Usually performed as a communal ritual, his compositions like Ugma-ugma(1963), Pagsamba (1968), and Udlot-udlot (1975), are monuments to his unflagging commitment to Philippine music. Her orchestral music include Love Songs, Legend of the Sarimanok, Ang Pamana, Philippine Scenes, Her Son, Jose, Sisa and chamber music like Awit ng mga Awit Psalms, Fantaisie on a 4-Note Theme, and East Meets Jazz Ethnika. de Guzman and made Bayanihan Philippine Dance Company one of the premier artistic and cultural groups in the country. “Tita King”, as she was fondly called, worked closely as music director with colleagues Lucresia Reyes-Urtula, Isabel Santos, Jose Lardizabal and Dr. She dared to incorporate indigenous Filipino instruments in orchestral productions, such as the prize-winning “ Toccata for Percussions and Winds, Divertissement and Concertante,” and the scores of the Filiasiana, Misang Pilipino and De Profundis. Kasilag’s pioneering task to discover the Filipino roots through ethnic music and fusing it with Western influences has led many Filipino composers to experiment with such an approach. Kasilag, as educator, composer, performing artist, administrator and cultural entrepreneur of national and international caliber, had involved herself wholly in sharpening the Filipino audience’s appreciation of music. This once sickly boy who played the clarinet proficiently has written several marches such as the “ Triumphal March,” “ Echoes of the Past,” “ History Fantasy,” Second Symphony in E-flat, “ Echoes from the Philippines,” “ Ode to Freedom.” His orchestral music compositions include Concert Overture, Prelude and Fugue in G Minor, Philippines Triumphant, Mindanao Sketches, Symphony in C Major, among others.
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He was also a conductor and restored the Philippine Army Band to its former prestige as one of the finest military bands in the world making it “the only band that can sound like a symphony orchestra”. Buenaventura composed songs, compositions, for solo instruments as well as symphonic and orchestral works based on the folksongs of various Philippine ethnic groups. In 1935, Buenaventura joined Francisca Reyes-Aquino to conduct research on folksongs and dances that led to its popularization.
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Buenaventura vigorously pursued a musical career that spanned seven decades of unwavering commitment to advancing the frontiers of Philippine music.