thesis statement about opm music

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OPM and its importance to Filipino culture

OPM stands for Original Pilipino Music, a label meant to differentiate music composed by Filipinos in the Philippines from popular music derived from other countries. It is usually sung in Philippine native languages, most often Tagalog, but with Western music conventions and style.

But OPM is distinct and different in other ways as well. As musicologists Arwin Tan, Teresita Gimenez-Maceda, and Cristina Cayabyab have pointed out, the genre grew to be a major force in the aftermath of the martial law era that ended in 1986. OPM originally developed from the Manila Sound of the 1970s, which combined Western pop composing style with Filipino lyrics. The sound was particularly influenced by R&B stylistics and was irreverent in tone.

Later, OPM developed into a wide range of forms such as ballads, novelty songs, folk songs, rock, jazz, and rap. It is easy then to make the assumption that OPM is simply Western-style music sung using Philippine languages. But this is too simple an explanation and does not really get to the heart of how Filipinos have used Western music to express themselves.

As James Gabrillo has discussed, during the 1990s the mass music culture of Manila developed and attracted people who were mostly from the lower economic class. This was mainly because OPM began to incorporate certain kitsch qualities such as parody, humor, melodrama, and exaggeration. This incorporation proved more attractive to them than the musical works served up during martial law, which consisted mostly of state-commissioned nationalist anthems, Western art music, and protest songs. This incorporated music has been called the New Manila Sound.

But where did its “kitsch” qualities originate? Gabrillo goes on to say how Filipinos have always had a profound love of singing, performing indigenous songs as they traveled across the country’s islands during the precolonial period. As they crossed rivers, the pulling of oars provided the rhythmic structure for the antiphonal forms of Filipino vocalization. Much later, during the colonial period, Filipinos developed the “sarswela” genre as an expression of protest. The sarswela used a musical theater style that incorporates operatic elements from the Spanish zarzuela. It was used as a way to hide seditious messages through symbolism and archetypal characters. The sarswela is a notable precursor to OPM in that it fused elements of Western music with indigenous tradition, in this case overstated drama.

Filipino music during the colonial period under Spain and the United States created mass appeal through the adoption of Western music trends that however had local content, themes, and performance to produce a unique popular music culture. The band Aegis was in some ways the godmother of modern OPM. The mostly female group of songwriters performed power ballads that incorporated an indigenous melismatic singing style, called “birit” in Tagalog, with a combination of elements from a genre of traditional Filipino language ballads called kundiman. Aegis consciously fused indigenous musical elements of melancholy, melodrama, and comedy with Western based stylistics.

A great example given by Gabrillo is Aegis’s very first single, the iconic and oft-covered “Halik.” The song features Juliet Sunot’s powerful voice going solo for the first couple of lines. She sings with raspy, emotive growls, and a nasal, reedy tone. In addition, she absolutely belts out these lines in order to grab the listener’s attention. One can quite easily feel the emotion as she performs in the grand indigenous tradition of heightened melodrama and melismatic singing. You hear her voice fluctuate in tone and quiver as she puts on a show of nearly crying over each verse.

Prior to this single, Filipino pop music did not feature these indigenous aesthetics. But Sunot’s singing was intended to grab attention, and it worked. For a good example of the roots of such indigenous performance, Ricardo Trimillos documented the various kinds of musical performance by the Tausug, such as lugu and paggabbang. This singing does have lots of ornamentation and more improvisation. The similarities, though, are striking. The fusion of indigenous music and Western styling gained wide acceptance among the lower classes, who felt that they were acknowledged.

OPM is important for Filipino music because it represents a continuing tradition in the Philippines, and indeed in every former colony, where the hybridization and negotiation of local and foreign cultural concepts take hold. In the case of modern OPM, the sound is reflective of both desire and derision of Western styles, whose end is to create a unique music culture.

—————-

Sterling V. Herrera Shaw has a Masters degree in Philippine Studies from the University of the Philippines Diliman, where he specialized in sociocultural studies.

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Conclusion: The OPM bill – what it means to musicians, fans

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This is AI generated summarization, which may have errors. For context, always refer to the full article.

Part 1: The OPM bill – what it means to musicians, fans

The proposed Original Pilipino Music Development Act, as vigorous as it is in defending the interests of music establishments such as publishers and broadcasters, is as of yet, silent about the exploitative practices that have long plagued independent artists and music industry novices.

Not currently addressed by HB 4218 are:

• The exploitative contracts new artists are forced to sign with certain record labels and music publishers that require turning over more than half of their earnings and/or giving up most or all of their royalties.
• The  payola  or the bribe radio station managers secretly demand in return for including songs on their playlist.
• The dubious terms demanded by concert organizers, venue owners, and “productions” to whom venue owners often outsource the trouble of finding the lineup of bands for each night’s performance.
• The fees and other requirements demanded by the Optical Media Board (OMB) – created by the Office of the President to stop the piracy of CDs, DVDs and other similar media – without which the replication and distribution by independent artists of their own CDs would be illegal and punishable by law.
• The exploitative practices sometimes experienced by musician OFWs, a huge and vital portion of the expatriate workforce. All across Asia, the “Filipino band” is a selling point in marketing live entertainment. However, there is no organized push to capitalize on the acclaim and esteem OFWs have earned across Asia.

Cabangon, in an interview on March 16, clarified, “We are under no illusions that the bill answers all the needs of artists. The bill specifically addresses two concerns: equities and airplay. No one is stopping anyone from filing other bills to address other concerns.”

The proposed OPM Development Act is opposed by Indie Pinoy, Pinoy Hiphoppaz Organization, Malayang Ugnayan sa Industriya ng mga Komposer ng Awit (Musika), Musicians For Peace, Concerned Artists of the Philippines (CAP), Songwriters Philippines, Lapis, Heart of Music, Folkcause, and Sining Bugkos.

The opposition is spearheaded by Skarlet/Myra Ruaro, Chikoy and Monet Pura, Nolit Abanilla, Atek Jacinto of Band Alliance, to name a few.

Within the brief time they were allotted during the first hearing on the OPM Development Act on March 2, the Philippine Musicians’ Alliance for Welfare, Rights & Development (PMAWRD) delivered  its position paper  on the matter. In part, it declared:

“We are independent musicians. We comprise the majority number of Filipino musicians. While we do not oppose the development and progress of the music industry, we cannot be expected to remain silent if such progress and development militates against our rights and welfare.

“We oppose HB 4218 because it does not address our rights to employment protection, access to health and other social services, rights protection, among countless others…. As an alternative, we propose a law that caters to the specific and immediate needs of majority of Filipino musicians and which will:

• Recognize the role of Filipino musicians as a vital component of the economy, and as part of the country’s labor force whose economic and political rights are duly protected under the law
• Redefine and strengthen the rights of musicians to freely market their own music, and this includes the abolition of the OMB that suppresses the independent artists in producing and selling their own CDs
• Implement a more comprehensive and effective presence of Filipino music in all media (radio, TV, in-store music, public places, etc)
• Provide government-sponsored free music education programs
• Review and create a tax implementation program on artists, and policies on issuance of receipts
• Review and implement a more comprehensive program on OFW issues
• Review and create booking policies, and provide workshops and assistance on standard contracts and deals, as well as legal assistance
• Provide a program for medical, health and retirement benefits for artists
• Provide free use of recording and concert production equipment for the purpose of promoting and disseminating Filipino music especially for new and independent artists
• Provide access for musicians to cheaper instruments, accessories and gadgets
• Standardization of talent fees
• Review the law on taxes affecting concerts or production shows of foreign performers, which is currently being given to local officials and is subjected to corruption
• Provide tax incentives to production groups who will produce shows and concerts of Filipino artists”

In an interview on February 28, Ruaro contended: “Equity is equal to labor is equal to union. No other organization but a union should collect equity fees. Actually, they crippled the Philippine Musicians Union (PMU) that was around from 1953 to 2000 to get the equity fees.”

By her own account, there are more than P145 million in estimated collected revenues from equities yearly. The PMAWRD’s position paper also asks: “For almost two decades, OPM, AMP, and FILSCAP have been collecting equity and royalty fees, respectively, on the purported goal that these will redound to the benefit of its members and other artists. Where did these fees go? Most of the musicians actually do not know.”

After initially supporting HB 4218 with reservations, the AMP  released a position paper  on March 7 that concluded, “Let us drop HB 4218 in favor of two new bills that are more specific in scope and with proper consultation from all concerned parties.”

OPM ,  AMP , and  FILSCAP , in each of their official documentations, said that they offer benefits to their members such as legal advice and representation, life insurance, reimbursable hospitalization funds of their members, as well as promotion of Filipino music through events, outreach program, and online registry of Filipino music. Many of their members also attest to receiving benefits.

OPM and AMP have already been collecting equity fees since 1987, based on a memorandum of agreement with the Bureau of Immigration. FILSCAP, founded in 1965, has been collecting royalty fees for publishers and composers.

FILSCAP has clarified that it is not a guild,  in its position paper  on the OPM Development Act, which in part reads:

“FILSCAP is not a guild for composers and so it is not even qualified to be accredited as such by the NCM. FILSCAP is a collective management organization for composers, lyricists, music publishers and other music copyright owners whose primary mandate is to license and collect the license fees for the public playing and broadcast of the musical compositions of its members and the members of its affiliate performing rights societies. While some of its members are performers, FILSCAP is only mandated to represent their interests and enforce their rights as music creators and copyright owners.”

Cabangon, in an interview on March 16, said their organizations were not aware of the PMU and was not the reason for its demise or failure to either collect equities or benefit musicians.

He also said that many of the organizations opposed to HB 4218 are themselves relatively new and have limited membership. Despite their opposition to HB 4218, Cabangon, a highly respected veteran protest activist, sees good in the increased awareness and activism among the different music organizations. He does lament the increasing partisanship the issue has caused.

He also reminded people that the sum charged by concert organizers for foreign artists is relatively small, and is equal to the equity fee already being charged of Filipino entertainers overseas. He also addressed speculative fears, noting that OFWs work contractually, protecting them from any retaliatory fees.

Regarding the tax incentives for broadcasters to play OPM songs mandated buy HB 4218, Cabangon said, “Laws must benefit all parties concerned. We must meet them [the broadcasters] halfway,” noting that EO 255 has failed to get full compliance from the industry.

Cabangon reiterated: “The bill does not curtail in anyway the rights and welfare of artists. It isn’t a Magna Carta. No one is stopping anyone from filing other bills to address other concerns.”

In summary, Cabangon clarified the following about the bill:

• It specifically addresses two immediate needs: for more airplay of Filipino songs on radio stations and the need to collect equities from the influx of foreign performers. It is not intended to be a Magna Carta for artists.
• It does not impede the filing of other bills to meet other needs of artists. Other bills can be filled to address other concerns.
• Its tax incentives for radio stations to play 4 original Filipino songs per hour is necessary because Executive Order 255, the existing law, has evidently failed to garner full compliance from all radio stations.

(Already, some who oppose HB 4218 have expressed their support for  Senate Bill 1707 , or the Music Industry Development Act of 2013. It was filed by Senator Lito Lapid.)

Proponents of HB 4218 have highlighted its immediacy. Its explanatory note reads in part:

“Now more than ever, where foreign artists dominate the local concert scene, where there is no month in a year where a foreign artist would be holding a performance in the Philippines, where foreign artists compete with each other, completely obliterating any competition from local artists, should the Philippines take measures to support and promote its local artists and prevent the imminent death of OPM.”

Proponents of the bill claim that the industry needs it immediately, and that they have to act quickly while a showbiz-friendly administration is in power. But opponents allege this is an attempt to rush into law a bill before people can make sense of what it actually does.

It’s important to understand why it was drafted only last year, especially since Original Pilipino Music has needed support for decades.

Because of piracy, made possible by digital technology, the music business has been turned head over heels. It used to be that musicians went on concert tours to promote their albums. But albums and singles are now easily replicated, ripped and downloaded. There isn’t as much money in album sales.

Now, artists release albums and singles, sometime online for free, just to promote concert tours. That’s because live performances can’t be pirated. That’s where the money is these days.

This is why there have been so many foreign acts performing in the Philippines lately. It’s not because they love Philippine music fans now more than before; it’s because coming over here and performing live is now the only way they can separate local fans from their hard-earned cash. They can’t do that with just their album sales anymore.

Another thing that has upended the music business is that, with digital technology, it’s now affordable for independent musicians to record, edit, and produce their own songs; and promote and sell their music online.

Today, many artists feel they no longer need to sign exploitative contracts with major record labels for the recording, distribution, and promotion of their songs. Record labels make money primarily through several ways: a percentage of the actual sales of albums and singles that they help produce and promote; a percentage of the profit from live performances and appearances for managing the artist; and a percentage from royalties for every use of the artist’s songs, be it for use in advertisements, remakes by other artists, or airing in establishments, whose copyright they help protect.

With more and more artists distributing and selling their own music online and managing themselves, there’s more pressure to make money from collecting royalty fees for the use of artists’ songs.

As Internet broadband reach and speed grow, musicians increasingly no longer have to go through traditional broadcast radio stations and pay  payola  just to get exposure. Soon, artists may not need the record labels to bankroll the broadcast station’s demand for payola . Soon, artists may not need broadcast stations at all to reach their audiences and get their music heard.

These emerging disruptive technologies threaten broadcasters and major record labels. It is at this time of massive upheaval and transition in the music business that the OPM Development Act is being pushed into law by mainstream music establishments and opposed by independent music artists.

The outcome of their struggle will determine, as much as any new technology, the future of Original Pilipino Music. Now that the bill has passed the first hearing, a technical working group is in the process fine-tuning the OPM Development Act. –  Rappler.com

Share with us your thoughts in the comments section below.

Writer, graphic designer, and business-owner  Rome   Jorge  is passionate about the arts. Formerly the editor-in-chief of asianTraveler Magazine, Lifestyle editor of The Manila Times, and cover story writer for MEGA and Lifestyle Asia Magazines,  Rome  Jorge  has also covered terror attacks, military mutinies, mass demonstrations, as well as Reproductive Health, gender equality, climate change, HIV/AIDS and other important issues. He is also the proprietor of Strawberry Jams Music Studio.

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23rd November 2020 | Culture

What makes opm original the characteristics of original philippine music, by angelli greenslade.

‘OPM’ as a catchphrase is a term that Filipinos know all too well. Various Spotify playlists are being made every year with different variations of OPM such as ‘OPM Favourites’, ‘OPM: Hits of the 00’s’, ‘Acoustically OPM’ and many more. But what makes these songs ‘original’ to the Philippines, as the acronym implies?

OPM or Original Pinoy Music was a term that was established in the 70s and 80s as a successor to the ‘Manila Sound’ era. The term was a label for Philippine pop ballads during this time. However, this eventually became a catch-all term for music produced by Filipinos.

Below is an infographic of the timeline of the Sounds of the Philippines and how these genres came about.

View this post on Instagram A post shared by FiliFest (@filifest)

OPM IS FAR FROM BEING ‘ORIGINAL’

To an extent, music that originated from the Philippines cannot be entirely original as it takes inspiration from what is currently trending.

The Genres of the times

For example, the 70s were known for disco music. The genre originally emerged in the US, intended for audiences in nightclubs, with escapists lyrics about love and dancing - captured in a toe-tapping rhythm of a 4/4 time signature, at 120 beats per minute.

VST & Company, a group from the 70s for example, are known as one of the bigger names in the heyday of OPM. Their all-time classic ‘Aawitin ko, Isasayaw Mo’ (tr. I'm going to sing it, you're going to dance it) is known by every household and it was during this time that the disco dance music genre was introduced to the Philippines. If listened to and compared with hits from the US in the 70s, similarities in characteristics are evident through the tempo, the bass lines and the electric rhythm guitars.

This highlights that although VST & Company may be singing in Tagalog, there is a lack of originality there as similarities are found between their music and what was popular at the time. Should we then dismiss this band as unoriginal? Surely there are characteristics of their music that is original to the Filipino, otherwise - why are they such a big name in the OPM world of the 70s? We'll explore this later but before we do, let's discuss how colonialism may have played a part in this 'lack of originality'.

Colonial influences

It’s not a culture blog post if we don’t talk about the colonial influences is it?

The colonisation of the Philippines by the Spanish and the Americans not only left a mark on the languages of the Philippines, but also its music. Even before the eras of Manila Sound and the height of OPM in the 70s to 80s, Filipino music borrows characteristics from both the Spanish and the Americans. As our culture post highlighted, Spanish influences ‘aided the development of Philippine folk music’, although this varied greatly from region to region. [1]

As for the early 1900s, Paul de Guzman writes: “The American colonial period saw Filipinos mastering the Western classical idiom, as they started performing and creating classical pieces. Operas, which became popular in the country, produced talents such as Jovita Fuentes, who received acclaim for her international performances.” [2] Filipinos were welcoming in western influences and making something of the genres that had spread to the country, even before the height of OPM in the 70s to the 90s.

Another big name from the peak of OPM are The Eraserheads, also known as “The Beatles of the Philippines.” [3] . It’s quite obvious why they were likened to the Beatles - their classic rock vibes and the witty lyrics still have Filipinos singing their songs on Karaoke today. Although formed over two decades later after the height of The Beatles, it is evident that through these characteristics, they based their inspiration for their music on the British band.

Worldwide music trends and strong connections with the western world have played such a significant part in influencing OPM during its height. Even if this blog post was aimed at exploring what makes another country’s music 'original', surely we would come to the same conclusion that nothing is ever original?

THE TERM ITSELF MAY NOT BE ENTIRELY ORIGINAL... BUT WHAT MAKES 'OPM' UNIQUE?

There is clearly something unique about OPM as so many artists from this era are still relevant today. Bands that came out from the 90s were staples to Filipino households like (as previously mentioned) The Eraserheads, Freddie Aguilar, Ryan Cayabyab and Sharon Cuneta - to name a few.

Let’s explore why the musicians of this time are still celebrated today as OPM classics.

Harana and Kundiman

OPM at its highest may not have been original to Filipinos in terms of style of music. As discussed, The Eraserheads were likened to the Beatles and the music of VST & Company possesses elements of disco rock. However, one thing that makes OPM so unique to Filipinos is its use of various Filipino traditions - specifically the Harana and the Kundiman.

Despite the Harana’s Spanish origins, if you google what the word means, search results come back with the word’s translation as ‘serenade’, and of ‘Filipino’ origin. Articles about how it’s a tradition of Filipino courtship will also show up first in search results. It's the cultural phenomenon of a gentleman wooing a woman through serenade and song as he is stood outside her house, by her window.

Kundiman, on the other hand, is a genre of traditional Filipino love songs, mostly written in Tagalog. Some academics even deem the genre as originating from Visayas, emphasising that the tradition was a pre-colonial one. [4] The term, when broken down is a creation of the phrase kung hindi man which translates to ‘if it were not so.’ As Albert Bofill puts it, the genre kundiman has ‘managed to sow seeds of romantic pursuit, embedding itself within Filipino culture’. [6]

Filipinos love the cheese!

We’re hopeless romantics! There’s a reason why rom-coms are labelled as the ‘genre ng bayan’ (tr. the nation’s genre). Inquirer.net states that ‘nearly half of the highest grossing Filipino films of all-time are rom-coms’. [5] This surely translates to music (I'm sure the figures for music are higher too!) Our favourite songs to sing during karaoke are romantic songs! OPM composed during this time tapped into these traditions, highlighting its originality to Filipinos.

The power of the ballad

Take the cultural phenomenon of the harana and the kundiman, mix in the ballad and you've got yourself an OPM classic!

We’ve established that love is at the essence of the Filipino consumption of media. But what makes a love song truly Filipino? What makes a Filipino love song truly excellent that it is immortalised in Karaoke books? It's the hugot factor.

Hugot is a slang term that translates as ‘to pull out’ or ‘to draw out’. It’s an emotional reaction to something. It’s pulling out powerful emotions from deep within your soul - an out of body experience. The best Filipino love songs are the ones that make you hugot. And the ballad help to make this happen.

One of the more common characteristics OPM from the 70s and 80s is the ballad. Freddie Aguilar, Sharon Cuneta and Ryan Cayabyab are just a few big OPM names that have popularised the Filipino ballad. Despite the many styles that the umbrella term OPM stood for during its peak, it was the Filipino ballad’s ability to stir such an expression of emotional connection to the song that marks these OPM hits as great.

The Filipino ability to experiment

Lastly, along with these characteristics of OPM that showcase its uniqueness is the Filipino ability to experiment with various styles and genres.

The Filipino’s ability to create something unique from so many cultural influences is surely something to celebrate. De Guzman captures this perfectly - this “diversity in musical styles, subjects and traditions reflects the many facets of our musical heritage. It also speaks of the vibrancy of our culture..” [7] This surely means that OPM is far from unoriginal.

The many lists and blog posts that highlight the best OPM hits of all time isn’t just limited to one genre. The introduction of disco to Philippine music was not the only genre that Filipinos could experiment with.

Reggae was also experimented with by the early 90s band Brownman Revival. Their music is a mix of pop, folk, rock with percussion and wind instruments such as the saxophone to bring out the reggae vibes.

IT'S THE NOSTALGIA AND THE SENTIMENTALITY

Whether these are songs sung in English, Tagalog or Taglish, it is the sentimentality of the OPM classic and its ability to make you feel nostalgic. This is the ultimate characteristic of its uniqueness. These are songs sung on Karaoke with family during gatherings, played out loud while you clean the house from ‘burned’ CDs and theme songs to your favourite MMK episodes. It’s the OPM hit’s ability to get you right in the feels, that hugot moment, no matter how old the song was or what memories you associate with as you listen to it. Its ability to give you feel good vibes - that’s what makes a song an OPM hit.

[1] FiliFest (2020), Sounds of the Philippines I ( https://www.instagram.com/p/CHnoMWWB8et/?utm_source=ig_web_copy_link )

[2] Paul de Guzman (2020), Historical notes on why filipinos love music ( https://ph.asiatatler.com/life/historical-notes-on-why-filipinos-love-music )

[3] Katrina Escalona (2017), 10 Filipino Musicians You Should Know ( https://theculturetrip.com/asia/philippines/articles/10-filipino-musicians-you-should-know/ ).

[4] https://quod.lib.umich.edu/cgi/t/text/pageviewer-idx?c=philamer;cc=philamer;idno=aeg8734.0001.001;q1=kundiman;size=l;frm=frameset;seq=39;page=root;view=image

[5] https://opinion.inquirer.net/102043/thinq-filipino-rom-com-genre-ng-bayan

[6 ] https://thelasallian.com/2020/02/13/the-history-and-landscape-of-kundiman/

[7] https://ph.asiatatler.com/life/historical-notes-on-why-filipinos-love-music

• https://www.google.co.uk/amp/s/www.undiscoveredsf.com/blog/2019/8/15/what-is-original-pilipino-music-opm%3fformat=amp
• https://en.m.wikipedia.org/wiki/Music_of_the_Philippines
• https://newsroom.spotify.com/2019-03-27/the-opm-ballads-of-the-philippines-will-make-you-get-up-and-sing/
• https://en.wikipedia.org/wiki/Pinoy_pop
• https://www.playlistresearch.com/article/phillipinepop.htm
• http://www.alphamusic.ph/artist/fa_regional_dialects/The-Best-Of-Ilocano-Songs-Volume-1.html
• https://www.undiscoveredsf.com/blog/2019/8/15/what-is-original-pilipino-music-opm
• https://www.rappler.com/brandrap/announcements/opm-rise-spotify
• https://theculturetrip.com/asia/philippines/articles/10-filipino-musicians-you-should-know/
• https://www.allaroundthisworld.com/learn/east-and-southeast-asia/the-philippines/the-philippines-music/#.X6lK1y2cafU
• https://ph.asiatatler.com/life/historical-notes-on-why-filipinos-love-music
• https://ph.asiatatler.com/life/the-music-of-the-apo-hiking-society-brought-to-life-on-stage
• https://www.filipinaslibrary.org.ph/uncategorized/the-diversity-of-philippine-music-cultures/
• https://www.jstor.org/stable/659182?seq=1#metadata_info_tab_contents
• https://www.hisour.com/music-of-the-philippines-37444/

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Remixed: A study on the effect of the surge in foreign music concerts in the Philippines on the Original Pilipino Music coverage of two music magazines PULP and Myx from 2010 to 2013

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This thesis examines the coverage of Original Pilipino Music (OPM) in PULP and Myx Magazine as a response to the influx of foreign artists visiting the country to perform concerts, a trend which the researcher estimated to have begun at around 2010. As the two longest-running music magazines in the country, PULP and Myx were the most appropriate materials to research about this topic. The Agenda Setting theory and the Culture Industry concept were the theoretical frameworks upon which the research operated. The study employed both quantitative and qualitative methods: (1) content analysis to examine the articles found in the magazines, and (2) interviews with editors of the magazines to clarify the data previously gathered. It was found that, while there are more OPM-related stories in PULP, there has been a decrease in terms of the space occupied by PULP’s articles. Myx Magazine, on the other hand, had more foreign-related stories, but OPM-related stories occupied more space. Overall, PULP’s OPM coverage has clearly decreased as a result of foreign artist upsurge, while Myx Magazine’s OPM coverage remained constant despite this influx.

kEY WORDS: OPM, PULP, Myx, foreign, concerts, music

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Home > CONFERENCES > CONF_SHSRESCON > 2023 > PAPER_LCS > 2

Living Culture and Contemporary Societies

"Uso pa ba ang OPM?”: A Semantic Analysis of Original Pilipino Music (OPM) Songs Preferred by Filipino Youth

Proponent/s Name/s (Last Name, First Name, Middle Initial)

Erik Martin C. Lano , De La Salle University Integrated School (Manila) Follow Venice Katy Y. Chua , De La Salle University Integrated School (Manila) Graciela B. Monsalud , De La Salle University Integrated School (Manila) Sophia Isabella D. Villaflor , De La Salle University Integrated School (Manila)

Document Types

Paper Presentation

School Code

School name.

De La Salle University Integrated School (Manila)

Research Advisor (Last Name, First Name, Middle Initial)

Cortez, Romina Gracia C.

Abstract/Executive Summary

Original Pilipino Music (OPM) has been significant to Filipino culture and society for years, reaching its peak at the height of the COVID-19 global pandemic. Its influence continues to cross borders globally and locally, echoing individual experiences, emotions, ideas, and alike. The popular music composed by Filipinos has been a powerful catalyst for organizing, unifying, and mobilizing individuals around a shared goal. It serves as a means of expression and communication, allowing individuals to expand their feelings on timely subjects and bring them to the surface. Hence, this study aims to pinpoint Filipino youth's preference for OPM through an online survey and Geoffrey Leech's Semantic Theory. The study identified the common types of meaning based on the theory for the top-selected five songs and analyzed whether there are recurring types of meaning among these OPM songs. The Results show that Geoffrey Leech's seven types of meaning were evident in the lyrics of the OPM songs chosen by the respondents in the study. Some types of meaning appear more apparent than others among the top-selected songs, which parallel the popularity of the Pop and Indie genre of OPM among the Filipino youth.

Original Pilipino Music; lyrical analysis; Filipino youth; semantic analysis; Geoffrey Leech’s Semantic Theory

Research Theme (for Paper Presentation and Poster Presentation submissions only)

Living Culture and Contemporary Societies (LCS)

Initial Consent for Publication

29-6-2023 8:00 AM

29-6-2023 10:00 AM

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Music Thesis Statements

Music has been shown to have a profound effect on the human brain. It can alter our mood, relieve stress, and even boost our immune system. Music therapy is an increasingly popular treatment for a variety of conditions, including Alzheimer’s disease, autism, and depression.

While the exact mechanisms by which music exerts its effects on the brain are not fully understood, there is no doubt that it has a powerful impact. In some cases, music may even be more effective than medication. If you are struggling with a mental health issue, consider giving music therapy a try.

Music stimulates brain development and productive function. In humans, music is an instinctive desire to create and enjoy, it is not forgotten by diseases such as Parkinson’s or dementia, and it has been shown to assist kids with ADHD and ADD focus. Charles Darwin, together with other experts, believes that music was used to aid human evolution and bonding over time.

There are different types of music for different purposes, such as: for relaxation, concentration, to increase productivity or creativity, to improve sleep quality, to boost energy and mood, to reduce stress levels and anxiety. Music can also be used as a form of therapy to help treat various conditions such as: Alzheimer’s disease, dementia, depression, stroke recovery and more.

A study done at the University of Southern California found that when people with Alzheimer’s disease listened to personalized music, it activated regions of their brain that were otherwise inactive. The music helped the patients reconnect with lost memories and improved their verbal skills.

In another study done at Stanford University School of Medicine, it was found that music can help reduce stress hormones and inflammation in the body. The study was done on rats, but the findings can be translated to humans as well.

So, what is it about music that has such a powerful effect on the brain and body?

Music affects different areas of the brain, which in turn affects our emotions, behavior and physical state. When we listen to music, our brains release dopamine, which is a feel-good chemical that makes us happy and motivated. Dopamine also helps to improve memory, focus and concentration.

In addition to releasing dopamine, music also activates the autonomic nervous system, which controls things like heart rate and blood pressure. This is why music can have such a profound effect on our physical state – it can make us feel more relaxed or energized, depending on the type of music we’re listening to.

Music is a language that people can use to better communicate emotions, sentiments, thoughts, and motivation than words can. It has almost the same effect as our natural language; it seems to be our native tongue. There are many instances in this essay where music’s impact on our mental processes cannot be denied or overlooked. It is written into our DNA to be affected by music, powered on its emotional energy, and to stimulate our brains in order for us to acquire knowledge and enhance natural mental operations.

Studies have found that music:

– Aids in focus and concentration

– Reduces stress and anxiety

– Helps with memory recall

– Encourages creativity

– Increases productivity

– And even promotes healing.

Music therapy is an ever growing field which uses music as a form of treatment for physical, emotional, mental, and social needs. This type of therapy has been shown to be helpful for those suffering from:

– Alzheimer’s disease and dementia

– chronic pain

– depression

– heart disease

– posttraumatic stress disorder (PTSD)

There is no denying the power of music. It is an integral part of our lives, capable of affecting us on a physical, mental, and emotional level. It has the ability to improve our focus and concentration, reduce stress and anxiety, help with memory recall, encourage creativity, increase productivity, and promote healing. With all of these benefits, it is clear that music is a powerful tool that should not be underestimated.

Music has long been a part of our family’s history, and we’ve employed it as a means of communication before there was even language. Darwin believed that humans first utilized music to attract mates because a peacock flaunts its feathers. Dean Falk of the School for Advanced Research in Santa Fe, New Mexico, and Ellen Dissanayake of the University of Washington at Seattle think that music was used to calm babies in addition.

The act of making music activates many different areas of the brain. The auditory cortex is responsible for processing sound, and the motor cortex controls movement. But music also engages the parts of the brain that control emotion, memory, and even social interaction.

Because it engages so many areas of the brain, music has a unique ability to affect our emotions. Studies have shown that music can lower anxiety levels and blood pressure, and it can also help to reduce symptoms of depression. Music therapy is now being used to treat a wide range of mental and physical health conditions, including Alzheimer’s disease, autism, and even cancer.

So there you have it, the power of music is undeniable! It has been part of our history since the beginning, and it continues to have a profound impact on us today. Whether you’re using it to relax, or you’re using it to treat a health condition, there’s no doubt that music can have a real and lasting effect on our lives.

The term “motheresing” refers to this natural process, which is exactly what it sounds like. Just as contemporary moms perform lullabies for their children, primordial humans sang quiet songs to calm them. The method by which mothers motherese are similar in all societies: a softly sung song with a higher than usual tone and tempo. These professionals believe that grown-ups began creating music for their own pleasure after the fundamental elements were established and understood.

In other words, music is older than language. While the date of the first musical performance is lost to history, we do know that music has been an integral part of human culture for tens of thousands of years. The power of music is far-reaching and undeniable. It has the ability to affect our emotions, physiology, and even our behavior.

Numerous studies have shown that music can have a positive effect on the human brain and body. For example, music can:

– Lower blood pressure

– Slow heart rate

– Decrease levels of stress hormones

– Increase production of feel-good chemicals in the brain

– Boost immunity

– Improve sleep quality

– Enhance cognitive functioning and memory

In addition, music therapy is an evidence-based clinical use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program. Music therapy is an established mental health profession that uses music to address physical, emotional, cognitive, and social needs of individuals of all ages.

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OUR Pinoy music

• Post author By Arielle Poblete , Kimberly Ly
• Post date October 1, 2012
• 16 Comments on OUR Pinoy music

Ever since the cultural critic Don Jaucian’s rather assaulting article, ‘OPM is Dead’, was published in the Philippine Star last August, the blogosphere exploded with irritated and disagreeing posts, creating a widespread debate between critics. Maybe because Jaucian said that the modern-day OPM has been “upstaged by Korean girlbands, cover albums, and bossa nova,” or maybe because he attacked the artists and music companies saying that they have misconstrued the true meaning of ‘original’; but either way, music junkies and critics are not happy. The article raised a bizarre array of musical opinions and retractions and harsh words, but the sole issue wasn’t really being solved: Is OPM really dead or not?

“It’s the voice that makes it original,” opines Coco Maceren (II, AB-CAM).

“OPM means expressing our culture through songs,” concurs Donna Lapena (II, AB-CAM).

What does Original Pinoy Music mean anyway? Probably the most common and literal definition that can be squeezed out is that it is original music composed (and performed) by Filipinos or someone of Filipino heritage. But is OPM simply determined by the artist behind the music? Then if this is so, then cover artists such as Jovit Baldivino, duo Krissy and Ericka, and Paolo Santos should be called ‘original artists’ instead. There isn’t a very clear answer to what OPM exactly means since it can venture off into different kinds of genres and sub-genres.

Over the recent years, music conglomerates have hardly been hiring artists with original compositions and music; they settle for acts that do covers of old or foreign songs, ignoring the art of composing original material. It is kind of unsettling to see classic and foreign songs being repeated and tweaked by highly talented Filipino artists. They have a lot of talent; yet amplifying those talents to make music of their own is not an oft-considered option for music companies.

Some say OPM desperately tries to compete against foreign music in favor of Filipino listeners, that OPM is living on the brink of monotony. In relation with the first statement, the sound of local music has melodies aiming to be mainstream often to achieve short but powerful last song syndromes or LSS to listeners. We can call this the ‘One-hit wonder move’.

Although, we do have the likes of Rico Blanco, Gloc-9, and Parokya ni Edgar, among others, who still continue to pump mainstream OPM’s verve. The independent and underground artists you ask? That is yet another problem. Independent artists, in a meritocracy, are parallel with mainstream artists in musical talent and capacity (some are even more competent), but why are they left in the dark? Do they merely lack in mainstream connections or appeal? Or are the fans the ones at fault now?

American music and K-Pop tend to be most popular among the middle class; their music is commonly singled out in playlists and music libraries. Camille Palomares (BS-CHE) remarked, “I’m a fan of OPM, but often times, they pattern it too much to the Americans and Koreans when it comes to music. I think that’s how they express their creativity, but then again, it lacks originality.”

From the classic Juan dela Cruz to the rapping genius that is Gloc-9, OPM’s essence has surely been molded, thumped, and decorated profusely as time progressed. It reflects how we have been and how we are culturally and nationally. And now, seeing OPM being ignored and by majority of our countrymen is quite a sad sight, especially to the lasting dreamers. Although there is some faith left for this beautiful aspect, and that lies among the grit of the people behind and in front of it.

So is OPM really dead? Nope, negazione, nicht. The industry may now be too far away from its glory days like in the 60’s or 90’s, but it is not dead – it and we, the fans, just changed.

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By Arielle Poblete

By Kimberly Ly

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