The music of the Philippines () includes the musical performance arts in the Philippines and the music of Filipinos composed in various local and international genres and styles. Philippine musical compositions are often a mixture of indigenous styles, and various Asian styles, as well as Spanish/Latin American and American influences through foreign rule from those countries. Indigenous music Notable folk song composers include the National Artist for Music Lucio San Pedro, who composed the famous "Sa Ugoy ng Duyan" that recalls the loving touch of a mother to her child. Another composer, the National Artist for Music Antonino Buenaventura, is notable for notating folk songs and dances. Buenaventura composed the music for "Pandanggo sa Ilaw". Gong music Philippine gong music today can be geographically divided into two types: the flat gongs commonly known as gangsà unique to the groups in the Cordillera mountains and the bossed gongs of Muslim and animist groups spanning the Sulu archipelago, much of Mindanao, Palawan, and the inlands of Panay and Mindoro. The latter were once ubiquitous throughout coastal, lowland Philippine societies before widespread Christianization, and less frequently imports of flat chau gongs from China. Kulintang refers to a racked gong chime instrument played in the southern islands of the Philippines, along with its varied accompanying ensembles. Different groups have different ways of playing the kulintang. Two major groups seem to stand out in kulintang music. These are the Maguindanaon and the Maranao. The kulintang instrument itself could be traced to either the introduction of gongs to Southeast Asia from China before the 9th century CE or more likely, to the introduction of bossed gong chimes from Java in the 16th century. Nevertheless, the kulintang ensemble is the most advanced form of ensemble music with origins in the pre-colonial epoch of Philippine history and is a living tradition in southern parts of the country. The musical traditions involving the kulintang ensemble consist of regional musical styles and varying instrumentation transcending the present national borders of maritime Southeast Asia, comprising Buddhist, animist, Muslim, and Christian peoples around Borneo, lesser Sunda islands, Sulawesi, Maluku, Sulu, and Mindanao. It is distantly related to the gamelan ensembles of Java, Bali, Sumatra & the Malay peninsula, and south Borneo, even moreso the ensembles of mainland Southeast Asia, primarily because of the usage for the same racked bossed gong chimes that play melody and/or percussion. Hispanic-influenced music Philippine folk music has