Preserving Capiz's vast cultural heritage in modern times is crucial, with musicians from Capiz playing an essential and transformative role in these preservation efforts. Capiz stands out for its vibrant culture, which is highlighted by the rich oral traditions in the region. Among these, the komposo plays a critical role in the province's efforts to maintain cultural significance and ensure its continuation for future generations' benefit. Known as a center for folk songs and dances in Western Visayas, this province in Panay Island features distinctive and captivating folk literature. However, the challenge lies in these literary works' limited documentation and the compilation (Dayalo, 2016).

Defining "Music" presents challenges, partly because of how perceptions of music have evolved within Western culture alone. Investigating music across various global areas reveals even wider variations and definitions of what constitutes music (Sarrazin, 2016). Marinaro, (2017) and Switzer, (2017) argue that the fundamental role of music, particularly folk music, is to offer listeners a sense of security by mirroring the unique spirit of a place and the lives of its people. 

According to Hernandez-Olivan and Beltran, (2021) the process of developing or writing a new piece of music is known as composition (or generation). A composition that is original can also be referred to as music composition. Creativity is the ability of humans to comprehend and generate an infinite number of sentences in a language, the majority of which have never been heard or seen before. This ability is necessary for the composition of music.

Fabello, (2022) noted that the local term for composition is "komposo," and it is a means of expressing thoughts, sentiments, and emotions. The word "composo," which means composition in Spanish, is the source of this. For the Ilonggos, one of the most resilient forms of literary expression is the "komposo." Additionally, it served as a medium for spoken mass communication. It can be said, therefore, that the "komposo" has always reflected historical and cultural realities and changes through time. During the Spanish colonial period, each barangay or town had an average of two to three "manugkomposos" who would sing in public places, usually in the plaza, during important events to spread the latest "news". For Cordero, (2019) komposos (ballads) are widely recognized songs that often touch on themes of love and various political and social issues within the community. Moreover Espina, (2016) states that a komposo is a musical composition that may have started in the Spanish period.

The komposo, as known today, dates back to the Spanish era, though similar practices were present among pre-colonial Filipinos. For example, the Mangyans of Mindoro continue to create love songs on green bamboo segments and perform them during courtship rituals. In the Spanish period, it was used for oral mass communication. Typically, each barangay or town had two to three manugkomposo who performed in public spaces, usually the plaza, to mark important events or disseminate the latest "news." Initially, it was a narrative sung to a repetitive tune. As it evolved to meet the changing needs and circumstances of the emerging Ilonggo-Bisaya society, it grew to include non-narrative content (Funtecha, 2008; Chogan M., 2023).

While there are general studies on komposo, few have delved into the specific details of Capisnon komposo and the artists who bring it to life. Further, the researcher serves as an instructor in Physical Education. From a young age, the researcher became interested in komposo songs, passion for music extends to songwriting, having participated in composing for events like the Values Summit komposo and jingle competition. As an educator and cultural promoter, the researcher is dedicated to preserving, appreciating, and promoting the folk music of Capiz, aiming to protect the cultural heritage and identity of the people of Capiz.

The gap has led the researcher to conduct this study, aiming to comprehensively document how Capisnon musicians compose their musical pieces and what experiences of these musicians contributed to the development of their craft in music. The goal is to uncover the depth of Capiz's culture embedded within its oral traditions, preserve komposo for the current community and future generations, and serve as an inspiration and resource for future researchers and educators in contextualizing music teaching in schools.

The study utilized qualitative research method using narrative inquiry research design employing in-depth interview. As narrative inquirers retell stories, that is, inquire into participants' and their own stories, they move beyond regarding stories as fixed entities and begin to retell participants' stories. However, in narrative inquiry, this retelling includes both the participants' stories as well as the stories of the inquirer that are called forth by the experience of hearing the participants' stories (Burke Christensen, 2014). The research was conducted in several locations within the province of Capiz, including the municipalities of Cuartero, Dao, Maayon, Pan-ay, President Roxas, and Roxas City, particularly in the residence of Capisnon musicians known for their original komposo music.

Twelve Capisnon musicians, actively creating original komposo music, participated in this study. Purposive sampling guided the selection, based on specific criteria relevant to the research objectives. Participants were chosen based on (a) being Capiz residents; (b) active komposo musicians for at least a year, (c) recommended by the Local Government Unit, radio stations, provincial tourism and cultural office, and/or persons-in-authority; (d) known for original compositions; and (e) participation in komposo contests. 

The data required were collected using various methods, including semi-structured interviews, video documentation, photography, and audio recording. Primary data collection was achieved through conducting interviews, capturing video and audio, documentation, and subsequent analysis. Approvals to carry out this research were obtained from relevant local authorities, which included the local government of Capiz, the governor, the provincial office for tourism and culture, various municipal mayors, and leaders of barangays. The main tool for data gathering was an interview guide created by the researcher, which was reviewed and validated by a group of experts. This guide was also adapted into the local language. Prior to the commencement of the study, the guide underwent an ethical review by a panel of experts who provided their feedback. Permissions for conducting the research within the community were secured at both municipal and barangay levels, with informed consent being acquired before conducting any interviews. For the purpose of accurately documenting the music of the artists and the content of the interviews, audio and video recordings were made, along with photographs. The interviews typically lasted around 15 minutes or possibly longer. The privacy and anonymity of the participants and the information they provided were carefully maintained. Coordination with relevant agencies and institutions was also undertaken. The collected data and findings were presented to the informants for validation and corrections. After collecting necessary data through comprehensive interviews, recordings, and documentation, the interviews were transcribed and analyzed. The thematic analysis technique was employed to categorize and summarize the verbal data related to the lives, stories, and komposo pieces of Capisnon musicians.

Processes in Creating Komposo

Capisnon komposo artists have used a variety of creative processes to create their original composi-tions. These innovative processes guide them to produce quality compositions while considering their personal preferences and adhering to the specifications of komposo and the procedures involved in making one. Five themes emerged from the analysis of the interview transcript: (1) peaceful environment and personal preferences; (2) researching ideas; (3) conforming to the forms and specifications of komposo; (4) drafts initial lyrics and tone; (5) revisions of the composition; and (6) finalization of the composition. 

Peaceful Environment and Personal Preferences

Komposo artists find the importance of a peaceful environment in creating compositions. An environ-ment free from noise allows the mind to be at peace, giving it a space to think. Informants shared that they usually make songs early in the morning or whenever there is tranquility as these are the most ideal times to compose songs, while others prefer creating one in the late afternoon after waking up with a calm mind. These are evident in the statements of the informants where Informant A stated, “…because I can't think of ideas to put into the lyrics when it is noisy”. Informant B also said that, “I make it after waking up at 3 (three) in the afternoon, because my mind is clean in those times. My mind is free since you have no destructions around you”. Informant C also shared that she usually creates song at midnight saying, “Only here - I make songs when peaceful, at times on 12 (twelve) midnight as I try to put the song together when I wake up, but the most ideal time to create (a song) is early morning because it is quiet.)

Personal preferences were also seen as a significant factor that Capisnon komposo artists considered in creating compositions. These individual preferences talk more about the informants' individuality and biases in terms of their liking in creating komposo. Informants have highlighted their preferences like having focus, making the song alone, doing it during spare time, composing in a comfort zone to allow thinking, and komposo having an original tune or must be different which is connected to the first stage of Wallas' model of creative process, ‘preparation' which also involves conscious, focused work on the problem.  Informant F stated, “I create this alone and if I can't finish it (in one sitting) I think of what I will add)” to support this idea. While Informant G also shared, “So, while I work on it (the song), of course, I think of or I should be in a place that is my comfort zone so I can think thoroughly”.

One informant has recognized the role that a person's mood plays in the creative process. It affects the informants' eagerness to finish compositions and create a masterpiece. An informant has shared that she creates a song and can even finish one within ten minutes whenever she is in the mood. She also mentioned that she is prone to erasure if she is not in the mood to make komposo. These are backed up by the informant's statements, which Informant H stated, “…nothing, just when I am in the mood to make songs, it's easy to do fast”. 

Researching of Ideas

The second emergent theme for Capisnon komposo artists' creative processes in producing original compositions, focused on artists' use of researching and observing as tools to extract ideas from a variety of sources. This conforms to the first stage of Graham Wallas' stages of creative process, ‘preparation,' which involves obtaining the background knowledge relevant to the problem, its history (if known), and any instructions or past attempts or preconceptions regarding how to solve it. It also involves conscious, focused work on the problem. The first category puts more emphasis on informants researching for ideas like finding a suitable tune for their lyrics, exchanging and sharing ideas to create a song for a competition, gathering information like asking questions from elderly people, and active thinking.  Informant D1 stated, “…of course, we exchange ideas, we talk to each other like, we will make komposo because I will be singing somewhere. You know, I've been in Bacolod to sing these komposo”. Informant G also answered when asked to confirm if she really gathers information by saying, “Ah maybe, yes. I gather information by asking questions to my mother and father about this and that”. While Informant H shared in her statement her passion for researching history saying, “…you know what because I am fond of researching about history”.

On the other hand, the second category focused on informants observing different occurrences as first-hand sources of information and ideas that can be injected into their compositions. They talked mainly about going around the surroundings, joining an aerial survey, basing the song on actual situations, and seeing the observable behavior of the youth. These are evident in the statements of the informants where Informant B stated, “For example, during ‘Yolanda,' I visited places and observed what happened to people”. He also added that, “Pay-in, Pay-out. In ‘Pay-in, Pay-out,' I roam around here as well”. This is also confirmed by the statement of Informant D1 saying, “That time, I joined (an aerial survey with) them (his colleagues in a radio station) since they wanted to take a look at the situations in coastal areas”. Further, Informant H confirmed, “…actual (situations) because it is a lot easier to create songs when based on actual situations. It becomes a lot easier (composing songs”.

Conforming to the Forms and Specifications of Komposo

This theme revealed that komposo has specifications that need to be followed by the artist. This stage of the creative process is crucial as it ensures the artists' adherence to the traditional and original style of komposo. One informant emphasized that the piece should have greetings at the beginning of the song, should be in a narrative form as if telling a story, should be humorous to invite the audience's attention, and if the theme is specified, the komposo artist should focus on the theme while the other said that making komposo is easier when there is a given theme. These are seen in the statements of the two informants. Informant F stated, “…on that song for Capiztahan, I created it fast because there is a theme”. Informant G also shared that, “…we were given a theme, so you should focus in it, for example, baganihan…”. Further, she also added that, “…it (the komposo) should have a humor or should be slightly funny to invite your listeners). Moreover, the statements from Informant G support this saying:

 “…the first thing that you should do is to greet the listeners, that's it. That is what komposo is, it should have a greeting and you should introduce yourself, not literally your name but more on where you came from, so it should have a self-introduction (of the komposo artist). That is what I learned after I attended the workshop conducted by the NCCA,” explained in detail by Informant G.

 “…during the competition that I (realized) that this genre is called komposo and you can actually create it. In other words, you should crate like in a tradition way as if ‘telling a story' unlike the usual song composition that I am used to,” Informant G further added.”

Drafts Initial Lyrics and Tone

The fourth theme illustrated the informants gradually building their ideas from the initial lyrics and tone they created at the beginning of the composition process. Here, two of the informants talked about the importance of drafting the composition as this allows you to be familiar with the length of the song. These are observed in their statements, which Informant B stated, “…I draft in paper”. Informant F also shared, “…if you will not create a rough draft, you may sing it incorrectly”.

Taking notes and arranging ideas and lyrics to be used in the song is an essential part of the Capisnon komposo artists' creative process. Organization of the information they get from a myriad of sources and the gradual build-up of making the composition happens in this phase following the preceding step of the identified creative process. Informants talked about arranging the lyrics, developing the song, and summarizing the details to be put in the composition. Here, they have also taken notes actively to avoid forgetting and transferring the lyrics they have written to a clean paper after having an erasure. These are evident in the following statements of the informants, which Informant A stated, “…I just summarized, and drawn idea (from) to put into song”. He added further that, “…I write in my notebook so I will not forget every line of that song”. Informant E shared that he arranges the lyrics by arranging the sequence of ideas stating, “…I arrange the materials from iron, to wood, to rope, and carabao”. The same idea is highlighted by Informant I, saying, “…that is why I arrange them (ideas) to complete a song. I transfer it to another paper, and if I had an erasure again, I transfer it to another paper”. Informants have not limited their creative process to themselves. It is evident in their statements that they seek other's opinions and suggestions to improve their compositions and this is the fifth emergent theme for the creative processes of Capisnon komposo artists. They shared about exchanging ideas regarding the suitability of the tune and asked colleagues to check the song. These are supported by the statements from the informants as Informant D1 stated, “…both of us are talking over the suitability of the tune to the komposo”. Informant G further stated that, “…I ask my co-teachers here in school to check my work…I ask suggestions and opinions from them. I ask those who are experts (in the field”. 

Revision of the Composition

Komposo artists reviewed their works and created necessary adjustments and revisions to the composi-tion to make the piece better. This stage allows komposo artists to create a final version of the song ready for performance and other possible reasons. Informants talked about listening to the song and reviewing it to make the singing of the komposo piece even better. Changes were also made once the lyrics do not go well with the tune, if errors are spotted, or if the komposo artist is not convinced nor contented with the composition conforming to the third stage of Wallas' creative process model, ‘illumination,' or ‘insight,' where the creator glimpses a solution to the problem, which may have had to be worked and reworked to make sense of it. These are also evident in the statements of the informants. Informant A said,

 “Yes, I review it because making a song is not easy. That's why I review it to make my singing better – the singing and the creation of the song”. Informant B also mentioned that she changes the wordings if they do not coincide with the tune saying, “If there are wordings that do not coincide with the tune, I change it. If there are errors, I edit and change it”. Moreover, Informant C supports this, saying, “I put it together if the tune is pleasing, but if I don't like the tune, I change it”.

Finalization of the Composition

The fifth emergent theme under Capisnon komposo artists' creative processes and the last step in creating komposo pieces highlighted the finalization and mastering of the masterpiece. According to Walla's model of the creative process, the last stage is ‘verification' which involves not just fine-tuning the work and making certain that it is correct, as the word implies, but putting it in a form that can be understood and appreciated by others. In this phase, compositions have been corrected already following the revisions and adjustments made for the song. Komposo artists mentioned practicing the song repeatedly, recording it afterward, and memorizing it as a part of this creative process stage. Informant B's statement supports this when he mentioned, “Practice (the song), after I practice it, I record it afterward”. Informant F also said, “…I sing it repeatedly to be precise,” said Informant F”. Informant I also sings the song repeatedly as she mentioned, “…I just (sing the sing) repeatedly to memorize it”. The same was highlighted in the statement of Informant J saying, “You just sing it repeatedly to master it. You memorize it in your mind”. Informant K also confirmed this by sharing, “You also memorize in your mind”.

Craft-contributing Experiences of

Capisnon Komposo Artists

Capisnon komposo artists are found to have valuable life-experiences that contributed to their craft as komposo artists. These experiences were grouped into six different themes which transpired from the interview transcript: (1) music exposures from childhood to present; (2) achievements, victories, failures, life struggles, and sacrifices; (3) livelihood and work; (4) pivotal realizations and talent discovery; (5) trainings and skill-improving workshops; and (6) people's intervention and encouragement. 

Music Exposures from Childhood to Present

Early, constant, and family-related exposure to music has played a significant role in the development of Capisnon komposo artists' craft. This theme is the most extensive as it covers all the music-related encounters of Capisnon komposo artists from childhood to present that have continuously provided them with opportunities to refine their craft as time goes by. These experiences were divided into six categories to describe the different music exposures that helped Capisnon komposo artists to further their skills in making original komposo pieces. 

The first category under this theme was early exposure to music, which informants have shared their experiences in music since childhood. These experiences have been the grassroots and the found-ation of their skills in making komposo pieces.  Here, informants have shared about their passion in music starting in high school, started singing at age eight and fifteen, developed talent in singing using minus-one, knowing how to play guitar at only grade three, singing already at grade one, studied guitar in high school, started singing and composing songs at age fifteen, owning a guitar at teenage years, loved to do ‘harana', and simply by loving the guitar itself. These are observed in the statements of the informants. Informant A stated, “My passion for music started when I was just in high school”. Informant B also shared that, “…I grew up using minus-one, that is what we are already making use of. That is why I developed myself (in singing) in that particular way”. Informant D1 mentioned that he knows how to play guitar when he was just in Grade 3 saying, “…I knew how to play guitar when I was just in grade three”. The same is also observed in the statement of Informant J as he shared, “…I own guitars already since my teenage years”. Further, Informant I vividly shared about her life supporting the idea, stating, “I started singing when I was just fifteen years old. And, I usually sing while attending to my siblings as my mother and father would put me in charge while they work” Informant I.

Family, and the influence they hold has been a solid contributor when it comes to the artists' craft in music. They pave the way for these artists to further improve their skills by constantly providing not only support but a stable source of passion in music. Informants have even shared family-related passion in music like a cousin who won in Roxas City and had the chance to compete with Regine Velasquez, parents having talents in singing like mother's knowledge on guitar playing where she copied and used her mother's tune when singing as a reference, family being passionate in music and singing, grandfather's 'balitaw' and 'lowa' skill, family being present whenever there is a singing contest, nieces, nephews and the informant owning a band and a siblings of eight knowing how to play guitar to mention a few. One informant even said that his father is also a manugkomposo before. Informant A shared about having a cousin who competed against an icon, Regine Velasquez, saying, “As what I can remember, I had a cousin who won champion there in Roxas City named Rey Celestial. He even had the chance to compete with Regine Velasquez”. Informant B also mentioned, “All my family are knowledgeable (on music). My parents even have talents in singing - they were good at it”. The same was also highlighted in Informant D1's statement when he said, “My nieces and nephews own a band already, even I myself”. Also, Informant I shared the same mentioning, “…my father is also a guitarist and a komposo artist as well”. This was highlighted even further in the statements of the informants: “All of us in the family, have passion in music, we really like to sing. From my mother, or shall I say from my grandfather since he was good at ‘balitaw' and ‘lowa', he was always being invited by people here and we are usually present whenever there are singing endeavors. We just love to sing,” Informant C shared in detail, saying, “Our great grandfather - our father owns a band before. So, his father who is our grandfather, knows how to play guitar. They are a family of musicians”. Girl, Boy, siblings, they knew (how to play guitar), and they have a group before. That is why my family is very inclined to music. Today, our (nieces and nephews) have bands already,” Informant D2 said.

Radio station and television programs' exposures and performances have also contributed to the craft of Capisnon komposo artists. In the case of radio stations, they have been a constant avenue for komposo artists to showcase their original works and talent. Since then, radio stations have continuously provided these artists opportunity to promote their compositions while also improving their skills. These are communicated in the statements of the informants as evident in Informant A's statement, “That's why since then, it was already twenty-six years now since I started 1997 on DYVR and until today, we are still singing at DYVR's ‘harana sa RMN”. Informant B also stated that the compositions are being sung during programs in radio stations saying, “These songs (are sung) when we have events in DYVR programs”. Informant D1's statement also talks about the same idea as he shared, “…then in evening, I sung it at DYJJ, in our ‘harana' (program)”. Informant D2 mentioned also that, “…I sing those songs when I am being requested even at Radyo Todo, I sing it there because I am also the singer at Radyo Todo”. While Informant E answered when asked if he sings in radio stations too, “Yes, in OW and OK-syete-baynte radio before, I always sing there before”. Informant I also shared the same saying, “…we sing this komposo in Bombo Radyo…” Confirming this further is Informant J's statement, “I also sing in Bombo Radyo's ‘harana'”.

On the other hand, on rare occasions, television programs are also a great opportunity for komposo artists to gain optimum experience in music. Interestingly, Capisnon komposo artists have had this opportunity for themselves. One informant had the chance to sing in 'Stars on 45', made it to ABS-CBN, and to 'student canteen' program of GMA while another has had the opportunity to sing in 'Tawag ng Tanghalan'. These statements from the informants' further support this where Informant A shared, “There is this instance in my life where I was able to sing at ‘Stars on 45' program of ABS-CBN which is something that I can take pride of”. Informant B also mentioned his experience in GMA saying, “Until I started and graduated high school and made it to the ‘student canteen' program of GMA. I was able to sing there too”. And him being able to make it to Tawag ng Tanghalan, “Until I made it to ‘Tawag ng Tanghalan”.

Capisnon komposo artists are also joining competitions not only limited to komposo but also in various contests that helped them develop their craft in creating compositions. They have shared joining amateur singing competitions at an early age, writing competitions in college, and song writing competitions like the one organized to search for the official hymn of Capiz we know today as ‘Capiz Hymn'. These competitions including the one solely for komposo like the Capistahan komposo competition provide artists a good opportunity to improve and showcase their work and skills therefore contributing to their craft. These are seen in the statements of the informants as Informant B stated, “And even in school (before), I was being chosen as a singer representative. We even reached Balasan and Estancia (Iloilo), competing”. Informant D1 also mentioned on starting to join amateur singing contest, “It started there. I started to learn singing in amateur (singing competitions)”. While Informant G even competed in a regional contest for komposo. “…and recently, I used this komposo in a regional contest”. But she started joining song writing in college as confirmed by her statement, “…then I started to join in song writing contests when I was in college already”. The statements from the informants further support this: 

“When I joined in Capiz Hymn (competition) before, I brought my song to a music studio. Back then, tape was on trend, I recorded it while I was singing with an accompaniment in minus-one. I then submitted it at the Capitol. I was able to make it to top thirty-four out of more than a hundred auditionees. You know because there are a lot of good composers out there,” Informant H shared in detail.

 “Apparently before, I am not taking it seriously because I was too complacent of how easy it was for me to create a song. But just recently, when we joined Capiztahan, which is a bigger contest, I said, ‘I regret of (talking on the song she made which she failed to preserve) losing that beautifully made song,” Informant H communicated.

Invitations from events where Capisnon komposo artists can sing and perform, are also identified as one of the categories under this theme. These engagements they get from invitations allow them to further their skills not just in komposo but in performance. Hence, these also enrich their experience as a musician in general. Based on the analysis of the interview transcript, informants are being invited in various events like fiestas, birthdays, and weddings. Informant J shared about being invited to sing at Cuartero saying, “When I sing (the song) what I created for Cuartero. I was invited to sing there”. This is further supported by the statement of Informant I, “We are invited in fiestas, birthdays, and in places with occasions, we are invited to sing, also in weddings, these are the usual places where we sing, in birthdays, and in events, that's it”.

Inspiration from a public personality in music is another category made to categorize unique responses from one informant under this theme where she mentioned on idolizing a singer songwriter which inspired her to be one someday while growing up and her exposures to ‘Pirot's' songs or compositions at an early age. This is evident in the informant's response:

 “…one more thing, I was like in high school, Yeng Constantino was a singer songwriter. That's when it started like “Oh, she is my idol.” I feel like I want to be her who can make a song while also being a singer…usually, Pirot is my favorite because my father would usually play Pirot songs that is why I am familiar and I know his songs because these old songs are being sung there (at their house) but it hasn't synced in in my mind that these are called ‘komposo',” Informant G said. 

Achievements, Victories, Failures, Life Struggles, and Sacrifices

Stories of achievements, recognitions, victories, failures, struggles and success are also identified as craft-contributing experiences of Capisnon komposo artists. These stories alongside other experiences of Capisnon musicians drive them to continuously create compositions. This theme shows the different angles of a komposo artists' life, the complete opposites – the highs and lows, the victories and failures, the struggles and successes.

Achievements of Capisnon komposo artists are viewed as a great boost in the artists' morale and confidence in making compositions and in performing. In this category, informants have shared their experiences like having competed and won in first try at 'Stars on 45', winning in competitions, receiving a cash prize after winning a competition held in the province of Capiz, winning as champion in Bacolod, and more. These statements of the informants, further support this as recalled by Informant A, “I sing there (referring to ‘Stars on 45'), and I won the first time”. Informant C also stated, “…in this recent win I had here in Capiz, in here, I received a monetary prize”. Informant D1 also mentioned winning in Bacolod, “I won champion in Bacolod and in Iloilo as well”.

Recognition from an organization or community is also a major contributor in terms of informants' craft of creating original pieces of komposo. An informant has shared that receiving recognition feels like creating a komposo is purposeful. Another informant has shared that because his composition has been recognized in Japan, he received money from it. These are evident in the statements of the informants: “Of course, a day after, my song even got to Japan. Maybe I was jackpot or should I say I was indeed jackpot as I received here in exchange is money in cash,” said Informant D1.

 “One of the things that gave me happiness was when I composed ‘Barangay sang Birhen' since it is good for marching and was declared as the official song of barangay sang birhen. So, that means to say that my ideas were purposeful as the song was declared as the official song. Maybe you can hear it with Nonoy about religion (referring to his brother,) shared by Informant D2.

Failures and life struggles are two different categories yet, they both contribute to the informants' transformative years as a komposo artist. An informant has shared being an out-of-school youth while the other mentioned her experience of failing a subject in high school and because of it, she wanted to improve herself. These are seen in the statements of the informants as highlighted in the statement of Informant D2 when asked about the important instance in his life, which contributed to his work as a komposo artist, “…my experiences as an out-of-school youth before…” The statement from the informant further support this:

“…maybe in my life too, there are things which for example, when I was in high school, I experienced failure. After that, after failing in that one subject, I was like, when I return (to school), I should be better. It's something like, I should know this, and there I started studying and learned (how to play) the guitar…,” Informant G vividly shared.

In relation to Filipp and Aymanns, (2009) view of critical life events disrupting the balance between the individual and its environment, critical life events derange our everyday patterns of behavior and cognitions and put us off our paths, thwart our plans, and lead us to question our most fundamental beliefs, the informants in this study have been very vocal about the struggles they had in life, where one of them shared having experienced poverty, the other mentioned the death of an elder brother, and another communicated her experience being mostly in the hospital due to her husband's asthma which ultimately led to his death, and her son getting ill after his father's passing. This also coincides with Fabello, (2022) statement in his study that among the 8 (eight) komposo's identified in Sibuyan, Romblon, the themes can be divided into four: love, courtship, and marriage; folk life; poverty; and love of Sibuyan. The other informant talked about her child's close call of death which she used as a reference on what message to be included in her songs. These life struggles made Capisnon komposo artists stronger and even take reference from them as affirmed by one of the informants who emphasized that daily life experiences can be taken as a basis for creating a song. These are supported further by the statements from the informants like in the statement of Informant D2, “…my experiences and the struggles I had due to poverty”. Informant E recalling on barely eating at a young age as he shared, “…when we were young, we can barely eat. You know what because I have a lot of siblings”. He also shared on losing his brother, “I have a brother who died at Sultan Kudarat in Mindanao”. Informant G also shared about having a poor life, “…our life of course, we're not rich, we're just poor”. These are also observed in the statements of:

 “When my husband is still alive, we were always in the hospital because he had asthma. When he died in 2019, and my son who is now a teacher, had no work for how many years since after he took the board exam and passed in just one take, thank God, he got ill with gastritis,” Informant F expressed in detail.

 “Most especially when Charlene (talks about her second daughter) was admitted in the hospital because of Toxic Shock Syndrome and was in the verge of death. Her being alive was only a miracle. That reminded me – or gives my mind multiple ideas that I can use to draw messages and put into a song,” Informant H stated.

Komposo artists' sacrifices are turned into songs. With the goal in mind to help her parents and her siblings, one informant has mentioned the sacrifices she made for her family as the eldest child. She also talked about the success in life she felt when her sister made it to Japan through singing. These are evident in the statements of the informants where Informant E stated, “You see the songs I was able to make because of the sacrifices I had before”. Also, this is supported by the statement of Informant I:

“What happened to my life is I went to Manila to work while telling myself, ‘I'll venture into working.' My inspiration in life is to make a living for my family. I sent my siblings to school, I helped them, I supported my mother and father as I had a lot of siblings, we were eleven. I help them both (her parents) so they will not struggle a lot”.

Livelihood and Work

Experiences concerning work and livelihood are identified as one of the themes considered as craft-contributing experiences of Capisnon komposo artists. Here, informants have highlighted their jobs related to farming, fishing, and other work affairs they experienced in life. These are backed up by the statements of the informants as Informant E stated, “That is why I became a famer even I was an alien (in Capiz)”. Confirming his livelihood, Informant E shared, “I am a farmer. Even at an early age, I already (know) how to plow. One thing that gave me life is my work”. Informant J also stated that, “…I created that song, that composition about ‘farming'. My work is being just a humble farmer. I work (in land)”. Informant also shared his dedication to work for his family saying, “On working in their land to support (my) family”. Informant F also stated, “…back then, we join harvests in other places. Of course, there are piles of hay, where people do harana, even climbs on top of it and sings – we sing altogether”.

Pivotal Realizations and Talent Discovery

Realizations and Talent Discovery have contributed to Capisnon komposo artists' craft. Talents like trying to make komposo, joining a slogan contest, passion for writing, making songs not only limited to komposo, and loving to write poems sparked one informant's talent in writing komposo, were documented. These are evident in the informants' statements as confirmed by the statement of Informant A, “I sing even before but I did not really focus on it…I started to focus in singing in 1997”. Informant G also mentioned about just trying to make komposo, “…why not I try on making komposo, so that's why I tried and then okay.”

Informants have also shared their delayed realizations of their talent in composing songs. One informant has mentioned that she failed to recognize the purpose of creating songs before but by joining and winning a contest, she understood the essence of doing one. Informants C statements support this as she said, “But I started (focusing) in komposo after I won in this one (refers to her song)”. Further, Informant H's statement confirmed this further:

“…it started when I won a slogan contest. It stated from there since I have no talent in composing songs when I am still studying but I discovered it when my children are already studying and they are assigned to make poems, and of course, I'll make them one. And if how many of them have assignments in English or Tagalog, I make them a poem and then if you put a tune to it, it becomes a song right?”

Trainings and Skill-improving Workshops

Capisnon komposo artists have also joined training and skill-improving workshops that helped to shape their craft in making their original compositions. These are divided into two categories: music-related training and workshop and komposo-related training and workshop. For music-related training and workshops, joining a rondalla ensemble, and joining the ‘kabalaka' mobile theatre where an informant learned how to do scripting and directing were documented. Komposo-related training and workshops were shared by one informant when she attended the NCCA-sponsored (National Commission for Culture and the Arts) workshop and learned there the dos and don'ts of making komposo. These are evident in the statements of the informants as Informant D1 confirmed, “I started joining rondalla (ensemble), when I was just twelve years old”. Informant D2 also shared, “…I was able to join the ‘kabalaka' mobile theater where we studied on different things. We were able to learn scripting and directing and a lot more”. Moreover, the statement from Informant G further support this:

 “…the first thing that you should do is to greet the listeners, that's it. That is what komposo is, it should have a greeting and you should introduce yourself, not literally your name but more on where you came from, so it should have a self-introduction (of the komposo artist). That is what I learned after I attended the workshop conducted by the NCCA. “…during the competition that I (realized) that this genre is called komposo and you can actually create it. In other words, you should crate like in a tradition way as if ‘telling a story' unlike the usual song composition that I am used to. So, I attended virtually. It was a virtual workshop, in which I attended and there I learned the dos and don'ts in making a komposo.”

People's Intervention and Encouragement

Receiving help and requests from people contribute to the craft of Capisnon komposo artists as people's intervention remind and encourage them to do komposo and continue making one. In this theme, an informant share of failing to appreciate the essence of creating songs unless being requested to create a one. It is through the audience and the community that komposo continue to thrive even amidst new traditions and approaches to music. These are seen in the statements of the informants as shared by Informant F, “Of course, I remembered Ma'am Lisbo - Yolanda Espiritu Lisbo. She started this (her song). I remembered it so well. Apparently, she died already - she was my supervisor”. She further added that, “That's what she helped me with. In a komposo competition before, she asked me if I could sing a komposo, then she said “I'll make you one,” I replied, “Sure, ma'am”. Informant G also mentioned about asking suggestions from people to which she said, “…I ask suggestions and opinions from them. I ask those who are experts (in the field). While Informant H mentioned, “…when someone requests me to create a song for them, I make one”.

The creative process for komposo compositions involves a series of steps that help organize ideas and facilitate faster production. This structured approach underscores that creating komposo music is a complex, multi-step process that blends creativity with tradition. The creative methods used by the informants in composing their work may be examined, particularly the specifications and rules they follow. The provincial and municipal tourism offices, along with komposo competition organizers and those who invite komposo artists, should offer workshops and seminars. These opportunities could help enrich and update the artists' knowledge about komposo and its creation guidelines. The experiences of Capisnon komposo artists are crucial in shaping their music. Their personal journeys provide them with credibility, passion, and insights, enriching their compositions and allowing them to capture and immortalize the stories of Capisnon. A study aimed at understanding the experiences of komposo artists in relation to their craft, specifically focusing on music, which may be considered. This would provide a deeper and a much meticulous understanding of how these musicians developed their passion for komposo or began creating it.

The researcher expresses gratitude to the participants and the College of Education at Capiz State University-Main Campus, Roxas City, Capiz, for their invaluable support in this endeavor.

The author declares no conflict of interest.