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Music in the Heart of Manila: Quiapo from the Colonial Period to Contemporary Times: Tradition, Change, Continuity Ma
Music in The Heart of Manila: Quiapo from the Colonial Period to Contemporary Times: Tradition, Change, Continuity Ma. Patricia Brillantes-Silvestre A brief history of Quiapo Quiapo is a key district of Manila, having as its boundaries the winding Pasig River and the districts of Sta. Cruz, San Miguel and Sampaloc. Its name comes from a floating water lily specie called kiyapo (Pistia stratiotes), with thick, light-green leaves, similar to a tiny, open cabbage. Pre-1800 maps of Manila show Quiapo as originally a cluster of islands with swampy lands and shallow waters (Andrade 2006, 40 in Zialcita), the perfect breeding place for the plant that gave its name to the district. Quiapo’s recorded history began in 1578 with the arrival of the Franciscans who established their main missionary headquarters in nearby Sta. Ana (Andrade 42), taking Quiapo, then a poor fishing village, into its sheepfold. They founded Quiapo Church and declared its parish as that of St. John the Baptist. The Jesuits arrived in 1581, and the discalced Augustinians in 1622 founded a chapel in honor of San Sebastian, at the site where the present Gothic-style basilica now stands. At about this time there were around 30,000 Chinese living in Manila and its surrounding areas, but the number swiftly increased due to the galleon trade, which brought in Mexican currency in exchange for Chinese silk and other products (Wickberg 1965). The Chinese, noted for their business acumen, had begun to settle in the district when Manila’s business center shifted there in the early 1900s (originally from the Parian/Chinese ghetto beside Intramuros in the 1500s, to Binondo in the 1850s, to Sta.Cruz at the turn of the century). -
Kundiman in Media: Media in Kundiman
3rd International Music and Performing Arts Conference Proceedings (13-15 November 2018) ISBN 978-983-2084-43-3 Kundiman in Media: Media in Kundiman James C. Diaz University of the Philippines, Philippines e-mail: [email protected] Cite this article (APA): James C. Diaz (2018). Kundiman in media: Media in Kundiman. In Mohd Kipli Abdul Rahman, C.S.C. Chan, Zaharul Lailiddin Saidon, C. Augustine & S. Maniam (Eds.), Proceedings of the 3rd International Music and Performing Arts Conference (pp. 84-89). Tanjong Malim: Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia. Abstract The Kundiman has been embedded in Filipino culture as its traditional love songs. But more than a love song, it is an art song where many great Filipino musicians have composed in that genre such as Nicanor Abelardo and Francisco Santiago, among others. The songs speak not only of love of a man for a woman, but more than that, is a song that elicits national fervor; love for the motherland. The original structure since its inception is closely related to the kumintang: a rhythmic pattern that has its roots in Spanish music. In time, the form has been watered down and since then became known as a love song, and very few works have been made. This paper aims to trace the Kundiman that appeared in different media formats such as recordings, both in the vinyl disc and extant 78 rpm shellac records; on the radio and the Television, and in the films as theme songs or musical renditions. A discography of the Kundiman songs that was written and performed for the media, is of primary importance. -
August 30, 2013 Reliving the Filipino Classical Music Heritage
Submitted on: August 30, 2013 Reliving the Filipino Classical Music Heritage: Preservation and Restoration of Philippine Art Music Manuscripts of the University of the Philippines-Diliman College of Music Iyra S. Buenrostro School of Library and Information Studies, University of the Philippines Diliman, Quezon City, Philippines [email protected] Johann Frederick A. Cabbab School of Library and Information Studies, University of the Philippines Diliman, Quezon City, Philippines [email protected] Copyright © 2013 by Iyra S. Buenrostro & Johann Frederick A. Cabbab. This work is made available under the terms of the Creative Commons Attribution 3.0 Unported License: http://creativecommons.org/licenses/by/3.0/ Abstract: This paper presents an overview of the classical era of music in the Philippines and the pre-war art music manuscript collection of the University of the Philippines (UP) College of Music that needs immediate preservation and restoration. The music scores included in this collection were created by renowned Filipino composers and National Artists for Music. It also discusses the initiatives done by the university and concerned faculty members and students to prolong the life and usability of these music scores, as they are still always being played in concert halls. This kind of archival music manuscripts restoration project is the first in the university since the UP College of Music Library does not have its own conservation facility. A simple laboratory was set up by the project proponents and the restoration process involves digital imaging of the originals, evaluation and documentation, deacidification, cleaning, mending, encapsulation and boxing/binding. Keywords: Philippine music, Filipino composers, art music manuscripts, preservation, restoration Music is said to be the language of the soul – a vibrant manifestation of oneself or an expression and evidence of culture and traditions of a group of people or an entire civilization. -
Preservation and Restoration of Philippine Art Music Manuscripts of the University of the Philippines-Diliman College of Music
Preservation and Restoration of Philippine Art Music Manuscripts of the University of the Philippines-Diliman College of Music Asst. Prof. Johann Frederick A. Cabbab and Asst. Prof. Iyra S. Buenrostro © Copyright of University of the Philippines Diliman. All rights reserved. 2013 The former library of the Conservatory of Music was built in 1925, nine years after the establishment of the conservatory. After World War II, UP transferred its campus from Manila to Diliman, Quezon City, and the library started to be reorganized in 1954. Under the administration of President Carlos P. Romulo, the then Conservatory of Music officially became a college in 1968. The UP College of Music named its current building after the famous Filipino composer and distinct alumnus of the Conservatory, Nicanor Abelardo. © Copyright of University of the Philippines Diliman. All rights reserved.(UP 2013 College of Music, 2012, para.1-5). National Artists for Music Antonino R. Buenaventura Ernani Joson Cuenco Jovita Fuentes Jose Maceda Lucio D. San Pedro Levi Celerio Felipe Padilla De Leon Lucrecia R. Kasilag Antonio J. Molina Andrea O. Veneracion © Copyright of University of the Philippines Diliman. All rights reserved. 2013 (NCCA, 2011) Among the National Artists for Music, seven came from the Conservatory of Music/UP College of Music: Antonino R. Buenaventura Jovita Fuentes Jose Maceda Lucio D. San Pedro Felipe Padilla De Leon Antonio J. Molina Andrea O. Veneracion © Copyright of University of the Philippines Diliman. All rights reserved. 2013 The art music manuscripts of famous composer Abelardo, and National Artists Molina, Buenaventura, and San Pedro, and other famous composers and alumni were donated by their heirs to the library of the UP College of Music. -
ISFF__18 - Souvenir Program
The 12th International Silent Film Festival in Manila Bereft of sound but brimming with feature films accompanied by InternationalSilentFilmFestivalManila live musical performances, the International Silent Film Festival in Manila (ISFFM), the first of its kind in Asia, is back on its 12th year! Presented by Established in 2007 by Goethe-Institut Philippinen, the Japan Foundation, Manila and Instituto Cervantes, the ISFFM brought to Manila audiences the unique experience of watching silent classics from the early decades of the 20th Century accompanied by Filipino musicians playing live scores. The success of the first ISFFM encouraged the organizers to do a repeat in 2008. Over the years, many other embassies and cultural institutions joined this celebrated festival. Participants for this year’s iteration include Italy, Philippines, Brought to you by France, Germany, Japan, U.S.A., Spain and Austria. All eight countries will field the best example of their silent film genre and will have a speaker to welcome the viewers and talk about their entry or special feature. With the support of This year, the Festival found a new home at SM Megamall in Man- daluyong City, and as always, the eight much-awaited silent films will be accompanied by live music from notable Filipino bands, giving audiences both an exciting visual and auditory experience. Once again, allow us to take you back to the time when words were never lost in translation. Welcome to the 12th International Silent Film Festival in Manila! and 30 AUG (THU) / 8:00 PM Musical Score by MilesExperience MilesExperience is a local band that started out as a blues band in 2011, with nothing but making music on their minds. -
Expressions of Tagalog Imaginary the Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959)
ISSN: 0041-7149 ISSN: 2619-7987 VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio p. AfricA . UNITAS Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) . VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio P. AfricA since 1922 Indexed in the International Bibliography of the Modern Language Association of America Expressions of Tagalog Imgaginary: The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Copyright @ 2016 Antonio P. Africa & the University of Santo Tomas Photos used in this study were reprinted by permission of Mr. Simon Santos. About the book cover: Cover photo shows the character, Mercedes, played by Rebecca Gonzalez in the 1950 LVN Pictures Production, Mutya ng Pasig, directed by Richard Abelardo. The title of the film was from the title of the famous kundiman composed by the director’s brother, Nicanor Abelardo. Acknowledgement to Simon Santos and Mike de Leon for granting the author permission to use the cover photo; to Simon Santos for permission to use photos inside pages of this study. UNITAS is an international online peer-reviewed open-access journal of advanced research in literature, culture, and society published bi-annually (May and November). -
ASIAN SYMPHONIES a Discography of Cds and Lps Prepared By
ASIAN SYMPHONIES A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis KOMEI ABE (1911-2006, JAPAN) Born in Hiroshima. He studied the cello with Heinrich Werkmeister at the Tokyo Music School and then studied German-style harmony and counterpoint with Klaus Pringsheim, a pupil of Gustav Mahler, as well as conducting with Joseph Rosenstock. Later, he was appointed music director of the Imperial Orchestra in Tokyo, and the musicians who played under him broadened his knowledge of traditional Japanese Music. He then taught at Kyoto's Elizabeth Music School and Municipal College of the Arts. He composed a significant body of orchestral, chamber and vocal music, including a Symphony No. 2 (1960) and Piccolo Sinfonia for String Orchestra (1984). Symphony No. 1 (1957) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) Sinfonietta for Orchestra (1964) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) NICANOR ABELARDO (1896-1934, PHILIPPINES) Born in San Miguel, Bulacan. He studied at the University of the Philippines Diliman Conservatory of Music, taking courses under Guy Fraser Harrison and Robert Schofield. He became head of the composition department of the conservatory in 1923. He later studied at the Chicago Musical College in 1931 under Wesley LaViolette. He composed orchestral and chamber works but is best-known for his songs. Sinfonietta for Strings (1932) Ramon Santos/Philippine Philharmonic Orchestra UNIVERSITY OF THE PHILIPPINES PRESS (2004) YASUSHI AKUTAGAWA (1925-1989, JAPAN) He was born in the Tabata section of Tokyo. He was taught composition by Kunihiko Hashimoto and Akira Ifukube at the Tokyo Conservatory of Music. -
Quarter IV: 20Th and 21St CENTURY MULTIMEDIA FORMS
DOWNLOAD K-12 MATERIALS AT DEPED TAMBAYAN 20th and 21st Century Multimedia Forms richardrrr.blogspot.com Quarter IV: 20th AND 21st CENTURY MULTIMEDIA FORMS CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of 20th and 21st century opera, musical play, ballet, and other multi-media forms. 2. The relationship among music, technology, and media. PERFORMANCE STANDARDS The learner... 1. Performs selections from musical plays, ballet, and opera in a satisfactory level of performance. 2. Creates a musical work, using media and technology. DEPEDLEARNING COMPETENCIES COPY The learner... 1. Describes how an idea or story in a musical play is presented in a live performance or video. 2. Explains how theatrical elements in a selected part of a musical play are combined with music and media to achieve certain effects. 3. Sings selections from musical plays and opera expressively. 4. Creates/improvises appropriate sounds, music, gestures, movements, and costumes using media and technology for a selected part of a musical play. 5. Presents an excerpt from a 20th or 21st century Philippine musical and highlights its similarities and differences to other Western musical p l a y s . From the Department of Education curriculum for MUSIC Grade 10 (2014) 141 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office. MUSIC Quarter IV OPERA IN THE PHILIPPINES he emergence of the Filipino opera started to take shape during the middle part of Tthe 19th century. Foreign performers, including instrumental virtuosi, as well as opera singers and Spanish zarzuela performers came to the country to perform for enthusiastic audiences. -
2013 Annual Report.Pmd
CULTURAL CENTER OF THE PHILIPPINES ANNUAL REPORT 2013 TABLE OF CONTENTS I. Vision-Mission & Objectives II. The CCP III. Chairman’s Report IV. President’s Report V. Artistic Programs 1. Performances 2. CCP Resident Companies 3. Training and Education 4. Lessees 5. Exhibitions 6. Film Showings 7. Arts Festivals 8. Arts for Transformation & Outreach Programs VI. Arts and Administration 1. Administrative and General Services 2. Human Resource Management 3. Production and Exhibition Management 4. Cultural International Exchanges 5. Arts Education VII. Financial Summary and Analysis VIII. Organizational Chart IX. Board of Trustees and Key Officials VISION Art matters to the life of every Filipino MISSION Be the leading institution for arts and culture in the Philippines by promoting artistic excellence and nurturing the broadest publics to participate in art making and appreciation. OBJECTIVES Artistic Excellence. Create, produce and present excellent and engaging artistic and cultural experiences from the Philippines and all over the world. Arts for Transformation. Nurture the next generation of artists and audiences who appreciate and support artistic and cultural work. Sustainability and Viability. Achieve organizational and financial stability for the CCP to ensure the continuity of its artistic and cultural program and contribute to the flourishing creative industry in the Philippines. Human Resource Development. Develop a loyal, competent and efficient workforce towards fulfilling a vital role in the cultural institution. HISTORY The Cultural Center of the Philippines (CCP) is the premiere showcase of the arts in the Philippines. Founded in 1969, the CCP has been producing and presenting music, dance, theater, visual arts, literary, cinematic and design events from the Philippines and all over the world for more than forty years. -
The Piano Compositional Style of Lucrecia Roces Kasilag D.M.A. Document
THE PIANO COMPOSITIONAL STYLE OF LUCRECIA ROCES KASILAG D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Caroline Besana Salido, B.M., M.M. ***** The Ohio State University 2002 Document Committee: Approved by Professor Steven Glaser, Adviser Professor Arved Ashby Professor Kenneth Williams _______________ Document Adviser School of Music Copyright by Caroline Besana Salido 2002 ABSTRACT Often alluded to as the “First Lady of Philippine Music,” Lucrecia “King” Roces Kasilag, born in San Fernando, La Union, Philippines, on August 31, 1918, holds numerous national and international leadership roles as composer, educator, administrator, and researcher. Kasilag has composed more than 250 works covering most genres including orchestra, chamber, organ, piano, vocal, sacred, operetta, dance, theatre, electronic and incidental music. She is a nationally acclaimed composer and artist in the Philippines. However, most of her works are largely unpublished and difficult to retrieve for use in the academic, as well as in the performance community. Therefore, her contributions are not well known in the Western world to the degree they deserve. This document intends to provide a brief historical background of Philippine music, a biography of Kasilag describing her work and accomplishments, a list of her compositions and her contributions as a composer in ii today’s musical world. The writer will present detailed analyses of selected piano works for their sound, texture, harmony, melody, rhythm and form. The writer will also examine Western and Eastern influences within these piano works, reflecting Kasilag’s classic and romantic orientation with some use of twentieth-century techniques. -
Millennial Traversals Outliers, Juvenilia, & Quondam Popcult Blabbery ALSO by JOEL DAVID
UNITAS Millennial Traversals Outliers, Juvenilia, & Quondam Popcult Blabbery ALSO BY JOEL DAVID The National Pastime: Contemporary Philippine Cinema Fields of Vision: Critical Applications in Recent Philippine Cinema Wages of Cinema: Film in Philippine Perspective Book Texts: A Pinoy Film Course (exclusively on Amauteurish!) Manila by Night: A Queer Film Classic SINÉ: The YES! List of 100+ Films That Celebrate Philippine Cinema (with Jo-Ann Q. Maglipon; forthcoming) VOLUME 89 • NUMBER 1 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Millennial Traversals Outliers, Juvenilia, & Quondam Popcult Blabbery PART II: EXPANDED PERSPECTIVES Joel david since 1922 Indexed in the International Bibliography of the Modern Language Association of America Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery (Part II: Expanded Perspectives) Original Digital Edition Copyright 2015 by Joel David and Ámauteurish Publishing. All Rights Reserved. Cover still from Tiyanak, © 1988 Regal Films. All Rights Reserved. UNITAS is an international online peer-reviewed open-access journal of advanced research in literature, culture, and society published bi-annually (May and November). UNITAS is published by the University of Santo Tomas, Manila, Philippines, the oldest university in Asia. It is hosted by the Department of Literature, with its editorial address at the Office of the Scholar-in-Residence under the auspices of the Faculty of Arts and Letters. Hard copies are printed on demand or in a limited edition. Copyright @ University of Santo Tomas Copyright The authors keep the copyright of their work in the interest of advancing knowl- edge but if it is reprinted, they are expected to acknowledge its initial publication in UNITAS. -
(UPOU). an Explorat
his paper is a self-reflection on the state of openness of the University of the Philippines Open University (UPOU). An exploratory and descriptive study, it aims not only to define the elements of openness of UPOU, but also to unravel the causes and solutions to the issues and concerns that limit its options to becoming a truly open university. It is based on four parameters of openness, which are widely universal in the literature, e.g., open admissions, open curricula, distance education at scale, and the co-creation, sharing and use of open educational resources (OER). It draws from the perception survey among peers, which the author conducted in UPOU in July and August 2012. It also relies on relevant secondary materials on the subject. What if you could revisit and download the questions you took during the UPCAT (University of the Philippines College Admission Test)? I received information that this will soon be a possibility. It’s not yet official though. For some people, including yours truly, this is the same set of questions that made and unmade dreams. Not all UPCAT takers make it. Only a small fraction pass the test. Some of the passers see it as a blessing. Some see it as fuel, firing their desire to keep working harder. Some see it as an entitlement — instant membership to an elite group. Whatever its worth, the UPCAT is the entryway to the University of the Philippines, a scholastic community with a unique and celebrated tradition spanning more than a century. But take heed — none of its legacy would have been possible if not for the hard work of Filipino taxpayers.