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1972 Ramon Magsaysay Award for Public ServiceBIOGRAPHY of Gilopez Kabayao
Third generation scion of a musically gifted family, GILOPEZ KABAYAO was born on December 23, 1929 at Fara-on, the sugar plantation of his family near Fabrica, Negros Occidental, the Philippines. His maternal grandfather was Gil Lopez, well-known Philippine musician and composer who taught his five daughters to sing and play the violin, viola and piano. His daughter Marcela, a piano prodigy at nine and later a teacher of that instrument, married Doroteo Kabayao, a violinist as well as a surgeon and farmer. Doroteo had worked his way through Rush Medical College of the University of Chicago in the United States, playing his violin. Born into such a musical family GILOPEZ and his three sisters—Punay, Nita and Marcelita—were early introduced to fine music. All were to become distinguished performers, in particular GILOPEZ—named for his grandfather whose two names were combined into one—and his youngest sister, Marcelita.
From the age of three GILOPEZ improvised short pieces in the style of the minuet on the piano. At six he began to study the violin under his father and the piano under his mother. At age nine he made his debut with the local symphony orchestra playing Mendelssohn's Violin Concerto in E Minor. Nevertheless, in his early years GILOPEZ aspired to be a surgeon like his father, and his sisters still remember how he operated mercilessly on their dolls.
GILOPEZ began school at the Gil Lopez Elementary School, established by his grandfather in Fabrica. In 1938 he entered the Elementary Department of Silliman University (a protestant missionary school) in Dumaguete, Negros Oriental, and enrolled concurrently in the university's School of Music where he studied under Federico H. Daval-Santos. The following year, in Bacolod, Negros Occidental, his parents opened the Academy of Music under Daval-Santos' direction which he attended.
In 1940 the three generations of Lopez-Kabayaos appeared together in a concert in Manila: Gil Lopez, Marcela Lopez-Kabayao and young GILOPEZ KABAYAO. Their reception was overwhelming. A few days later GILOPEZ appeared as soloist with the Philippine Cultural Society Orchestra.
During World War II (1942-1945) the Japanese military occupied Fabrica and, on at least one occasion, searched the Kabayao home for arms and/or guerrillas. GILOPEZ saw evidence then of a theory he was to develop in later life: the power of music "to soothe the savage beast" in all of us. In this case a Japanese officer saw the piano in their home and asked the Kabayaos to play for him and his men. They played Chopin, Beethoven and Japanese folksongs. As GILOPEZ said later, "you could actually see a transformation from belligerent invaders to sentimental listeners" take place in these men as the family played. As a result of their "concert" the Kabayaos and the community of Fabrica were granted permission to send food to 2,000 Filipino prisoners of war interned nearby, saving them from possible starvation. At a later date a group of lightly guarded prisoners was allowed to come to Fara-on to a concert.
Young KABAYAO continued his musical studies during these years and acted as courier to the Philippine guerrilla fighters when the occasion arose.
In June 1946 when life had returned to a semblance of normalcy after the war the Kabayao children, considered the "leading child prodigies of the day," gave a joint recital in the gymnasium of Santo Tomas University, Manila, playing a "select repertoire of highly difficult pieces rarely played by artists of their age."
Soon thereafter the Kabayaos embarked for New York to enable their offspring to study under the finest masters of the day. During the next three years GILOPEZ graduated from the experimental Horace Mann-Lincoln High School, Teachers College, New York City and studied at the New York College of Music and the Greenwich School of Music in New York. Later he was accepted as a private pupil by Theodore and Alice Pashkus, noted violin teachers who had trained such notables as Yehudi Menuhin. He studied under them in New York in 1947-50, and in Paris in 1952-53 and 1959-60
On May 1, 1948 GILOPEZ aged 18, and his pianist sister Marcelita, 14, made their international debut at the Town Hall in New York to critical acclaim. Two years later, March 18, 1950, GILOPEZ gave a recital at Carnegie Hall where he again gained high accolades. The New York Times critic wrote: "he has a place among the finest of our young virtuosi," and noted that he "seemed to hold the large Carnegie Hall audience in the palm of his hand from beginning to end." The New York Herald Tribune reviewer rhapsodized that KABAYAO’s "poetic sense, his extraordinary tonal range, his strength and tranquility bespeak the eloquent heart that can lift him from among technicians and place him among artists."
In March 1952 GILOPEZ and Marcelita sailed for Europe where GILOPEZ would continue his studies under the Pashkus' who had moved their studio to Paris. They had a monthly allowance of US$200, which was soon reduced to $150 due to postwar currency restrictions, and they were forced to live meagerly, staying often in simple lodgings and eating cheaply. Asked later if he would have gone to Europe had he known the discomforts and difficulties awaiting him, GILOPEZ exclaimed, "Of course. The harder things are, the greater the sense of achievement."
On a visit to Rome the Kabayaos called on the Philippine consul and GILOPEZ learned of the International Violin Competition, to be held under the auspices of the Academia Nazionale di Santa Cecilia in Rome six weeks later. He decided to enter, although most contestants had been preparing for the competition for a year. Establishing themselves in Paris, GILOPEZ began to practice Bach sonatas for unaccompanied violin and Paganini caprices, a selection of which he would be required to play. Besides the limited time for preparation, was the problem of limited funds. The week before the contest they had not received their monthly stipend and had no means for travel. The money came through at the last possible moment.
GILOPEZ won second place. As a result he and, on her own merits, Marcelita were accepted for the Academia Musicale Chigiana, a summer school of music subsidized in full by Count Chigi who annually turned half his palace over to the academy for living accommodations and classes.
Jacques Thibaud, world renowned violinist, was one of the masters that summer and he singled out young KABAYAO for special attention. Of GILOPEZ Thibaud said: "You have fire, you have feeling, you have elegance."
After their summer at the Accademia the Kabayaos traveled to Austria where they won acclaim from that country's sophisticated music lovers, and during the winter they gave concerts in Spain which were equally well received. However, instead of pursuing their careers in Europe and the United States—or attending the Accademia again—the young artists returned to the Philippines in August 1953 Both felt a need to return home and a sense of mission to bring fine music to the Philippine masses.
In Europe they had come to realize that music was appreciated equally by the rich and the poor, both of whom were exposed to it all their lives, and both of whom eagerly attended concerts, standing in line for hours to buy standing room tickets if necessary. In New York, also, they had found students saved their money and stood in line to attend musical events. The Kabayaos wanted to develop this love of music among their own people— to make Filipinos aware of the rich cultural rewards to be gained by listening to good music.
Their goal was actually multifaceted: to enrich lives, to develop an appreciative paying audience for Philippine musicians, and to raise the musicians themselves from, as one Philippine columnist put it, "the happy-go-lucky, over-confident amateur that he is now to the disciplined, uncompromising professional that he must be if music is to succeed among us. "
The Philippines, KABAYAO points out, has the largest concentration of music conservatories in Asia, "and we turn out graduates by the hundreds. But education should be geared to appreciation first. . . .The idea is not to turn out jobless musicians but citizens who can appreciate music." To have good or great musicians, he adds, you must have a discerning audience; you cannot have one without the other. The audience, he feels, creates the musician, giving him the "feedback" necessary to achieve the fullness of his talent: "greatness," he says, "is often an attribute which a crowd or a people confers upon a person" by inspiring him to do his best.
In September 1953 GILOPEZ and Marcelita gave individual concerts in Manila and then flew down to Fabrica where they decided to start the musical awakening they sought in the provinces, where people had little opportunity of hearing good music. As KABAYAO has been wont to comment, everyone says that Filipinos are "musically inclined," but that is it: they have never gotten beyond the inclination. They respond to rhythm and beat which is only a part of music. He wanted to bring the Filipino beyond that point by exposing him toe classical music with its lasting values.
Without parental or other financial support GILOPEZ and Marcelita laid their plans for a tour of southern provincial towns and barrios (villages); GILOPEZ acted as their agent, making the concert and travel arrangements. Their plan was to earn only enough to pay their way from one small town to another, charging a minimum admission—usually one to five pesos (approximately 50 U.S. cents to $2)—in order not to discourage anyone from attending. Nevertheless KABAYAO felt it extremely important that people pay something. He wanted to set the pattern of paying for value received, remembering that part of his goal was to create a new audience for musicians who, for the most part, have to be paid in order to eat. In one case when three small children evinced an interest in attending one of their concerts in a remote barrio he accepted as their admission fee 50 centavos (half a peso), 20 centavos and a slingshot. Although he returned all three after the concert; the principle was clear—music has a value for which a price must be paid.
The brother and sister were almost ready to leave on their tour in May 1954 when Marcelita fell on the last step on their staircase, spraining her right wrist and breaking her right leg. With a taped arm and her leg in a cast, she insisted on going ahead with their plans because the arrangements had been made and people were counting on them. It fell upon GILOPEZ now, not only to carry out the technical arrangements of the tour—which often meant tuning the local piano the afternoon of the concert and setting up the lights and whatever amplifying system was available—but also to carry his sister on and off the stage and into and out of jeeps and airplanes. He joked that he would now be well able to carry his bride across the threshold—when he finds the woman who has the charm and musical talent he seeks.
The rewards, the young Kabayaos found, were worth their effort. Instead of finding resistance to classical music among the simple villagers who had never before had the opportunity of hearing it, they found these people sat enthralled, waiting patiently after the concert was over hoping to hear more. During one outdoor recital a tree branch on which people were sitting broke, spilling the sitters, but the audience as a whole didn't move. Sometimes they played as many as six encores after a two and one half hour performance, and the people would willingly have sat for more.
Philippine music as a whole has its roots in Western music because the islands ruled by many chieftains of clan or geographical units—were Christianized and amalgamated into a colony by the Spaniards in the early 1500s and existing cultural patterns were submerged or displaced. Western stringed instruments were introduced at that time and the Philippines produces both guitars and bandurrias (smaller six-stringed instruments) in quantity though usually not of superior quality. The Muslims of the far south, however, have continued to adhere to another tradition. With their gongs and different tonal values, they are closer to their Malay roots, and especially to the music of Indonesia. The Kabayaos therefore were very surprised when they played on Basilan Island and their Muslim audience listened entranced.
The tour was physically draining but emotionally extremely rewarding. Neither young person stinted him/herself and they were willing to go miles to a remote barrio, over dirt roads, to give a concert in any kind of "hall," when asked by the residents. As GILOPEZ said of this and later tours in a speech he delivered in February 1964 to the Second National Music Conference: "I never allowed lack of a concert hall to stop me from my mission. Whenever civic organizations are willing to cooperate with me we try to look up any place—be it a cockpit, a track and field stadium, a basketball court or even small stinking movie houses. And the highest we would charge is five pesos, and we only charge fifty centavos or one peso for students. It is not easy but I feel good when I see the 'concert hall' filled, and as long as the expenses are defrayed I feel more than recompensed."
When he plays in the barrios or for schools, KABAYAO often talks as well as plays, and uses amusing "tricks" and guessing games to capture the audiences' attention. He then offers them a program which he likens to a "balanced meal," a light Mozart melody for an "appetizer," Richard Strauss or a Beethoven sonata for a "main dish," Sarasate or Kreisler pieces for "vegetables" and Filipino folk songs for "dessert." For his concert hall performances, critics have noted, he adopts a "comfortable stance with no more flourish than is necessary," and proceeds to "sweep through a taxing program."
In July 1956 the young Kabayaos spent a month on Guam, giving concerts in the capital, in the villages, for the Filipino laborers who work at the U.S. naval base, and for the staff and patients of the U.S. Naval Hospital "in reciprocation for courtesies extended" to them by the navy while they were on the island. As on their tour of the provinces of the Philippines, this was not a money-making venture but an effort to share good music with people usually denied the opportunity to hear it. Expressing himself most eloquently on the subject of fine music, KABAYAO defined it for a questioner as "a spiritual upliftment."
On Guam KABAYAO made his first appeal for donations of used records for Philippine schools. He was convinced that young people were not deterred from concert-going by cost, but by lack of exposure to classical music, and that they need to hear good music from a young age in order to appreciate and benefit from it. He had also become concerned over the adverse effect on young people of "rock" and other popular music that consists primarily of noise and beat, a concern that was to increase over the years. Noting that African tribes use an incessant beat to arouse warriors to fight, he said that the same aggressive attitudes can be seen in young people who listen to such music, pointing out how groups of youth have turned into destructive mobs as the result of rock concerts. He believes that good music, on the other hand, reduces tension and aggressiveness in young people, refines the sensibilities and helps create better human beings. He developed this theory fully in his article "Music As Therapy for the Masses," incorporated in The Role of Music in a Changing Society which was published by the National Music Council of the Philippines in 1970.
KABAYAO is not against popular music per se. There is a dance band on the family hacienda and he has helped upgrade its standard of playing. What concerns him is the lack of an alternative. The media, he says, emphasizes "pop" to the exclusion of all else, "yet pop music comes and goes while the music of the masters lingers on. I am trying to balance the interests of our people. As of now it is 90 percent pop music."
KABAYAO tested his theory that exposure to classical music engenders an understanding and appreciation of such music. In 1957 he gave phonographs and records to seven elementary schools in provincial barrios. Teachers were asked to play the records between classes and identify them for the students. In January 1966 KABAYAO said that the "results were amazing, even among school children who had been originally cynical and defiant of authority. Moreover 90 percent of the students, after a short period of time, were able to acquire a large repertoire, ranging from the simplest to the most complicated musical works." For example, in 1964 a young man at a barrio concert came up to him and asked when he would play Mendelssohn's Violin Concerto in E Minor. Questioned as to how he knew it, the youth said he had heard it in his school where KABAYAO donated a phonograph and records.
Today KABAYAO’s goal is to persuade the government to place transistor phonographs and records in every elementary school. Since both are made in Japan, he wants the government to accept them as war reparations. "This, I feel, will be a very lasting investment," he comments. "Good music actually soothes the mind, spirit and body. The frenzied, frenetic and at times almost violent beat of most of today's jarring music contributes to our ever increasing juvenile delinquency." What, he asks rhetorically, "is more essential, good tractors or good people?"
In late 1957 and spring 1958 the brother-sister team spent six months in Hawaii, playing concerts in Honolulu and various parts of the islands. The Honolulu Advertiser wrote of them: "Veterans of barnstorming as they are, these young Filipino artists are happiest when they are taming an audience into submission, and then charming it into a trance." As usual they played frequently for benefits, beginning their tour playing a Memorial Concert for Philippine patriot José Rizal, and giving their final performance for the Honolulu Symphony Fund.
Returning to Europe in 1959-60 to resume study under the Pashkus' and to give a series of concerts, KABAYAO was enthusiastically received in Vienna where he played in the Musikvereinssaal (Grand Hall) and received eight curtain calls. He was also a semifinalist in the 1959 Queen Elizabeth (Belgium) International Violin Competition held in Brussels.
April 1960 found KABAYAO in Hong Kong playing five concerts. At that time KABAYAO’s father, who was on a visit to Japan, inquired after the Japanese officer who had asked the Kabayaos to play for him during World War II and indirectly taught GILOPEZ the soothing power of music. The Japanese paper Asahi located him and their meeting resulted in arrangements for GILOPEZ to give concerts in Japan—the first Filipino violinist to play professionally in recitals and as a guest soloist of the Asahi Shimbun Symphony Orchestra in Tokyo. In Japan he found a tremendous interest in classical Western music and Western instruments, particularly the violin. As he discovered to his delight—since it substantiated his own ideas—the Japanese were introducing children to good music at the age of two or three. Lessons, with parents in attendance, were given the talented. Emphasis was on group playing and cooperation, not competition. As a result children aged 5 to 12 were playing major classical works.
In 1961 the Philippine Jaycees recognized KABAYAO’s dedication to music education, as well as his obvious musical talent, and chose him as one of the year's Ten Outstanding Young Men. In "his one-man crusade of bringing music to the masses in an effort to build a Filipino audience," one columnist noted, he had performed "298 concerts in some 38 places throughout the country."
In June that year he toured New Zealand, playing 21 concerts in 29 days, and gaining the usual high praise from critics. He was acknowledged as "one of the bright jewels of the musical department of the [Auckland] festival." His sister Marcelita was in New York, married to a Swedish lawyer, and he was accompanied by well known New Zealand radio and concert pianist Janetta McStay.
KABAYAO took with him on his concert tours—to the barrios—a violin which he had acquired in 1954 made by the famed 17th-18th century Italian violin maker Antonius Stradivarius. As he has said, "to own a Stradivarius is the dream of every violinist." It took him two years to convince a grand aunt to buy for him the 1724 Stradivarius violin and her condition was that he interest himself in the seven sugar plantations—large and small—belonging to his parents. In all likelihood as an only son he would have helped his father manage the family's farms on the islands of Negros and Panay, but this tit-for-tat perhaps concentrated his interest on agriculture at an earlier age. In any case KABAYAO found himself equally attracted to farming and to music, and when he traveled in connection with the latter he took time out to study different farm techniques. In New Zealand it was scientific pig raising that attracted his attention. Naturally the press loved this unexpected facet of his personality. His pertinent questions impressed the pig breeders and he took home ideas to improve the piggeries, which are as yet only a sideline on the Kabayao farms. Their 2,000 acres are primarily devoted to growing sugar, rice and coconuts.
Partially explaining his breadth of interest, KABAYAO has said: "To give myself a deeper understanding of music, I try to absorb as much knowledge as possible on other things, especially scientific. I am a very practical person, and I apply scientific methods to many aspects of my musical preparation."
A hobby, rather than a business, but one that interests him as much as music and farming, is photography. KABAYAO is never without his camera, and his sisters have long complained about having to pose for him under any and all conditions. He even rowed out to photograph them being rescued from the water when their boat overturned. Sister Punay, herself a concert violinist, says he could easily be a professional photographer, an art director—he supervises the art layout for his programs—or an architect. He is, she adds, an extraordinarily well rounded personality. He is fond of all forms of sports, from horseback riding to scuba diving, and does not seek to protect his talented fingers from break or sprain. Hardworking, extremely methodical and neat (necessary, he says, because the less time one has the more orderly one must be), he is also fun loving, with a strong sense of humor, and enjoys being with people.
In 1962 KABAYAO played in Indonesia and the following year in Singapore. In 1964 he toured from Singapore north through Malaysia to Penang, giving 40 concerts for some 20,000 students. As in the Philippines he urged parents to expose their children to good music at an early age. On the positive side, he expressed his belief that any child has talent in music and this should be developed." On the negative side, he pointed out that "children will absorb anything, whatever is handed to them, and it is in the formative stage of the child's development that most 'pop' music with its screeching voices and monotrack type of rhythm is fed to them." Such music "deadens or at least seriously numbs their finer emotions, leaving no room for something deeper to last throughout their lives." He added that both parents and the media are to blame for the situation—the parents for not providing the children with good music to hear, the media for offering "nothing but beat." Underscoring his views he appeared in September 1964 with the Singapore Youth Symphony Orchestra whose musicians are aged 11 to 21. The program was for the benefit of the Selangor Interracial Student Exchange, a benefit suggested earlier by KABAYAO.
KABAYAO had been asked by the Malaysian Ministry of Education to Brain the Youth Symphony and was working with the Orchestra in July when he had to return home unexpectedly because his father had a serious accident. Even though the relations between the Philippine and Malaysian governments deteriorated markedly during that period, KABAYAO was asked to return to Singapore to take the Orchestra to Kuala Lumpur. The Malaysian government was so impressed with KABAYAO’s ideas and work that he was invited back by the Education Ministry in 1965 as part of the government's program to stimulate appreciation for classical music. Again he played for numerous schools and colleges. (Singapore was joined with Malaysia from September 16, 1963 to August 9, 1965 and thereafter became an independent republic.)
KABAYAO’s interest in helping others knows no national boundaries: "my violin is at the service of those who need it," he says. He has played numerous benefits for schools and hospitals and similar organizations. For example, when he learned in Malaysia that the student nurses of the Penang General Hospital were sponsoring a charity dance for the Spastic Children's Association, he offered to play during the evening, remarking that he has always been impressed with the work done by the nurses in his father's small hospital and this was one way he could "thank that noble profession." His favorite charity, of course, is his music-for-schools project. In January 1964 he flew at his own expense to Antique, Panay, to play a concert—sponsored by the students and teachers of a small elementary school—to raise money for the purchase of a record player and to renovate a classroom to be used for music appreciation. The following year in Cebu he gave a concert to raise money for a music center where students can listen to fine music during their spare time.
In 1966 KABAYAO was recognized as Outstanding Alumnus of Silliman University for his talents and for his crusade to bring music to the people of the barrios. It was the university's first such presentation. The same year he was given the Award of Recognition by the Music Promotion Foundation of the Philippines. The award read: "In recognition of his unique contribution as a pioneer in the development of a concert audience among the people, creating in them a taste and appreciation for fine music, and serving as an inspiration and a symbol of great courage to the youth of the land."
A Plaque of Appreciation was presented him in 1968 by the Intercollegiate Mixed Chorus for his "deep concern, guidance and support," and the same year he received an Honorary Doctorate of Music from Central Philippine University, Iloilo, "for having placed the Philippines on a high pedestal in the world of music in his many years of concerts in Asia." On June 10, 1969, on the recommendation of the Civic Assembly of Women of the Philippines, he was given the Presidential Award of Merit by President Ferdinand Marcos.
For almost 20 years now KABAYAO has been taking music to the people—wherever they are. He has played for Philippine mountain tribesmen on remote northern rice terraces, for science students in the Muslim south, and even for convicts in prison in General Santos, Cotabato, Mindanao. Warned that the latter were dangerous, he nevertheless went into the cell block after the concert to talk to the men, some of whom requested help in obtaining instruments so that they, too, could learn to play. In 1972, while on tour in Hawaii, he learned there was a colony of retired Filipino field hands living at Kona on the island of Hawaii. He flew there at his own expense "to lift the spirits of the old men of Kona," many of whom had been caught in the islands by World War II and had never gotten home. He visited them first in their shacks and invited them to a free concert in their honor. To his surprise they arrived dressed immaculately, and their tears flowed freely as he finished the recital with Filipino folk songs. Many of the oldsters, in their appreciation and pride, pressed money into the hand of his accompanist. He also volunteered to play for the lepers on the island of Molokai, Hawaii, in exchange for a shipment of used medical equipment and a portable X-ray for a medical mission on the island of Bungao, Sulu. At the other end of the spectrum his concerts in Japan were attended by Japanese royalty, and when Crown Prince Akihito and his wife came to the Philippines on a state visit in 1972 he played "a command performance."
Although his mother, aged 76, still sometimes accompanies him on his provincial tours ("her stamina equals mine for music keeps her young," he says) his accompanist abroad since 1970 has been Corazon B. Pineda, a talented and beautiful young pianist whom he "discovered" when he heard her play as a music student at the University of Santo Tomas.
KABAYAO has always been interested in discovering and helping talented young people. One time in a remote barrio he found a sickly young man who was creating violins of unusually fine workmanship for one who had not had the benefit of a formal training. He had been taught only by his father who also had no formal training. Referring to the violin that he purchased as a "Philippine Stradivarius," KABAYAO used it in his concert as well as his genuine Stradivarius. He then arranged for the young craftsman to go to Manila to study, putting him up at the YMCA and helping him find a job. He also discovered a promising young singer and brought her to Manila to study, as well as a painter whose work he spied from across the street, leaning against the wall of his father's small sign-painting shop on his home island.
Among other causes undertaken by KABAYAO was his campaign in 1968 to obtain the vote for 18-year olds. He made this suggestion in January 1968 to Senator Benigno Aquino who introduced such a bill in congress. The proposition was later supported by President Marcos and became law with the ratification of the new constitution on January 17, 1973. KABAYAO contended that 18-year olds are literate and most of them as educated as they will be. Moreover they are "bursting with energy and sound ideas" and "hate tyrants and dictators."
In 1968 KABAYAO also came out against the proposed—and since constructed—Philippine Cultural Center, which was actively supported by Imelda Marcos, wife of the Philippine president. He argued that, "one transistorized record player in every school will do a lot more to bring culture through fine music than a big massive hall located in only one point of the Philippines," and reminded his fellow citizens once again that since "good music can develop your sensibilities, your sensitivity to things around you and your compassion for your fellowman," it should be made available to as many people as possible.
September 1972
Manila
REFERENCES:
Articles Handbill: by Author/Title
Abcede, Jose C. "Kabayaos Captivate Guam Music Lovers," Guam Daily News. July 11, 1956.
Dizon Edith A. "One Man's Stand for Fine Music," Sunday Times. Manila August 29, 1965.
Gilopez Kabayao, Crusading Artist. Handbill for Concert, Cebu Archdiocesan CLC, St. Theresa's College, Cebu City, Philippines. August 1,1970.
Guerrero, Amadis M. "Music for the Barrios," Graphic. Manila. December 22, 1971.
Kabayao, Gilopez. "A Performing Artist Speaks," Manila Bulletin. February 5, 1964.
"Kabayao Enraptures Capacity Audience," Sarangani Times. Cotabato Mindanao, Philippines. February 27, 1966.
Leuterio-Illustre, Macrina. "A Musical Tour of the Philippines." Souvenir Program for farewell concert of Gilopez and Marcelita Kabayao. F.E.U. Auditorium, Manila. March 12, 1955.
______. "Young Artist Abroad," Saturday Mirror Magazine. Manila. June 14,1968.
Lueras, Leonard. "Filipino Violinist Finds 'Barrio' Type of Concert Most Rewarding," Sunday Star Bulletin & Advertiser. Honolulu, Hawaii. May 28, 1972.
Romero, Ramon, Jr. "Kabayao Child Prodigies Shine at Joint Recital," Manila Courier. June 21, 1946.
"Their Music Fed 2,000 POWs," Stars and Stripes. Tokyo. July 19, 1965.
Trinidad, Chona. "Music in the Blood," Variety. Manila. December 22, 1968
Newspapers: Chronologically by Paper
Bangkok World,
January 30, 1965.
China Mail. Hong Kong. April 11, 1960.
Deli Times. Djakarta. September 29, 1961.
Dominion. Wellington, New Zealand. June 20, 1961.
Evening News. Manila. February 11, April 15, September 26, 1966; May 27, 1968.
Daily Mirror. Manila. September 16, November 15, 1957; April 16, 1960; November 10, 1964; September 13, 1965; March 12, April 2, 4, 1966; October 9, 1967; March 20, 1968.
Gisborne Herald. New Zealand. June 7, 1961.
Graphic. Manila. November 9, 1960.
Guam Daily News. July 6, 9, 11, 20; August 12, 1956.
Hawke's Bay Herald-Tribune. New Zealand. June 15, 16, 1961.
Hong Kong Standard. April 10, 1960.
Honolulu Advertiser. December 4, 1957; April 28, 1958.
Honolulu Star Bulletin. October 12, December 4, 9, 1957; April 28, 1958; January 26, 1972.
Indonesian Observer. Jakarta. July 9, 1962.
Los Angeles Times. May 30, 1967.
Malay Mail. Kuala Lumpur. September 13, 1962; August 17, 1964.
Manila Bulletin. December 9, 1957; May 15, June 16, 1962; August 30, September 30, 1963; February 5, March 20, September 29, November 28, 1964; September 14, October 5, November 26, 1965; March 30, 1966; June 18, 1967; June 17, January 20, April 25, 29, June 19, October 13, December 6, 1968; March 16, 20, 1969.
Manila Chronicle. February 24, 1961; November 28, 1964; June 27, November 21, December 5, 1965; March 25, 31, April 17, 1966; October 1, 10, 1968.
Manila Times. October 2, 1955; July 8, 1956; September 20, December 30, 1957; May 5, 1959; July 11, November 25, 26, 1961; January 4, June 22, August 31, 1962; August 9, 1963; January 12, February 6, March 5, April 3, October 25, 29, 1964; February 14, May 12, 14, April 7, July 9. 27, August 29, September 12, October 5, 26, November 1, 8,28, 1965; January 20, 31, March 25, 30, 31, April 2, 20, June 13, July 2, September 2, 14, 1966; October 5, 6, 1967; May 11, October 24, 1970.
New York Herald Tribune. March 20,1950
New York Times. May 2, 1948; March 19, 1950.
New Zealand Herald. Wellington June 8, 1961.
Otago Daily Times. New Zealand. June 28, 1961.
Pacific Daily News. Guam. September 2, 1970.
Philippine Collegian. University of the Philippines, Quezon City September 12, 1957; September 25, 1962.
Philippine Flyer. Clark Air Base, Pampanga. May 8,1964.
Philippines Herald. Manila. August 29,1963; May 23, June 13, October 6, 9, 10, 1966; June 2, October 1, 1967; March 26, May 24, September 25,1968.
Radio Weekly. Singapore. September 16,1963.
San Francisco Chronicle. September 19, 1967.
San Francisco Examiner. May 26, 1967.
South China Morning Post. Hong Kong. April 12, 1960.
Southland Times. Invercargill, New Zealand. June 27, 1961.
Straits Times. Singapore. September 19, 1962; December 15, 1964.
Tarasaki Herald. New Plymouth, New Zealand. June 12, 1961.
Territorial Sun. Guam. September 9, 16,1956.
University Bulletin. University of San Carlos, Cebu. September 9, 1966.
Wanganu Chronicle. New Zealand. June 14,1961.
Weekly News. London. June 21, 1961.
Interviews with persons acquainted with Gilopez Kabayao and his career.
