UNIVERSITY OF CALIFORNIA RIVERSIDE Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Neal D. Matherne June 2014 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. René T.A. Lysloff Dr. Sally Ann Ness Dr. Jonathan Ritter Dr. Christina Schwenkel Copyright by Neal D. Matherne 2014 The Dissertation of Neal D. Matherne is approved: Committee Chairperson University of California, Riverside Acknowledgements This work is the result of four years spent in two countries (the U.S. and the Philippines). A small army of people believed in this project and I am eternally grateful. Thank you to my committee members: Rene Lysloff, Sally Ness, Jonathan Ritter, Christina Schwenkel. It is an honor to receive your expert commentary on my research. And to my mentor and chair, Deborah Wong: although we may see this dissertation as the end of a long journey together, I will forever benefit from your words and your example. You taught me that a scholar is not simply an expert, but a responsible citizen of the university, the community, the nation, and the world. I am truly grateful for your time, patience, and efforts during the application, research, and writing phases of this work. This dissertation would not have been possible without a year-long research grant (2011-2012) from the IIE Graduate Fellowship for International Study with funding from the Andrew W. Mellon Foundation. I was one of eighty fortunate scholars who received this fellowship after the Fulbright-Hays Doctoral Dissertation Research Abroad Program was cancelled by the U.S. Department of Education in 2011. Thank you sincerely to Theresa Granza, Pamela Jennings, Rozaan Daniel, and everyone else at the U.S. International Institute of Education who quickly and efficiently administered this fellowship in the summer of 2011. And, thank you to Amanda Wong in the UCR Graduate Division who helped with the IIE Fellowship as well as other aspects of my research funding. Additionally, I received generous support from the University of California, Riverside: the Graduate Research Mentorship Program Award, the Humanities Graduate Student Research Grant, and the Dissertation Research Grant. I am iv grateful to all administrators and staff at UCR who helped in this regard: Andrea Gonzales, Alicia Kofford, Michael Molinar, Tracey Scholtemeyer, Melisa Vicario, and Georgia Warnke. Also, for all your efforts, I sincerely thank Kara Oswood, Karen Smith, and Dean Joseph Childers (Graduate Division); Benicia Mangram (Performing Arts Administration); and graduate advisers, Tim Labor and Rogerio Budasz (UCR Department of Music). Joanne Chen, Monica Wicker, and William Shmechel provided Human Research Review Board Clearance at the UCR Office of Research Integrity. The doctors and nurses at the UCR Health Center provided special care in preparing me for my travels: Alejandro Gonzalez, Silvia Jones, Patrick Pan, Lisa Van Gent, and Kris Woolard. Also, thank you to Robb Miller in Resource Planning & Budget for notary services for my travel and visa documentation. Maraming salamat po (thank you very much) to everyone at the Philippine-American Educational Foundation for helping me with visa and logistical matters during my 2011-2012 stay: Esmeralda Cunanan (E.C.), Eileen Consuelo Valdecañas (Con), and Marjorie Tolentino. At UCR, I benefited from scholars in Music, Comparative Literature and Foreign Languages, and the SEATRIP (Southeast Asian Studies: Text Ritual and Performance) program who encouraged this project: Walter Clark, Hendrik Maier, Priscilla Ruedas, Leonara Saavedra, and Sheila Zamar. Additionally, I am grateful for the comments of scholars of the Philippines and Southeast Asian music who provided expert advice on my topic and approach: Christopher Adler, Bernard Ellorin, Jun Gines, David Kendall, Mary Talusan, and Ric Trimillos. v At the University of the Philippines Diliman (UP), the Center for Ethnomusicology was generous in providing institutional affiliation, access to the wealth of resources in the José Maceda Collection and the UPCE Library, patient answers for my endless questions, and an overall concern for my well-being in Quezon City (“Neal, you’re too skinny” “Good, you’ve been gaining weight” “Answer in Tagalog, please – I know you can”). Thank you sincerely to administrators, staff, and assistants, past and present: Ramón Santos, Nomer Alcazar, Grace Buenaventura, Mizpah Edillon, David Guadalupe, Rex Molina, Roan Obispo, Nicco Saliva, Sol Maris Trinidad-Zaldua, Marialita Tamanio Yraola, and Loen Vitto. And, a very special thanks to Dayang Yraola for providing editorial commentary on this work, checking the Filipino terms I used in Chapter 1. Furthermore, I extend my appreciation to every librarian in the UP system! The collection of resources in the UP Libraries is unmatched and each visit was a privilege. Special thanks to Florinda Santos (UP College of Music Library) and Roderick Bayonito (National Commission for Culture and the Arts Library). At the University of the Philippines Diliman, I benefitted from an institutional affiliation with the College of Mass Communication, where I found critical minds with a keen interest in my research. Special thanks to Rolando Tolentino and everyone at Mass Comm: Patrick Campos, Elizabeth Enriquez, Eli Guieb, Ed Lejano, Choy Pangilinan, Nicanor Tiongson, and Data Tolentino. Also, I found support from professors at the UP College of Music who were generous with their time and thoughts on my interests: Jonas Baes, José Buenconsejo, Verne de la Peña, Maria Christine Muyco, Felicidad Prudente, Joyce Timbol-Guadalupe, Josefino Chino Toledo, Steve Villaruiz, and Joey Valenciano. I vi had the pleasure of interacting with graduate students and alumni from UP College of Music, gifted intellectuals with a bright future: Sandy Chua, Christine De Vera, Lisa Decenteceo, Lilymae Montano, Tusa Montes, Leo Eva Rempola, Denden Sy-Beltran, and Ernesto Zaldua (Bajo). On the other side of the academic oval at the UP College of Arts and Letters, I was fortunate to consult with scholars and graduate students who encouraged my ongoing research: Reuel Aguila, Elena Rivera Mirano, Roselle Pineda, Robin Rivera, Clod Yambao (Yayo), and Jovy Zarate. Additionally, I benefited from consultations with Eufracio Abaya (College of Education), Patrick D. Flores (Vargas Museum), and Ricardo T. José (Department of History and Third World Studies Center). The students and scholars in the Archeological Studies Program shared a mutual interest in material culture and continuously reminded me to keep digging for the truth: Victor Paz, Grace Barreto, Bea Ferraras, Vito Hernandez, Jack Medrana, Armand Mijares, Andrea Malaya Ragragio, and Emil Robles. Additionally, the scholars in the UP Asian Studies Center reminded me often to consider the Southeast Asian nature of the Philippines. Thank you, MCM Santamaria and Ruben Ramas Cañete. I also had the pleasure of consulting with a number of independent scholars, performers, and artists in Quezon City: Arnold Azurin, Brian Arda, Fides Cuyugan-Asensio, Roel Flores, Arthur Neame, Charlson Ong, and Juno Parungao. The Center for International Studies urged me to embrace my own subjectivity and share my perspectives on music, the Philippines, and the world as a Southern American with a unique point of view. Thank you sincerely for allowing me into your vii family of scholars and providing the opportunity to lecture to the bright young minds at UP CIS: Viveca Hernandez, Rae Macapagal, Sarah Raymundo, Rosario del Rosario, Amaparo Adelina Umali (Jina), and Cynthia N. Zayas. In 2013, I had the honor of interviewing two National Artists for Literature: Virgilio Almario at UP Diliman and F. Sionil José at the famous Solidaridad bookstore. Your thoughts helped me immensely and you are a benefit to your nation. Furthermore I consulted with two daughters of National Artist for Music, José Maceda: Marion Maceda Villanueva and Madeleine Maceda Heide. Thank you for answering my questions and sharing stories about your family. And a very special thanks to Tagumpay De Leon (Uncle Pi). Over the past twelve years, you patiently and generously encouraged my interest in the music of the Philippines and the compositions of your father, National Artist for Music Felipe Padilla De Leon Sr. Maraming salamat po , Tito Pi. Around UP, I met scholars from all over the world and reunited with friends from the U.S. Thank you for sharing your perspectives: Mike Atienza, Crischell Bacarro, Stefanie Bator, Adrianne Francisco, Shelley Guyton, Faith Kares, Titus Levi, Helen Lewis, Andres Narros Luch, Chris Martin, Nick Molnar, Shawn O’Donnell, Fritz Schenker (and Grace), Noah Theriault, Lace Thornberg, Kiara Vigil, Colleen Woods, and Hermine Xhauflair. And, to my musician friends and bandmates in Quezon City, thank you for the jam: Bai Merano, Federico Dominguez (Boy D), Melissa Gibson, Herson Martinez Juego, Abet Umil, and Bryan Ziadie. A few very special people in Quezon City gave me a home, fed me, looked after my soul, took me on a trip, or made sure I had family during a potentially lonely holiday. viii Thank you sincerely: Elizabeth Aguilar, Antares Bartolome, Julie Therese Davide, Raffy and Chiari Dy-Liacco, Jina Umali, Ate Alma and Kuya Lito (and Joshua), the Angeles family, the Ganuelas family, the Sunga-Guevara family, and the Paz family. Another group of very special people in California