Reviewed by: Saysay Himig: A Sourcebook on Philippine Music History, 1880–1921 ed. by Arwin Q. Tan, and: Saysay Himig: An Anthology of Transcultural Filipino Music (1880–1941) ed. by Arwin Q. Tan Frederick J. Schenker (bio) Saysay Himig: A Sourcebook on Philippine Music History, 1880–1921. Edited by Arwin Q. Tan. Music and Culture Book Series. Quezon City: The University of the Philippines Press, 2018. xxiv + 396 pp., illustrations, index. ISBN:928-971-542-858-3 (paperback), ₱ 850.00 ($16.60). Saysay Himig: An Anthology of Transcultural Filipino Music (1880–1941). Produced, supervised, and edited by Arwin Q. Tan. Quezon City: University of the Philippines College of Music, 2017. Three CDs (71, 51, and 77 minutes). 12 pages of notes. ₱ 1,000.00 ($19.50). What is the place of music and expressive culture amid a struggle for sovereignty and independence from colonial rule? What are the sounds of this struggle? The edited collection Saysay Himig: A Sourcebook on Philippine Music History, 1880–1941, and the three- CD set Saysay Himig: An Anthology of Transcultural Filipino Music, 1880–1941, explore these questions during a tumultuous period in the history of the Philippines when the archipelago was emerging from Spanish governance only to be confronted with a rapidly expanding US imperial state. The stated purpose of these publications is to provide an accessible entry point into the understudied history of the intersections of musical practices and developing nationalist expression in the Philippines between 1880 and 1941. They examine a period when Filipinos attempted to imagine and express themselves as a nation through various media, including musical performance. The Sourcebook and Anthology (as well as a third publication edited by José S. Buenconsejo titled Philippine Modernities: Music, Performing Arts, and Language, 1880 to 1941) came on the heels of the 2016 centennial of the University of the Philippines College of Music. Festivities marking this important date included concerts and research symposia that, among other things, celebrated the significance of music in the making of a Philippine nation. The items reviewed here continue this celebratory project by exploring how Filipino composers engaged with and helped shape the emerging possibilities of Philippine nationalism. They show how composers were able to craft their own aesthetic and national expression despite the oppression of imperialism [End Page 139] and the prevailing and often inescapable sounds of European classical and American popular music. Saysay Himig: A Sourcebook1 introduces a wide range of topics and ideas about music in the Philippines around the turn of the twentieth century. As editor Arwin Tan writes in his preface, the “book is intended to be used in the teaching of Philippine music history” and is meant to “cater to the general public’s interest” (xvi). The result is a volume of 50 chapters averaging six to nine pages from a group of 29 scholars, most of whom have connections of some sort to the University of the Philippines. Authors include faculty members of the University of the Philippines College of Music, esteemed figures in Philippine art and academia such as Ramón Santos and Resil Mojares, recently minted PhDs, and a small number of doctoral students and musician- scholars. The chapters are organized around six general themes. These include (1) transmission of music, (2) musical heritage, (3) politics and music, (4) music economy, (5) popular culture, and (6) music communities. Individual topics include but are not limited to audience reception of and writing about music in Manila in various decades; overviews of particular genres or styles— including folk music traditions, rondalla, zarzuela (sarsuwela), bodabil, and opera—in the Philippines; music pedagogy in the Philippines; systems for printing, publishing, selling, and copyrighting music in Manila; and the intersections of US imperialism with music education and performance. The chapters can broadly be grouped into two general approaches. First, many authors offer an encyclopedic- type entry about a particular topic. For example, Isi Miranda outlines a brief history of the musical- theater form zarzuela, Raul Casantusan Navarro provides a history of the Philippines national anthem, José Buenconsejo (who wrote three chapters) analyzes a medley of Tagalog songs from the 1880s, and Arwin Tan (six chapters) covers topics such as the first Tagalog music...