MUSIC and ART
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BINONDO FOOD TRIP (4 Hours)
BINONDO FOOD TRIP (4 hours) Eat your way around Binondo, the Philippines’ Chinatown. Located across the Pasig River from the walled city of Intramuros, Binondo was formally established in 1594, and is believed to be the oldest Chinatown in the world. It is the center of commerce and trade for all types of businesses run by Filipino-Chinese merchants, and given the historic reach of Chinese trading in the Pacific, it has been a hub of Chinese commerce in the Philippines since before the first Spanish colonizers arrived in the Philippines in 1521. Before World War II, Binondo was the center of the banking and financial community in the Philippines, housing insurance companies, commercial banks and other financial institutions from Britain and the United States. These banks were located mostly along Escólta, which used to be called the "Wall Street of the Philippines". Binondo remains a center of commerce and trade for all types of businesses run by Filipino- Chinese merchants and is famous for its diverse offerings of Chinese cuisine. Enjoy walking around the streets of Binondo, taking in Tsinoy (Chinese-Filipino) history through various Chinese specialties from its small and cozy restaurants. Have a taste of fried Chinese Lumpia, Kuchay Empanada and Misua Guisado at Quick Snack located along Carvajal Street; Kiampong Rice and Peanut Balls at Café Mezzanine; Kuchay Dumplings at Dong Bei Dumplings and the growing famous Beef Kan Pan of Lan Zhou La Mien. References: http://en.wikipedia.org/wiki/Binondo,_Manila TIME ITINERARY 0800H Pick-up -
DATE TOPIC MINIMUM LEARNING COMEPETENCIES ACTIVITIES/MATERIALS KEY TERMS EVALUATION OUTPUT January 7, 2019 Folk Arts and Crafts
DATE TOPIC MINIMUM LEARNING COMEPETENCIES ACTIVITIES/MATERIALS KEY TERMS EVALUATION OUTPUT January 7, 2019 Folk Arts and Crafts of -Analyze elements and principles of art in Book, Note Book, Folk Arts, Smart Check (pp.124-127) Northern Luzon (pp.113-124) the production of one’s arts and crafts Drawing Pad, Pencil Aesthetics, Motif, inspired by the arts of Luzon (highlands and Fabric lowlands) (A7EL-Ib-1) -Identify characteristics of arts and crafts in specific areas in Luzon (A7EL-Ia-2) -Reflect on and derive the mood, idea, or message emanating from selected artifacts and art objects (A7PL-Ih-1) -Appreciate the artifacts and art objects in terms of their uses and their distinct use of art elements and principles (A7PL-Ih-2) -Incorporate the design, form, and spirit of the highland/lowland artifact and object in one’s creation (A7PL-Ih-3) January 8, 2019 Folk Arts and Crafts of -Trace the external (foreign) and internal Book, Note Book, Artifact, Smart Check (pp.134-136) Cagayan Valley and Central (indigenous) influences reflected in the design Drawing Pad, Pencil Gaddang, Luzon (pp.128-134) of an artwork and in the making of a craft Kampampangan or artifact (A7PL-Ih-4) Tamales -Create crafts that can be locally assembled with local materials, guided by local traditional techniques (A7PR-Ic-e-1) -Derive elements from traditions/history of a community for one’s artwork (A7PR-If-2) -Shows the relationship of the development of crafts in specific areas of the country, according to functionality, traditional specialized expertise, and availability -
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. -
K to 12 Curriculum Guide
Republic of the Philippines Department of Education DepEd Complex, Meralco Avenue Pasig City K to 12 Curriculum Guide ART (Grade 1 to Grade 10) May 2016 K to 12 BASIC EDUCATION CURRICULUM CONCEPTUAL FRAMEWORK Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for artistic expression and cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance- based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her own cultural identity and the expansion of his/her vision of the world. As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing, (singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and creating. (See Figure 1 and Figure 2) The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. -
SOURCES and INFLUENCES the Sources and Influences of The
SOURCES AND INFLUENCES The sources and influences of the visual arts in the Philippines may be classified according to the three principal cultural traditions found in the country; the indigenous tradition, which is evidenced by the arts of the natives in the long period before colonization, the arts of the non-hispanized ethnic communities today, and the lowland folk arts which fuse ethnic and colonial aspects; the Spanish tradition, which is seen in the religious paintings and prints, academic paintings, landscapes, portraits, letras y figuras (letters and figures), still-lifes, and other art works done by unschooled and schooled Filipino artists during the Spanish period from 1565 to 1898; and the Euro-American tradition which came in via the Americanized educational system and media and which has been indigenized in the painting and sculptures done by Filipino artists from the 1930s to the present. The Ethnic Tradition Evidences of the ancient arts are the artifacts unearthed in archaeological excavations, which include earthenware, body ornaments and jewelry, and textile fragments. An important body of earthenware consists of burial jars. The ancient tradition of jar burial was diffused throughout the southern part of the Asian mainland, the Malay Archipelago, and the Southeast Asian region, including the Philippines. This practice was related to the tradition of “grave furniture” in which the dead were buried along with various articles of everyday use such as eating utensils and weapons, and in the case of the nobility, with servants and domestic animals. The Manunggul Jar with its lid bearing two rowers in a boat is related to the Southeast Asian belief that the dead ride “spirit boats” across a body of water to reach the other world. -
Bbm:978-3-319-44515-1/1.Pdf
Index A Busuanga group of islands , 93 Abu Simbel Temples , 1 , 47 , 49 Butuan/Balangay boat , 92 Agenda 21 , 19 Angono petroglyphs , 91 Antiquities Act, Finland , 61 , 64 , 66–69 , 71 C Archaeological heritage tourism , 101 Cagayan Valley , 92 Archaeological Resource Management Cagayancillo , 93 (ARM) , 1 1 Callao Cave , 92 Archdiocese of Oviedo , 163 Campiglia Marittima, Italy , 144 Argentina , 117 , 119–122 Catholic Church , 118 , 160 Asociación Inkallaqta, Raqchi (Peru) , 182 Cebu , 90–92 Association of Southern African Professional Center for the Interpretation of ‘Nature’, Archaeologists , 110 Tuñón , 161 Association La Ponte , 156 , 163 , 165 Chartered Institute for Archaeologists Asturias, Spain , 162 , 166 (CIFA) , 10 Aswan High Dam , 1 , 16 , 47 Chau Hiix (Belize) , 7 , 190–195 , 197 The Club of Rome , 48 Cluster , 7 , 8 , 57 , 137 , 139 , 141 , 142 , 144 , B 146–148 , 173 Baboon Point , 105–109 , 112 , 113 Cluster governance , 140–141 Balabac Island , 93 Coal of Africa Limited (CoAL) , 111 , 113 Balobok rockshelter , 92 Cognitive capitalism , 153 , 160 , 162 , 163 Baratti , 144 , 146 Colosseum , 157 Barcelona , 162 Common pool resource (CPR) , 8 , 166 , 173 , Batanes Islands , 92 174 , 179 , 184 , 190 , 192–195 Bear Valleys , 161 Commons, 7, 154, 171 BirdLife South Africa , 110 Community archaeology , 104 , 138 , 181 Bohol , 92 Confederated Tribes of the Umatilla Indian Boljoon , 92 Reservation (CTUIR) , 8 , 77–86 Bourdieu, P. , 154 Convention for the Safeguarding of the Brundtland Report , 46–48 Intangible Cultural Heritage , 65 Budapest Declaration , 17 , 46 , 49 , 50 Convention on the Protection of the Bujang Valley, Philippines , 31 , 33 , 35 , 41 Underwater Cultural Heritage , 65 Bureau of Land Management (United States) , Coxcomb Basin Wildlife Refuge , 182 80–86 Crooked Tree Village (Belize) , 190–196 © Springer International Publishing Switzerland 2017 201 P.G. -
Place of Region in the Contemporary Catalogue
Place of Region in the Contemporary PHILIPPINE CONTEMPORARY ART NETWORK Place of Region in the Contemporary University of the Philippines Vargas Museum 8 December 2017 - 27 January 2018 Philippine Contemporary Art Network Patrick D. Flores Director Tessa Maria Guazon Coordinator, Exhibition and Curatorial Analysis Renan Laru-an Coordinator, Public Engagement and Artistic Formation Roberto G. Paulino Coordinator, Knowledge Production and Circulation Publication Patrick D. Flores Editing Carlos Quijon, Jr. Publication Coordination Dino Brucelas Design A.g. De Mesa Photography ©2019 Philippine Contemporary Art Network 4 PCAN: An Intro 18 Place of Region in the Contemporary Patrick D. Flores EXHIBITIONS 28 Ayco, Imao, Bose, Junyee Roberto G. Paulino 42 Traversals/Trajectories: Expansive Localities Tessa Maria Guazon 56 An Ecological, The Obligatory Renan Laru-an 70 Raymundo Albano: Texts Patrick D. Flores ESSAYS 86 Ayco, Imao, Bose, Junyee: A Historiography Roberto G. Paulino 122 Forays into Regions: Between, Beyond, and Not Quite There Tessa Maria Guazon 134 An Impossible Profession Renan Laru-an 150 By Way of Region Patrick D. Flores 160 Artist Profiles 172 PCAN Members 178 Object List 192 Acknowledgment 4 The project initiates the Philippine Contemporary Art Network Philippine Contemporary Art Network Philippine Contemporary (PCAN), which is temporarily based at the University of the Philippines Vargas Museum in Diliman. In this preliminary task, it dwells on three activities: Knowledge Production and Circulation; Exhibition and Curatorial Analysis; Public Engagement and Artistic Formation. It endeavors to activate a network to coordinate a range of interventions in contemporary art in the Philippines and to cast a sharper profile for it on an inter-local and trans-regional scale. -
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. -
Special Issue on Film Criticism
semi-annual peer-reviewed international online journal VOL. 93 • NO. 1 • MAY 2020 of advanced research in literature, culture, and society UNITAS SPECIAL ISSUE ON FILM CRITICISM ISSN: 0041-7149 Indexed in the International Bibliography of the ISSN: 2619-7987 Modern Language Association of America About the Issue Cover From top to bottom: 1. Baconaua - One Big Fight Productions & Waning Crescent Arts (2017); 2. Respeto - Dogzilla, Arkeofilms, Cinemalaya, CMB Film Services, & This Side Up (2017); 3. Ebolusyon ng Isang Pamilyang Pilipino - Sine Olivia, Paul Tañedo Inc., & Ebolusyon Productions (2004); 4. Himala - Experimental Cinema of the Philippines (1982); and 5. That Thing Called Tadhana - Cinema One Originals, Epicmedia, Monoxide Works, & One Dash Zero Cinetools (2014). 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. Although downloading and printing of the articles are allowed, users are urged to contact UNITAS if reproduction is intended for non-individual and non-commercial purposes. Reproduction of copies for fair use, i.e., for instruction in schools, colleges and universities, is allowed as long as only the exact number of copies needed for class use is reproduced. -
Performing Arts
Nicanor Abelardo Born: 1893-02-07 Birthplace: San Miguel, Bulacan Died: 1934-03-21 Race: Asian Field: Composer Famous for: Kundiman songs Nicanor Abelardo is a Filipino composer who composed over a hundred of Kundiman Songs especially before and during the World War II. Born in San Miguel de Mayumo (now is San Miguel, Bulacan in February 7, 1893, Nicanor Sta. Ana Abelardo was introduced to music when he was five years old, when his father taught him the solfeggio and the banduria. At the age of 8, he was able to compose his first work, a waltz entitled "Ang Unang Buko," which was dedicated to his grandmother. At the age of 13, he was already playing at saloons and cabarets in Manila. At age 15, he was already teaching in barrio schools in San Ildefonso and San Miguel Bulacan. All of these happened even before young Abelardo finally took up courses under Guy F. Harrison and Robert Schofield at the UP Conservatory of Music in 1916. By 1924, following a teacher s certificate in science and composition received in 1921, he was appointed head of the composition department at the Conservatory. Years later, he ran a boarding school for young musicians, and among his students were National Artist Antonino Buenaventura, Alfredo Lozano and Lucino Sacramento. In the field of composition he is known for his redefinition of the kundiman, bringing the genre to art- song status. Among his works were "Nasaan Ka Irog," "Magbalik Ka Hirang," and "Himutok." He died in 1934 at the age of 41, leaving a prolific collection of more than 140 works. -
Art-Q4module7-Sculpt
SCULPTURE Overview In the previous modules, you were already introduced to different art elements and design principles as manifested from different Philippine arts – from simple basket and mat weaving of different indigenous and cultural communities to the highly sophisticated textile weaving from Northern to Southern Philippines. You are also familiar with the Angono petroglyphs, the Laguna copperplate inscriptions,. In this module, you will understand how Philippine sculpture evolved from its simplest form as manifested in clay potteries of Maitum, the Manunggul jar, the bul-ol, and the pre-historic Angono cave art to the highly- Christianized period of Chinese artisans in Manila and the Paete woodcarvers in Laguna and the western- inspired, modern era of sculptors Napoleon Abueva, Guillermo Tolentino, Ed Castrillo, and Jun Yee among others. You will also experience how to create your own sculpture and make an assemblage from available and seemingly useless trash and discards. Monument of San Lorenzo Ruiz de Manila - the first Filipino saint, seen in Binondo Plaza, Manila. 155 MODULE 7 GRADE 7 ART LEARNING At the end of this module, you are ex- pected to: Bas relief refers to a form of sculpture carved understand that sculpture was from a block of wood or stone which can either already a form of art since pre- be highly delineated (high relief) or only slightly historic Philippines. Protruding or delineated (low relief). review the evolution of sculpture in the different parts of the Phil. Cosmology refers to the belief system of a analyze the unique forms, particular culture regarding divinity and their materials, colors, and uses of role in the life of a community or person. -
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.