Module 1 AFRO-LATIN AMERICAN and POPULAR MUSIC
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OPM Vol. 06 300 Songs
OPM Vol. 06 300 Songs Title Artist Number A WISH ON CHRISTMAS NIGHT JOSE MARI CHAN 22835 ADJUST SOAPDISH 28542 AGAC LA MANESIA PANGASINAN SONG 22999 AGAWAN BASE PERYODIKO 22906 AKALA KO AY IKAW NA WILLIE REVILLAME 22742 AKING PAGMAMAHAL REPABLIKAN 35077 AKO AY MAY LOBO CHILDREN 35115 AKO'Y BINAGO NIYA EUNICE SALDANA 35377 ALAB NG PUSO RIVERMAYA 27625 ALL ME TONI GONZAGA 35135 ALWAYS YOU CHARICE 28206 ANG AKING PUSO JANNO GIBBS feat. KYLA 28213 ANG HIMIG NATIN JUAN DELA CRUZ BAND 22690 ANG PANDAY ELY BUENDIA 22893 ANTUKIN RICO BLANCO 22838 ARAW-ARAW NA LANG AEGIS 22968 ASO'T PUSA HALE 28538 AWIT NG PUSO FATIMA SORIANO 22969 AYANG-AYANG BOSTON 22950 AYOKO SA DILIM FRANCIS MAGALONA 22751 AYUZ RICO BLANCO 22949 BABY DON'T YOU BREAK MY HEART SLOW M. Y. M. P. 22839 BACK 2 U CUESHE 28183 BAGONG HENERASYON HYMN JESSA MAE GABON 35052 BAHAY KUBO HALE 28539 BAHOO POKWANG 28182 BAKASYON PERYODIKO 22894 BAKIT GAGONG RAPPER 22729 BAKIT KUNG SINO PA GAGONG RAPPER 22725 BAKIT LABIS KITANG MAHAL GAGONG RAPPER 22744 BALASANG KAS NAN MONTANIOSA APOLLO FAGYAN 22963 BALITA GLOC 9 feat. GABBY ALIPE of URBA 22891 BALIW KISS JANE 35113 BANANA (RIGHT NOW) Tagalog Version BLANKTAPE 22747 BANGON RICO BLANCO 22890 BAR-IMAN TAUSUG 28184 BARKADA HABANG BUHAY CALSADA 35053 BAW WAW WAW FRANCIS MAGALONA 22773 BINIBINI BROWNMAN REVIVAL 22743 BONGGACIOUS POKWANG 22959 BULALAKAW HALE 28540 BUS STOP ELY BUENDIA & FRANCIS M. 35120 CAN'T FIND NO REASON LOUIE HEREDIA 22728 CAN'T HELP FALLING IN LOVE SAM MILBY 22896 CHIKA LANG `YON BLANKTAPE 28202 CHRISTMAS BONUS AEGIS 35201 CHRISTMAS MORNING ERASERHEADS 35134 CHRISTMAS PARTY ERASERHEADS 35167 microky.com | 1 Title Artist Number COULD WE GARY V. -
1 Chapter Three Historical
University of Pretoria etd, Adeogun A O (2006) CHAPTER THREE HISTORICAL-CULTURAL BACKCLOTH OF MUSIC EDUCATION IN NIGERIA This chapter traces the developments of music education in the precolonial Nigeria. It is aimed at giving a social, cultural and historical background of the country – Nigeria in the context of music education. It describes the indigenous African music education system that has been in existence for centuries before the arrival of Islam and Christianity - two important religions, which have influenced Nigerian music education in no small measure. Although the title of this thesis indicates 1842-2001, it is deemed expedient, for the purposes of historical background, especially in the northern part of Nigeria, to dwell contextually on the earlier history of Islamic conquest of the Hausaland, which introduced the dominant musical traditions and education that are often mistaken to be indigenous Hausa/northern Nigeria. The Islamic music education system is dealt with in Chapter four. 3.0 Background - Nigeria Nigeria, the primarily focus of this study, is a modern nation situated on the Western Coast of Africa, on the shores of the Gulf of Guinea which includes the Bights of Benin and Biafra (Bonny) along the Atlantic Coast. Entirely within the tropics, it lies between the latitude of 40, and 140 North and longitude 20 501 and 140 200 East of the Equator. It is bordered on the west, north (northwest and northeast) and east by the francophone countries of Benin, Niger and Chad and Cameroun respectively, and is washed by the Atlantic Ocean, in the south for about 313 kilometres. -
1 Song Title
Music Video Pack Vol. 6 Song Title No. Popularized By Composer/Lyricist Hillary Lindsey, Liz Rose, FEARLESS 344 TAYLOR SWIFT Taylor Swift Christina Aguilera; FIGHTER 345 CHRISTINA AGUILERA Scott Storch I. Dench/ A. Ghost/ E. Rogers/ GYPSY 346 SHAKIRA Shakira/ C. Sturken HEARTBREAK WARFARE 347 JOHN MAYER Mayer, John LAST OF THE AMERICAN GIRLS 351 GREENDAY Billie Joe Armstrong OPPOSITES ATTRACT 348 JURIS Jungee Marcelo SAMPIP 349 PAROKYA NI EDGAR SOMEDAY 352 MICHAEL LEARNS TO ROCK Jascha Richter SUNBURN 353 OWL CITY Adam Young Nasri Atweh, Justin Bieber, Luke THAT SHOULD BE ME 354 JUSTIN BIEBER Gottwald, Adam Messinger THE ONLY EXCEPTION 350 PARAMORE Farro, Hayley Williams Max Martin, Alicia WHAT DO YOU WANT FROM ME 355 ADAM LAMBERT Moore, Jonathan Karl Joseph Elliott, Rick WHEN LOVE AND HATE COLLIDE 356 DEF LEPPARD Savage Jason Michael Wade, YOU AND ME 357 LIFEHOUSE Jude Anthony Cole YOUR SMILING FACE 358 JAMES TAYLOR James Taylor www.wowvideoke.com 1 Music Video Pack Vol. 6 Song Title No. Popularized By Composer/Lyricist AFTER ALL THESE YEARS 9057 JOURNEY Jonathan Cain Michael Masser / Je!rey ALL AT ONCE 9064 WHITNEY HOUSTON L Osborne ALL MY LIFE 9058 AMERICA Foo Fighters ALL THIS TIME 9059 SIX PART INVENTION COULD'VE BEEN 9063 SARAH GERONIMO Richard Kerr (music) I'LL NEVER LOVE THIS WAY AGAIN 9065 DIONNE WARWICK and Will Jennings (lyrics) NOT LIKE THE MOVIES 9062 KC CONCEPCION Jaye Muller/Ben Patton THE ART OF LETTING GO 9061 MIKAILA Linda Creed, Michael UNPRETTY 9066 TLC Masser YOU WIN THE GAME 9060 MARK BAUTISTA 2 www.wowvideoke.com Music Video Pack Vol. -
PH - Songs on Streaming Server 1 TITLE NO ARTIST
TITLE NO ARTIST 22 5050 TAYLOR SWIFT 214 4261 RIVER MAYA ( I LOVE YOU) FOR SENTIMENTALS REASONS SAM COOKEÿ (SITTIN’ ON) THE DOCK OF THE BAY OTIS REDDINGÿ (YOU DRIVE ME) CRAZY 4284 BRITNEY SPEARS (YOU’VE GOT) THE MAGIC TOUCH THE PLATTERSÿ 19-2000 GORILLAZ 4 SEASONS OF LONELINESS BOYZ II MEN 9-1-1 EMERGENCY SONG 1 A BIG HUNK O’ LOVE 2 ELVIS PRESLEY A BOY AND A GIRL IN A LITTLE CANOE 3 A CERTAIN SMILE INTROVOYS A LITTLE BIT 4461 M.Y.M.P. A LOVE SONG FOR NO ONE 4262 JOHN MAYER A LOVE TO LAST A LIFETIME 4 JOSE MARI CHAN A MEDIA LUZ 5 A MILLION THANKS TO YOU PILITA CORRALESÿ A MOTHER’S SONG 6 A SHOOTING STAR (YELLOW) F4ÿ A SONG FOR MAMA BOYZ II MEN A SONG FOR MAMA 4861 BOYZ II MEN A SUMMER PLACE 7 LETTERMAN A SUNDAY KIND OF LOVE ETTA JAMESÿ A TEAR FELL VICTOR WOOD A TEAR FELL 4862 VICTOR WOOD A THOUSAND YEARS 4462 CHRISTINA PERRI A TO Z, COME SING WITH ME 8 A WOMAN’S NEED ARIEL RIVERA A-GOONG WENT THE LITTLE GREEN FROG 13 A-TISKET, A-TASKET 53 ACERCATE MAS 9 OSVALDO FARRES ADAPTATION MAE RIVERA ADIOS MARIQUITA LINDA 10 MARCO A. JIMENEZ AFRAID FOR LOVE TO FADE 11 JOSE MARI CHAN AFTERTHOUGHTS ON A TV SHOW 12 JOSE MARI CHAN AH TELL ME WHY 14 P.D. AIN’T NO MOUNTAIN HIGH ENOUGH 4463 DIANA ROSS AIN’T NO SUNSHINE BILL WITHERSÿ AKING MINAHAL ROCKSTAR 2 AKO ANG NAGTANIM FOLK (MABUHAY SINGERS)ÿ AKO AY IKAW RIN NONOY ZU¥IGAÿ AKO AY MAGHIHINTAY CENON LAGMANÿ AKO AY MAYROONG PUSA AWIT PAMBATAÿ PH - Songs on Streaming Server 1 TITLE NO ARTIST AKO NA LANG ANG LALAYO FREDRICK HERRERA AKO SI SUPERMAN 15 REY VALERA AKO’ Y NAPAPA-UUHH GLADY’S & THE BOXERS AKO’Y ISANG PINOY 16 FLORANTE AKO’Y IYUNG-IYO OGIE ALCASIDÿ AKO’Y NANDIYAN PARA SA’YO 17 MICHAEL V. -
Stories Captured by Word of Mouth Cultural Heritage Building Through Oral History
STORIES CAPTURED BY WORD OF MOUTH CULTURAL HERITAGE BUILDING THROUGH ORAL HISTORY Christine M. Abrigo Karen Cecille V. Natividad De La Salle University Libraries Oral History, still relevant? (Santiago, 2017) • Addresses limitations of documents • Gathers insights and sentiments • More personal approach to recording history Oral History in the Philippines (Foronda, 1978) There is a scarcity of studies and literatures on the status and beginning of oral history in the country. DLSU Libraries as repository of institutional and national memory Collects archival materials and special collections as they are vital sources of information and carry pertinent evidences of culture and history. Oral history is one of these archival materials. Purpose of this paper This paper intends to document the oral history archival collection of the De La Salle University (DLSU) Libraries; its initiatives to capture, preserve and promote intangible cultural heritage and collective memory to its users through this collection, and the planned initiatives to further build the collection as a significant contribution to Philippine society. ORAL HISTORY COLLECTION (OHC) OF THE DLSU LIBRARIES Provenance The core OHC came from the family of Dr. Marcelino A. Foronda, Jr., a notable Filipino historian and from the Center for Oral and Local History of the university, which was later named in his honor, hence, the Marcelino A. Foronda Jr. Center for Local and Oral History (MAFCLOH). Collection Profile FORMAT Print transcript Audio cassette tape Collection Source (in -
Ang Novelty Song Sa Pilipinas*
Ang Novelty Song Sa Pilipinas* New Era University Fame Pascua, M.A. Panimula ng musika ay isang sining na bahagi ng kultura ng bawat tao o grupo ng tao. Ito ay nasa anyo ng pagkanta ng mga himig at liriko at/o pagtugtog ng mga musikal na instrumento na lumilikha ng mga tunog at himig. Ayon kay Delia Gamboa Besa sa kanyang sanaysay na “Contemporary Philippine Music” (1998), ang musikaA sa Pilipinas ay sinasalamin ang mayamang kulturang nag-uugat pareho sa katutubong pinagmulan at sa impluwensya mula sa labas, at gayundin sa resulta ng pag-aangkop dito at Pascua... pagsasanib ng mga ito. Dahil dito, nauri ni Besa ang musika sa Pilipinas sa tatlo: (1) ang katutubo, (2) ang may impluwensyang1 Espansyol, at (3) ang may impluwensyang Amerikano. Mapapansin na ang ganitong pag-uuri ng musika sa Pilipinas ay sinusundan ang tipikal na kronolohiya ng kasaysayan ng Pilipinas bagama’t ang uri ng musika ay hindi lamang nakakulong sa partikular na peryodisasyon. Maari itong magpatuloy o hindi, mangibabaw pa o hindi na (bagamat umiiral pa rin) sa partikular na panahon. Gayunpaman, hindi kumpleto ang ganitong pag-uuri ng musika sa Pilipinas (kung tuluyang ibabatay sa kronolohiya ng kasaysayan ng Pilipinas) dahil sa walang banggit sa kung ano na o paano natin tatawagin ang musika ng mga Pilipino pagkatapos ng kolonyal na panahon? Bagamat nagbanggit ng “contemporary Philippine music” si Besa sa pamagat ng kanyang artikulo hindi naman ito nagliwanag sa kung “ano” ito o ang kumakatawan dito bagkus tumalakay sa sitwasyon ng “contemporary music”—na sa kabuuan, unti-unti nang napapamayanihan ng mga Filipino— gayunpaman ay nahaharap pa rin sa mga suliranin. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Hip-hop, Streetdance, and the Remaking of the Global Filipino Permalink https://escholarship.org/uc/item/16q5z7gp Author Perillo, Jeffrey Lorenzo Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Hip-hop, Streetdance, and the Remaking of the Global Filipino A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Jeffrey Lorenzo Perillo 2013 © Copyright by Jeffrey Lorenzo Perillo 2013 ! ABSTRACT OF THE DISSERTATION Hip-hop, Streetdance, and the Remaking of the Global Filipino by Jeffrey Lorenzo Perillo Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2013 Professor Susan Leigh Foster, Committee Co-Chair Professor Victor Bascara, Committee Co-Chair New York-based African American, Latino, and Caribbean immigrant youth of the 1960s and early 1970s gave life to one of the world's major contemporary cultural movements: Hip-hop. Initially misunderstood as a faddish form of Black male musical expression, Hip-hop's cultural resistance practices were quickly recognized as four core elements (emceeing, turntablism, graffiti art, and b-boying/b-girling). In the global context, Hip-hop has generated scholarly discourse that points to either the cultural globalization of American Blackness or a "global village." My project interrupts this conversation and focuses on the unique, multi-site cultural history of Filipino identity as constituted through practitioners of Hip-Hop dance. My work argues that a community of Filipinos, situated in different geo-political loci—Berkeley, California, Honolulu, Hawai‘i, and Manila, Philippines—configure prevailing concepts of Hip-hop while remaking conditions of ! ii dispossession and displacement in the late twentieth and early twenty-first centuries. -
Chua at Campomanes – Francism DLSU Arts Congress
MAKABAGONG EMILIO JACINTO Ginhawa, Liwanag, Dilim at Iba Pang Mga Dalumat ng Bayan at Katipunan sa mga Awitin ni Francis Magalona 1 Michael Charleston B. Chua 222 Pamantasang De La Salle Maynila Pangalawang Pangulo, Philippine Historical Association Alvin DD.. Campomanes 333 University of Asia and the Pacific Tagapangulo, UP Lipunang Pangkasaysayan (2007-2008) Sasaysayin ng papel ang mga dalumat at diwa ng Himagsikang 1896 na nasalamin rin sa Kapanahong Kasaysayan sa mga awiting nilikha ng Hari ng Pinoy Rap, Francis Magalona. Sa kanilang mensahe ng pag-iisa ng loob at kaisipan ng lahat ng tumubo sa Sangkapuluang ito, ginamit nina Emilio Jacinto at Andres Bonifacio ng Katipunan ang mga dalumat ng bayan noong 1892-1896. Sa Kartilya ng Katipunan, Dekalogo, at iba pang mga sulatin, makikita ang mga dalumat ng Kalayaan, Kaginhawaan, Liwanag, Dilim, Puri, Kabanalan, Dangal, Pag-ibig sa bayan at isa’t isa, at marami pang iba. Ang pagpapatuloy sa kasaysayan ng ating bansa ay nasasalamin sa nagpapatuloy na kamalayan ng mga dalumat na ito. Halos isandaang taon matapos itatag ang Katipunan, pumaimbabaw ang karera ng “Hari ng Pinoy Rap” na si FrancisM sa kaisipan ng mga kabataan. Inangkin niya ang isang dayuhang porma ng musika na popular noon at nilapatan ng mensaheng nagmula sa kamalayang pangkalinangan ng bayan. Mula sa kanyang unang hit song na “Mga Kababayan Ko,” makikita na ang malay na diwang bayan ni FrancisM. Batay sa kasabihan at sikolohiyang Pilipino, ang awitin na ito ang naging bagong Kartilya na nagsaysay ng pagkakakilanlang Pilipino noong Dekada 1990. Sinundan ito ng iba pang mga awitin na nagpatunay lamang na tulad ng Katipunan, konsistent ang mensahe ni FrancisM ng pagmamahal sa bayan at bandila hanggang sa ito ay sumakabilang-buhay nitong nakaraang 6 Marso 2009. -
THE ORIGIN and DEVELOPMENT of JUJU MUSIC: 1900-1990 Abstract the Europeans Introduced Various Forms of Western Music Which Inter
THE ORIGIN AND DEVELOPMENT OF JUJU MUSIC: 1900-1990 OGISI, ABOYOWA ARUGHA Ph.D Abstract The Europeans introduced various forms of Western music which intermingled with indigenous music resulting in neo-traditional and syncretic forms of music including popular music genres. Until the early 1980s, Nigerian popular music was largely neglected and many key areas such as its history remained unaddressed. Although the history of juju has received some attention, there is a growing need for various perspectives and the advantages that go with such to be investigated. This paper is a contribution in that direction. It examines the development of juju from its early beginnings in the early 1900s to when it ceased being a major popular music genre in 1990. Findings revealed that juju is indebted to several musical traditions: western folk songs, European sea shanties, church hymnody, soldiers' songs, minstrelsy and Yoruba traditional music. Through social intercourse, these traditions fused and produced juju. Until the early sixties its patronage was within Yoruba land but by the early 1960s it had made inroads into other parts of the country and so by 1970 it was a dominant popular music genre in Nigeria. It produced several hits and mega stars arising from the oil boom economy of the early 1970s before it was eclipsed by the rising wave of gospel music. Introduction The ascendancy of popular music amidst other music types from the late 1940s has resulted in its being the most patronised music type in Nigeria. Contrary to expectations that the types of music that receive scholarly attention is predicated on its social significance, popular music remains the least researched among the various types of Nigerian music. -
Writers' Avenue
Writers’ Avenue Issue 2 December 2013 Writers’ Avenue Issue 2 Issue 2: “Winter” Like snow falling in winter, a writer's pen moves with such intricacy, carefully weaving the stories of life. Every character conceived like snowdrops from the sky, every moment unfolding like breeze of the cold winter solstice. Page 2 Writers’ Avenue Issue 2 Editors’ thoughts Leys It's been a whirlwind of a year, mostly not in a good way. To say that it's been an eventful year is an understatement. Politics, conflicts, typhoons and earthquakes and calamities...that's just here in the Philippines! Perhaps it was all due to the unluckiness of the number 13? In any case, with so many depressing events going on and, for some, so much trauma to live through, the holidays just seem so difficult to celebrate this year. But perhaps it's because of our terrible luck that we need to celebrate the holidays even more? It has been one hectic year and we all deserve to have fun after all we've been through. David Time flew by so fast! Last time I checked it was only August five minutes ago. Kidding aside! A lot of things have happened this year and there were some things that we didn’t expect coming along the way. But the good thing is that another chapter of our lives is yet to be unfolded and it would be an avenue for each of us to start all over again. The year 2013 though, has both been good and bad for me. -
The New Manila Sound: Music and Mass Culture, 1990S and Beyond James Gabrillo
The New Manila Sound: Music and Mass Culture, 1990s and Beyond A dissertation submitted for the degree of Doctor of Philosophy in Music James Gabrillo Peterhouse, University of Cambridge November 2018 This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other quali- fication at the University of Cambridge or any other University or similar institution. It does not exceed the word limit prescribed by the Degree Committee. "2 of 293" The New Manila Sound: Music and Mass Culture, 1990s and Beyond James Gabrillo Abstract This dissertation provides the first detailed account of the mass musical culture of the Philippines that originated in the 1990s and continues to be the most popular style of musical entertainment in the country — a scene I dub the New Manila Sound. Through a combination of archival research, musical analysis, and ethnographic fieldwork, my ex- amination focuses on its two major pioneers: the musical television programme Eat Bula- ga! (Lunchtime Surprise) and the pop-rock band Aegis. I document the scene’s rise and development as it attracted mostly consumers from the lower classes and influenced oth- er programmes and musicians to adapt its content and aesthetics. The scene’s trademark kitsch qualities of parody, humour, and exaggeration served as forms of diversion to au- diences recovering from the turbulent dictatorship of Ferdinand Marcos from 1965 to 1986, when musical works primarily comprised of state-commissioned nationalist an- thems, Western art music, and protest songs. -
New Media and the Karay-A Ethnic Group of the Philippines
The Dialogical Processes of Vernacular Mediation: New Media and the Karay-a Ethnic Group of the Philippines A thesis submitted to the University of Adelaide in fulfillment of the requirements for the degree of Doctor of Philosophy in Media MARIANE S.A. MEDINA UMALI B.Sc., Development Communication, University of the Philippines Los Baños Discipline of Media School of Humanities and Social Sciences June 2013 Abstract This thesis examines the extent to which vernacular mediation, or the ongoing, sociohistorically situated, and discursive communicative acts through new media technologies, enables the cultural participation and emancipation of marginal groups. It investigates how the ethnolinguistic group Karay-a appropriated the Internet and digital music and video production technologies to reinvent their stereotyped identities, develop collectivity, and work towards the goal of bringing socioeconomic emancipation to their homeland of Antique in Western Philippines. By following a cultural studies approach to examine three cases of vernacular mediation, this thesis aims to explore how the dialogical interaction of new media technologies, audience or individual agency, institutional logics, and asymmetries in power enable and shape a specific emancipatory aim without foreclosing their future potentials. Through an analysis of the musical subgenre Original Kinaray-a Music (OKM), the online community Kinaray-a.com, and the digital short film Handum produced by the marginal group, this thesis argues that vernacular mediation practices have the potential to facilitate cultural participation by enabling expressions and meanings to be reshaped and shared. The sharing of meanings adds to the social and cultural capitals of marginal individuals and enables them to forge social ties.