Music.<ref name="InquirerGuerrero2025"/> Titled ''Lorenzo Ruiz, Escribano'', the work is regarded as the first opera on the first Filipino saint and was staged as a contemporary opera in a three-day run at the Phil-Am Life Auditorium in Manila on February 22–24, 1994.<ref name="Dimalanta2002"> Dimalanta, Ophelia Alcantara. ''Lorenzo Ruiz, Escribano: A Play in Two Acts''. Manila: University of Santo Tomas Publishing House, 2002. pp. ii-iii. ISBN 971-506-178-8. </ref> The opera was based on ''Lorenzo Ruiz, Escribano: A Play in Two Acts'' by Ophelia Alcantara Dimalanta, which Dadap set to music; the libretto used a Filipino translation by Florentino Hornedo, and the production was directed by Isagani R. Cruz.<ref name="Dimalanta2002"/><ref>{{cite news |last=Gomez |first=Jerome |title=CD of literary readings captures passion, pitch and fervor of creation |newspaper=Philippine Daily Inquirer |date=February 11, 2002 |page=D6 }}</ref>

=== Symphonies ===

Dadap composed five symphonies between 1967 and 2021. In a 2025 article in the Philippine Daily Inquirer, arts and culture journalist Amadís Ma. Guerrero identified the symphonies as Dadap’s principal orchestral works.<ref name="InquirerGuerrero2025"/>

Symphony No. 1: ''Primeval'' (1967) and Symphony No. 2: ''Enfant Terrible'' (1968) were composed during Dadap’s early period of orchestral and theatrical activity and were performed in Manila soon after they were completed.<ref name="InquirerGuerrero2025"/> The second movement of Symphony No. 2 was later performed in New York.<ref name="NYTDavis1971"/>

Dadap returned to the symphonic genre decades later with Symphony No. 3: ''Symphony of Bamboos'' (2018) and Symphony No. 4: ''Mudra Ballerina'' (2019). Guerrero described these works as incorporating indigenous instruments and nontraditional conceptual elements.<ref name="InquirerGuerrero2025"/> Dadap completed Symphony No. 5: ''The Wrath of Prakrti and Ragatmika-Bhakti'' in 2021.<ref name="InquirerGuerrero2025"/>

Guerrero noted that while the first two symphonies were performed at the time of their composition, the latter three had not been presented in full as of 2025.<ref name="InquirerGuerrero2025"/> He also reported that the Philippine Philharmonic Orchestra had expressed interest in performing Symphony No. 5. The work was announced for a March 13, 2026 performance by the orchestra under conductor Grzegorz Nowak,<ref>{{cite web |title=Philippine Philharmonic Orchestra launches 41st season with ‘Versatile’ |url=https://manilastandard.net/showbiz/314635615/philippine-philharmonic-orchestra-launches-41st-season-with-versatile.html |website=Manila Standard |publisher=Philippine Manila Standard Publishing, Inc. |date=August 28, 2025 |access-date=December 21, 2025 }}</ref><ref>{{cite web |title=Philippine Philharmonic Orchestra Opens Its 41st Concert Season With “Versatile” |url=https://lifestyleasia-onemega.com/arts-and-culture/philippine-philharmonic-orchestra-opens-its-41st-concert-season-with-versatile/ |website=Lifestyle Asia |publisher=One Mega Group, Inc. |date=September 10, 2025 |access-date=December 21, 2025 }}</ref> but the program for that concert instead featured operatic repertoire and other works, and did not include the symphony.<ref>{{cite web |title=Philippine Philharmonic Orchestra – Concert VII: Opera |url=https://culturalcenter.gov.ph/event/philippine-philharmonic-orchestra-versatile-ppo-41st-concert-season-concert-vii-opera/ |website=Cultural Center of the Philippines |access-date=8 March 2026 }}</ref>

=== Rondalla compositions === Dadap composed a number of works for rondalla, including large-scale concert pieces. The ''Encyclopedia of Philippine Art'' notes that he was among the first Filipino composers to explore the symphonic potential of the Philippine rondalla.<ref name="CCP-EPA"/> In a survey of Philippine musical traditions edited by John Iremil E. Teodoro, National Artist for Music Ramon P. Santos lists Dadap among post-independence composers who expanded the rondalla repertoire beyond its traditional role as folk accompaniment. Santos notes that these composers produced transcriptions of light classical works and composed original rondalla music that explored the ensemble’s timbral range.<ref name="Teodoro2018"/> Musicologist Corazon Canave-Dioquino lists Dadap among composers who wrote more serious concert works for the rondalla, placing his music within the semi-classical tradition of Philippine music after 1898.<ref name="Dioquino1898">{{cite web |last=Dioquino |first=Corazon C. |title=Music in the Philippines since 1898 |website=National Commission for Culture and the Arts |url=https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/music/music-in-the-philippines-since-1898/ |access-date=11 January 2026 }}</ref>

Historical accounts of the Philippine rondalla identify Dadap among formally trained Filipino composers associated with the development of the rondalla as an art-music and concert ensemble during the twentieth century.<ref name="PhilRondalla">{{cite web |last1=Vitto |first1=Loen |last2=dela Peña |first2=Laverne |title=A Brief History of the Philippine Rondalla |url=https://stringsofunity.wordpress.com/philippine-rondalla/ |website=Strings of Unity |publisher=WordPress.com |access-date=23 December 2025 }}</ref>

Dadap’s rondalla works include extended compositions based on Philippine folk material. Among these are the ''Five Medleys for Children’s Rondalla'', based on Philippine folk songs such as ''Condansoy'', ''Magtanim ay ’di biro'', ''Bahay kubo'', ''Paru-parong bukid'', ''Sampaguita'', and ''Cariñosa.''<ref name="InquirerGuerrero2025"/><ref>{{cite web |title=Five Philippine medleys for children rondalla |url=https://tuklas.up.edu.ph/Record/UP-99796217610231785 |website=TUKLAS: UP Libraries' Resource Discovery Tool |access-date=30 December 2025 }}</ref> He also composed the ''Philippine Symphonic Medley'', a rondalla work based on Filipino folk songs, which received First Prize at the 1967 National Rondalla Composition Contest sponsored by the Manila Times.<ref name="Samson1976"/><ref name="PhilRondalla"/><ref>{{cite web |title=Philippine symphonic medley : rondalla based on three Philippine folksongs |url=https://tuklas.up.edu.ph/Record/UP-99796217610231782 |website=TUKLAS: UP Libraries' Resource Discovery Tool |access-date=30 December 2025 }}</ref>

In a 2025 article in the Philippine Daily Inquirer, arts and culture journalist Amadís Ma. Guerrero reported that Dadap composed fifteen balitaws for rondalla. Guerrero wrote that these works use the balitaw, a Visayan song-dance form, as the musical basis for concert pieces rather than as accompaniment for dance.<ref name="InquirerGuerrero2025"/>

== Other selected works == In addition to his symphonies and major theatrical compositions, Dadap wrote symphonic, choral, sacred, and experimental works. One of his earliest recognized compositions is the symphonic poem ''The Passionate and the Wild'' (1960), which received Second Prize in the National Composition Contest.<ref name="Samson1976"/> The work is listed in the University of the Philippines library catalog as a standalone orchestral score.<ref>{{cite web |title=The Passionate and the Wild : symphonic poem |url=https://tuklas.up.edu.ph/Record/UP-99796217612070575 |website=TUKLAS: University of the Philippines Library Catalog |access-date=1 January 2026 }}</ref>

During the 1960s and 1970s, Dadap composed large-scale concert and theatrical works. These include Mangamuyo II (1977),<ref name="Samson1976"/> written for indigenous Filipino instruments and premiered at the Cultural Center of the Philippines. Choral Symphonic Ode No. 1: ''Alay sa Inang Bayan'' ("Offering to the Motherland") is a work for chorus, rondalla, and orchestra, composed by Dadap in 1963. It was written for the Bonifacio National Centennial Composition Contest and was first performed in 1965 at the Philamlife Auditorium, with the composer conducting. The text was written by Castor Lee Amper Jr., a first cousin of Dadap.<ref name="Samson1976"/><ref name="InquirerGuerrero2006"/><ref name="LAHI">{{cite AV media notes |title = LAHI (LP liner notes) |publisher = Villar Records International Music Publishing |year = 1972 }}</ref><ref>{{cite web |title=Alay sa inang bayan : Choral symphonic ode no.1 for chorus, rondalla and orchestra |url=https://tuklas.up.edu.ph/Record/UP-99796217610217662 |website=TUKLAS: UP Libraries' Resource Discovery Tool |access-date=30 December 2025 }}</ref>

The work has continued to appear in concert programs. In July 2025, it was performed at the DUYOG: The 1st International Youth Orchestra Festival celebration concert at the GSIS Theater by ensembles that included the Manila Symphony Junior Orchestra and the Children's Orchestra Society of New York.<ref>{{cite web |title=DUYOG: The 1st International Youth Orchestra Festival 2025 celebration concert all set on July 12 at GSIS Theater |url=https://philippinesgraphic.com.ph/2025/07/02/duyog-the-1st-international-youth-orchestra-festival-2025-celebration-concert-all-set-on-july-12-at-gsis-theater/

|website=Philippines Graphic |date=July 2, 2025 |access-date=21 December 2025 }}</ref>

Another patriotic piece from Dadap’s early concert repertoire is ''Sumikat na ang Araw'', which he composed in 1963 to a poem by Andrés Bonifacio titled ''Katapusang Tawag'' ("Final Call"). It was first performed in March 1968 by tenor Mamerto Villaba, accompanied by the Concert Philippines Orchestra under Dadap’s direction.<ref name="Samson1976"/><ref name="LAHI"/> Music scholar Ena Maria R. Aldecoa identifies the work as part of the continuing nationalist tradition in Philippine art music, noting its inspiration from Bonifacio’s revolutionary text.<ref>{{cite book |last=Aldecoa |first=Ena Maria R. |chapter= Music and politics in the Philippines (1896-1986) |editor-last=Dioquino |editor-first=Corazon C. |title=Compendium of the Humanities of the Philippines: Musical Arts |publisher=National Research Council of the Philippines |location=Quezon City |year=1998 |pages=205 |isbn=9789719193258 }}</ref>

In addition to nationalist and theatrical works, Dadap produced experimental compositions early in his career. One example is ''Three Short Pieces for Flute and Metronome'' (1972), which uses the metronome as an independent temporal element.<ref name="Samson1976"/>

Dadap is also represented in Philippine Protestant sacred music; his works are included in ''Ang Pilipino Himnal'' ("The Filipino Hymnal"), a national hymn collection documenting Filipino religious composers of the latter half of the twentieth century.<ref>{{cite book |last=Mirano |first=Elena Rivera |chapter=Ritual and Non-Ritual Music in the Philippines |editor-last=Dioquino |editor-first=Corazon C. |title=Compendium of the Humanities of the Philippines: Musical Arts |publisher=National Research Council of the Philippines |location=Quezon City |year=1998 |pages=101 |isbn=9789719193258 }}</ref> Dadap composed sacred and choral music for congregational and choral use. His hymn ''Death Steals Like a Thief'' (Filipino: ''Dahil sa pagpanaw ng mahal sa buhay''), with text by Cirilo A. Rigos and an English paraphrase by National Artist for Theater and Literature Rolando S. Tinio, appears in ''Sound the Bamboo: Asian Hymns'' (no. 170). The tune, Pagyao (“Departure”), uses modal mixture, chromatic inflection, and a drone-like opening gesture.<ref>{{cite web |title=Death Steals Like a Thief (Dahil sa pagpanaw ng mahal sa buhay) |url=https://hymnary.org/hymn/STB2000/page/215 |website=Hymnary.org |access-date=28 December 2025 }}</ref><ref>{{cite book |last=Loh |first=I-to |title=Hymnal Companion to Sound the Bamboo: Asian Hymns in Their Cultural and Liturgical Contexts |publisher=GIA Publications |year=2014 |isbn=978-1-62277-024-3 |pages=215 }}</ref>

Dadap also contributed works to ''Buksan Mo ang Aming mga Labi: Mga Awit na Pangkoro'' (1982), an anthology of Filipino liturgical music edited by National Artist for Music Francisco Feliciano. Dadap's contributions to the collection include ''Ang Pag-ibig ng Diyos'' (“The Love of God”) and ''Iisa Lamang ang Katawan'' (“There Is Only One Body”).<ref>{{cite book |last=Feliciano |first=Francisco F. |title=Buksan mo ang aming mga labi: mga awit na pangkoro |publisher=New Day Publishers |year=1982 |location=Quezon City, Philippines |isbn=9711000210 |url=https://search.worldcat.org/title/Buksan-mo-ang-aming-mga-labi-:-mga-awit-na-pangkoro/oclc/23572750 }}</ref>

Dadap served as music editor for the educational songbooks ''Let’s Sing Christmas'' (1972) and ''O the Wonder. Wonder. Wonder of It All'' (1972), both edited by Eunice Blanchard Poethig and published by New Day Publishers in Quezon City.<ref>{{cite book |editor-last=Poethig |editor-first=Eunice Blanchard |title=Let’s Sing Christmas |publisher=New Day Publishers |location=Quezon City, Philippines |year=1972 |others=Music editor: Jerry A. Dadap; Associate editor: Jan Deats }}</ref><ref name="Poethig1972Wonder"> Poethig, Eunice Blanchard, ed. (1972). ''O the Wonder. Wonder. Wonder of It All''. Music editor: Jerry A. Dadap; Associate editor: Jan Deats. Quezon City, Philippines: New Day Publishers. </ref> The former includes ''Naririto na naman ang Pasko'' (“Christmas Is Here Again”), with lyrics by National Artist Levi Celerio and music by Dadap; an arrangement of the piece is listed in the University of the Philippines library catalog as a published mixed-voice choral score.<ref>{{cite web |title=Naririto na naman ang Pasko (choral score) |url=https://tuklas.up.edu.ph/Record/UP-99796217606521373 |website=TUKLAS: University of the Philippines Library Catalog |access-date=30 December 2025 }}</ref> The latter combines songs, hymns, prayers, and readings, and includes Philippine religious and vernacular works.

== Awards and recognition == * Second Prize, National Composition Contest (1960) for ''The Passionate and the Wild''<ref name="Samson1976"/> * "Outstanding Musician" award (1960) by the University of the Philippines Committee on Annual Awards<ref name="CCP-EPA"/> * First Prize, National Rondalla Composition Contest (1967) for ''Philippine Symphonic Medley'', based on Philippine folksongs. Sponsored by the Manila Times Publishing Company. The work was later selected as an official set contest piece in the 2007 NAMCYA competition at the Cultural Center of the Philippines (CCP).<ref name="Samson1976"/><ref name="PhilRondalla"/><ref name="NAMCYA">{{cite book |author=National Music Competitions for Young Artists |title=NAMCYA 2007: Music Competition Rules and Regulations |year=2007 |publisher=National Music Competitions for Young Artists |location=Manila }}</ref><ref name="RondallaAning2007">{{cite news |last=Aning |first=Jerome |title=Rondalla maestro makes strong pitch for banduria |newspaper=Philippine Daily Inquirer |date=November 23, 2007 |page=A2 }}</ref> * Distinguished Service Award Medal from the International Order of DeMolay (1965) for his composition the “''DeMolay Hymn''”<ref name="Samson1976"/><ref name="CCP-EPA"/><ref>{{cite magazine |title=The Jo-De-Ras Section |magazine=The Cabletow |volume=XLIV |issue=4 |date=April 1968 |publisher=The Cabletow, Inc. |location=Manila |page=25 }}</ref> * Citation from the Filipino Society of Composers, Authors and Publishers (FILSCAP). In 2009, FILSCAP honored Dadap in a special concert at the Philamlife Theater in Manila, recognizing his long-standing contributions to Philippine classical music alongside composers Alfredo Buenaventura and Francisco Feliciano.<ref>{{cite news |last=Pedalino |first=Bong |title=Group honors Southern Leyteño composer, two others |publisher=Philippine Information Agency |location=Southern Leyte, Philippines |date=September 8, 2009 }}</ref> * Award for Meritorious Achievement in Music as an outstanding son of Southern Leyte (1968)<ref name="Samson1976"/><ref name="CCP-EPA"/>

== Legacy == Dadap’s legacy has been discussed in Philippine music scholarship in terms of nationalism, institutional leadership, and long-term educational influence.

=== Nationalism and cultural advocacy === In reference works on Philippine music, Dadap is described as part of the generation of Filipino composers active after independence who pursued nationalist expression through large-scale concert traditions. Grove Music Online identifies him as an associate member of the League of Filipino Composers and aligns him with figures such as Alfredo Buenaventura, Ramon Santos, and Francisco Feliciano.<ref name="GrovePHWesternArtMusic"> {{cite encyclopedia |title=Philippines (Republika ng Pilipinas) |at=Section III: Western art music |encyclopedia=Grove Music Online |publisher=Oxford University Press |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.article.48467 |doi=10.1093/gmo/9781561592630.article.48467 |last=Maceda |first=José |last2=Santos |first2=Ramón |last3=Kasilag |first3=Lucrecia R. |last4=Besa |first4=Della G. |last5=Goquingco |first5=Leonor Orosa |date=2001 |access-date=30 December 2025 |edition=Updated 25 July 2013 |url-access=subscription }}</ref> The Garland Encyclopedia of World Music similarly counts Dadap among a generation of Filipino neoclassicist composers—including Buenaventura, Angel Peña, and Rosendo Santos.<ref name="Garland_SEAsia_2000"> {{cite book |last=Miller |first=Terry E. |last2=Williams |first2=Sean |title=The Garland Encyclopedia of World Music: Volume 4: Southeast Asia |publisher=Routledge |year=2000 |isbn=978-0-8240-6040-4 |page=875 }} </ref> Both sources describe these composers as reflecting a heightened awareness of Philippine musical identity.

National Artist for Music Ramon Santos likewise places Dadap within a nationalist current of Filipino art music, citing his contributions to symphonies, concertos, symphonic poems, and orchestral song cycles. Santos characterizes Dadap’s compositional approach as eclectic, noting that his works range from conventional tonal idioms to pieces incorporating indigenous sonorities and more experimental techniques.<ref>{{cite book |last=Santos |first=Ramon P. |author-link=Ramon Santos |title=Musika: An Essay on the American Colonial and Contemporary Traditions in Philippine Music |publisher=Sentrong Pangkultura ng Pilipinas |location=Manila |year=1994 |language=en }}</ref>

As early as 1967, National Artist for Music Antonio J. Molina publicly identified Dadap as a leading figure in efforts to elevate the Philippine rondalla into a concert and symphonic medium. In a lecture titled ''Aspects of Philippine Culture: Music of the Philippines'', presented under the auspices of the National Museum of the Philippines, Molina cited Dadap’s "noble and lofty objective" of giving “a distinct symphonic personality” to the native rondalla. Molina singled out Dadap’s 1965 concert, which featured works such as ''Balitaw No. 1 for Rondalla'', ''Choral Cycle No. 1 for Rondalla and Chorus'', and ''Choral Symphonic Ode for Rondalla, Chorus and Orchestra'', as representative of this artistic direction.<ref>{{cite book |last=Molina |first=Antonio J. |title=Aspects of Philippine Culture: Music of the Philippines |publisher=National Museum of the Philippines |year=1967 |location=Manila |pages=11–12 |others=Lecture presented under the auspices of the National Museum of the Philippines }}</ref>

This direction was later reflected in Dadap’s ''Philippine Symphonic Medley'' for Rondalla, which won a national competition in 1967 and entered the core repertory of Philippine rondalla performance. A 2007 Philippine Daily Inquirer report identified the work as among original rondalla compositions regarded as part of the national musical heritage, noting that it continued to be performed in major competitions, including the National Music Competitions for Young Artists.<ref name="RondallaAning2007">{{cite news |last=Aning |first=Jerome |title=Rondalla maestro makes strong pitch for banduria |newspaper=Philippine Daily Inquirer |date=November 23, 2007 |page=A2 }}</ref>

Filipino historian and cultural commentator Xiao Chua has further characterized Dadap’s career as a sustained contribution to nation-building, citing his commitment to composing and performing works centered on Philippine history and national heroes, as well as his lifelong role in teaching and mentoring several generations of Filipino musicians, including those without access to formal musical training.<ref>{{cite web |last=Chua |first=Xiao |title=Ang kompositor sa pagbubuo ng bansa |url=https://archive.abante.com.ph/ang-kompositor-sa-pagbubuo-ng-bansa.htm |website=Abante |language=tl |access-date=21 December 2025 }}</ref>

During the period of cultural “Filipinization” at the Cultural Center of the Philippines (CCP) following the 1986 People Power Revolution, Dadap co-conducted the Philippine Philharmonic Orchestra in the ''Konsiyertong Makabayan'', an all-Filipino nationalist concert program that featured major works from the Philippine art music repertory. In the same year, he publicly criticized disparities in institutional funding between Western and Filipino musicians in a letter to Business Day, advocating the creation of a national orchestra composed of Filipino indigenous instruments.<ref>{{cite thesis |last=Castro |first=Christi-Anne Salazar |title=Music, Politics, and the Nation at the Cultural Center of the Philippines |type=PhD dissertation |publisher=University of California, Los Angeles |year=2001 |pages=255–260}}</ref>

Contemporary accounts further document how Dadap’s nationalist commitments were realized in practice. Despite opportunities to pursue a career abroad, he chose to remain in the Philippines and sustained regular performances devoted to Filipino traditional, choral, and orchestral music, often prioritizing cultural advocacy and public access over commercial viability.<ref name="ManilaStandard1987"/> A 2007 Philippine Daily Inquirer profile likewise documents Dadap’s nationalist ethos in practice, quoting him as stating that the mission of the Andrés Bonifacio Concert Choir was to “awaken the Filipinos’ love and passion for our country through music,” and emphasizing the ensemble’s exclusive focus on patriotic Filipino repertoire.<ref>{{cite news |last=del Rosario |first=Kenneth M. |title=Choir pays tribute to Tondo’s working class hero |newspaper=Philippine Daily Inquirer |date=November 12, 2007 |page=A26 }}</ref>

=== Institutional and community impact === Dadap founded the Concert Philippines Society, later known as the Andrés Bonifacio Concert Choir (ABCC), which provided training for Filipino singers and performed repertoire centered on Filipino compositions.<ref name="CCP-EPA"/><ref>{{cite web |title=Bonifacio meets Wesley in classic choral face‑off |url=https://lifestyle.inquirer.net/24645/bonifacio-meets-wesley-in-classic-choral-face-off/ |website=Lifestyle Inquirer |publisher=Inquirer.net |date=September 6, 2010 |access-date=December 21, 2025 }}</ref> The ABCC was formally organized in 1983, with its initial membership drawn from the cast of the musical ''Andrés Bonifacio, Ang Dakilang Anak Pawis''. Conceived as a community-based ensemble, the ABCC brought together musicians from diverse professional backgrounds, including students, educators, medical professionals, and other working Filipinos, and became known for performing an exclusively Filipino repertoire of patriotic, religious-folk, and art music.<ref>{{cite news |last=Daroy |first=Petronilo Bn. |title=A musical to mark the centennial of RP |newspaper=Manila Standard |date=April 13, 1994 |page=8 }}</ref>

Earlier in his career, Dadap inaugurated the ''Lahi'' ("Heritage") concert series in 1972, an initiative aimed at encouraging and popularizing Filipino compositions. He later organized the Andrés Bonifacio Music Foundation in 1979, which supported multiple performing ensembles, including the Andrés Bonifacio Concert Choir and the Andrés Bonifacio Rondalla.<ref name="CCP-EPA"/>

In 2007, he collaborated with Fr. Benigno P. Beltran<ref>{{cite web |last=Beltran |first=Benigno |title=Benigno Beltran |url=https://www.forum-weltkirche.de/autorinnen/beltran-benigno/ |website=Forum Weltkirche |publisher=Forum Weltkirche / missio Aachen |language=de |access-date=27 December 2025 }}</ref> to form the Smokey Mountain Children’s Choir in Tondo, Manila. Dadap provided regular musical instruction, waiving professional fees and receiving only transportation allowances.<ref>{{cite news |last=Santos |first=Tina G. |title=Children's choir makes Smokey Mountain alive with the sound of music |work=Philippine Daily Inquirer |date=August 26, 2007 |page=A20 }}</ref> The initiative was reported as a community-based effort that provided music education to children in Tondo. A 2009 Manila Times report noted that Dadap provided sustained mentorship to the choir, conducting weekly vocal training sessions over a six-month period beginning in late 2007 as part of a program supported by the National Commission for Culture and the Arts, and that the group later appeared on television and participated in performances abroad.<ref name="Mandigma2009">{{cite news |last=Mandigma |first=Dee A. |title=Finding Music amidst the rubbish |newspaper=The Manila Times |location=Manila |date=March 20, 2009 }}</ref>

Dadap’s musical play ''Andrés Bonifacio: Ang Dakilang Anak-Pawis'' (1979) continued to be revived in later decades, with productions mounted almost yearly during the 1990s. These performances featured professional singers in leading roles, including Elmo Makil as Andrés Bonifacio and sopranos May Bayot and Lani Misalucha as Gregoria de Jesús. Commentators have further observed that Dadap’s portrayal of the Philippine Revolution gave particular prominence to women figures—especially Gregoria de Jesús and Melchora Aquino (Tandang Sora)—whose roles are treated as integral to the dramatic narrative rather than as supporting figures.<ref>{{cite news |last=Orozco |first=Wilhelmina S. |title=Equal Quest; On the committed life |newspaper=BusinessWorld |date=November 29, 2005 |publisher=BusinessWorld Publishing Corporation }}</ref> In 2019, excerpts were performed by the Andrés Bonifacio Concert Choir under his direction in a benefit concert supporting indigenous Aeta children.<ref name="InquirerGuerrero2019"/>

In 2013, the Manila Concert Choir included songs from ''Andrés Bonifacio: Ang Dakilang Anak-Pawis'' in an all-Filipino concert commemorating the 150th birth anniversary of national hero Andrés Bonifacio. In an interview about the production, the choir’s leadership described Dadap’s musical as “perhaps the most beautiful musical about the national hero.” <ref>{{cite news |last=Valdez |first=Euden |title=The musical ties that bind |newspaper=The Manila Times |date=November 21, 2013 |location=Manila}}</ref>

Dadap’s work has been formally integrated into Philippine music education. He is featured in ''Horizons: Grade 10 Learner’s Materials – Music and Arts Appreciation for Young Filipinos'', a Department of Education–approved textbook used in public secondary schools nationwide. The textbook classifies Dadap among composers of experimental and contemporary “New Music” in the Philippines and presents his work alongside that of figures such as José Maceda, Lucrecia Kasilag, Ramon Santos, and Francisco Feliciano. A biographical section details his education and career, while multiple chapters reference his compositions in listening guides, classroom exercises, and evaluative activities on contemporary Philippine music and musical theater, including ''Andrés Bonifacio: Ang Dakilang Anak-Pawis''.<ref name="Horizons2015">{{cite book |title=Horizons: Grade 10 Learner’s Materials – Music and Arts Appreciation for Young Filipinos |last1=Sunico |first1=Raul M. |last2=Cabanban |first2=Evelyn F. |last3=Moran |first3=Melissa Y. |publisher=Tawid Publications |year=2015 |isbn=978-971-793-023-7 |location=Quezon City, Philippines }}</ref>

=== Critical assessment === Cultural journalist Amadís Ma. Guerrero, writing in the Philippine Daily Inquirer, described Dadap as a prolific composer whose music is shaped by nationalist, sacred, and romantic themes. Guerrero highlighted Dadap’s wide output since the early 1960s, including his role in bringing the rondalla and large-scale choral and theatrical works into the Philippine concert tradition, and identified ''Andrés Bonifacio: Ang Dakilang Anak-Pawis'' as a central work in his oeuvre.<ref name="InquirerGuerrero2006"/> In a later article, Guerrero also discussed Dadap’s symphonic cycle, noting its extended compositional span and the importance of personal dedication and spiritual reflection within his work.<ref name="InquirerGuerrero2025"/>

== References == {{Reflist}}

== External links == * [https://vimeo.com/1153074141/2a393ed1a4 ''Alay sa Inang Bayan'' – performance video (DUYOG Festival) by Bagong Himig Serenata (Polytechnic University of the Philippines), Plectra Corde Rondalla, the Manila Symphony Junior Orchestra, and the Children’s Orchestra Society of New York, conducted by Michael Amper Dadap, 2025] * [https://www.youtube.com/watch?v=3T7jc9aRXso ''Aleluya'' – performance video by the Andrés Bonifacio Concert Choir and the University of Santo Tomas Symphony Orchestra, 2007] * [https://www.youtube.com/watch?v=2BEbWjqrDiE ''Aleluya'' – performance video (a cappella) by the New Canaan High School Concert Choir, 2010] * [https://www.youtube.com/watch?v=6tkv6mVmV7g ''Aleluya'' – "Beyond The Eastern Wind" audio (a cappella) by the Collegium Vocale] * [https://www.youtube.com/watch?v=xllOzY99BfI ''Aleluya'' – audio (a cappella) by the Philippine Madrigal Singers] * [https://www.youtube.com/watch?v=gW3iMU6cccE ''Ama Namin'' ("Our Father") – performance video by the Andrés Bonifacio Concert Choir and the University of Santo Tomas Symphony Orchestra, 2011] * [https://www.youtube.com/watch?v=G6Tiu1K-FF4 ''Sumikat na ang Araw'' – “LAHI” audio (YouTube)] * [https://www.facebook.com/watch/?v=2587009098307306 ''Philippine Symphonic Medley, First Movement'' - "Pamulinawen", performance video by the U.P. Rondalla, 2025] * [https://www.facebook.com/watch/?v=3502639026697725 ''Philippine Symphonic Medley, Third Movement'' - "Lulay", performance video by the U.P. Rondalla, 2025] * [https://www.facebook.com/watch/?v=2787130494810604 ''Balitaw No. 5'', World Premiere, performance video by the U.P. Rondalla, 2025] *[https://www.youtube.com/watch?v=x8ybR9vGmSE ''Shi wa hisoka ni'' (Death Steals Like A Thief) – audio, hymn written by Cirilo A. Rigos and composed by Jerry A. Dadap]

Category:1935 births Category:Living people Category:Filipino classical composers Category:Filipino conductors (music) Category:Filipino music educators Category:People from Southern Leyte