DOCSLIB.ORG

Post-9/11 Brown and the Politics of Intercultural Improvisation A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Post-9/11 Brown and the Politics of Intercultural Improvisation A UNIVERSITY OF CALIFORNIA RIVERSIDE “Sound Come-Unity”: Post-9/11 Brown and the Politics of Intercultural Improvisation A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Dhirendra Mikhail Panikker September 2019 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. Robin D.G. Kelley Dr. René T.A. Lysloff Dr. Liz Przybylski Copyright by Dhirendra Mikhail Panikker 2019 The Dissertation of Dhirendra Mikhail Panikker is approved: Committee Chairperson University of California, Riverside Acknowledgments Writing can feel like a solitary pursuit. It is a form of intellectual labor that demands individual willpower and sheer mental grit. But like improvisation, it is also a fundamentally social act. Writing this dissertation has been a collaborative process emerging through countless interactions across musical, academic, and familial circles. This work exceeds my role as individual author. It is the creative product of many voices. First and foremost, I want to thank my advisor, Professor Deborah Wong. I can’t possibly express how much she has done for me. Deborah has helped deepen my critical and ethnographic chops through thoughtful guidance and collaborative study. She models the kind of engaged and political work we all should be doing as scholars. But it all of the unseen moments of selfless labor that defines her commitment as a mentor: countless letters of recommendations, conference paper coachings, last minute grant reminders. Deborah’s voice can be found across every page. I am indebted to the musicians without whom my dissertation would not be possible. Priya Gopal, Vijay Iyer, Amir ElSaffar, and Hafez Modirzadeh gave so much of their time and energy to this project. They invited me into their musical and personal worlds. Their encouragement, patience, and support throughout the research and writing process was invaluable. I don’t consider them “subjects” or interlocuters, but friends, colleagues, and fellow artists on similar creative and scholarly paths. Countless other musicians deserve my heartfelt recognition: Rajna Swaminathan, Zafer Tawil, George Ziadeh, Nasheet Waits, Francis Wong, John-Carlos Perea, Ole Mathisen, Jon Jang, Aakash Mittal, Faraz Minooei, Sirvan Manhoobi, Royal Hartigan, Masaru Koga, Wadada iv Leo Smith, Nitin Mitta, Rudresh Mahanthappa, Rez Abassi, Anjna Swaminathan, Meera Dugal, Arun Ramamurthy, Dillon Vado, Seth Rosner, Yulun Wang, and Kate Dumbleton. I couldn’t have asked for a better committee. Liz Przybylski was an important ally during my time at UCR. I am grateful for her critical feedback and listening ear, and all the dissertation “check-ups” that helped me stay focused throughout the writing process. René Lysloff’s classes were some of the most memorable. His inquisitive mind and carefree spirit helped balance the seriousness and fun of it all. Robin D.G. Kelley is such a powerful voice in the history of black music and politics. His presence on my committee is truly humbling. I am thankful for our many meetings together. During one writing slump, I met with Robin to discuss my chapter on trumpeter Amir ElSaffar. “You’re working too hard,” he told me, suggesting that I shift my analysis to war-torn Iraq rather than the Afro Arab pre-histories he’s written so eloquently about. His advice shifted the trajectory of the chapter and thrust of my entire dissertation. I am grateful for the many friends and colleagues who provided insightful feedback or simply moral support during the natural ups and downs of writing: Lindsay Rapport, Alex Rodriguez, Soham Patel, Arathi Govind, Chinmayi Sirsi, Daniel Castro Pantoja, Kristen Hayashi, Alex Blue V, Jacob Wendt, Josh Brown, Neal Matherne, Mark Inchoco, Elizabeth Stela, and Andrea Decker. A special thanks to Max Williams for his critical feedback on chapter two and Kevin Sliwoski for reading countless chapter drafts and cover letters. Our frequent conversations during the home stretch kept me afloat and v inspired. Finally, I am grateful for Kristine Adamian, who helped keep all those cognitive distortions at bay. I am thankful for having a supportive academic community. The UC Riverside music department has been my home away from home for the last five years. Several faculty members have been important to my development as a scholar: Jonathan Ritter, Leonora Saavedra, Rogerio Budasz, Walter Clark, and Susan Ossman. I am especially indebted to Hillary Jenks, who helped hone countless grant applications and chapter drafts. My dissertation is in many ways a product of her critical eyes and ears. I am also fortunate to have had many outside mentors willing to read my work, provide insightful feedback, or encouragement throughout the research process: Michael Dessen, Michael Heller, Tamara Roberts, Elliott Powell, Niko Higgins, George Lipsitz. Special thanks to Edward Piñuelas who helped develop my theory of brownvoice in chapter three. My dissertation would not be possible without the support of several institutions. The Center for Ideas and Society funded a significant portion of my fieldwork through the Humanities Graduate Student Research Grant. I am also honored to have received a generous Dissertation Year Program award in fall 2018. Non-academic funding sustained the majority of this project. I am especially thankful for several fellowships through the Gluck Fellows Program for the Arts. These opportunities allowed me to share my research on jazz and world music to underrepresented kids from local schools across Riverside County. Finally, I want to thank the UCR music department for providing four solid years of work as a graduate TA. Juggling teaching and writing was challenging, but I am grateful to have had the chance to work with almost one thousand students from vi across our diverse campus. I want to believe that our brief conversations about music and culture made some impact on how we all listen critically in the world. Lastly, and most importantly, I am blessed with the support and love of family. It’s been a tough road for me and by extension, the people closest to me. But they were always there with gentle support and sometimes a little tough love during the stresses of graduate life. Special thanks to Debby, Tomás, and Monica for opening up their homes to me during fieldwork. Thank you to my partner and best friend, Danielle. You always believed in me, even during those moments when I lost hope. Ti amo per sempre. Finally, I am so grateful to my parents for supporting my musical and academic paths from the very start. My dad has shaped this project in more ways that he might know. Our long conversations on music and metaphysics always kept me on my toes. Your brilliant mind and poetic heart breathe through every word. I love you all. vii Dedication For my grandmother, Sarojini Panikker (1919-2018) viii ABSTRACT OF THE DISSERTATION “Sound Come-Unity”: Post-9/11 Brown and the Politics of Intercultural Improvisation by Dhirendra Mikhail Panikker Doctor of Philosophy, Graduate Program in Music University of California, Riverside, September 2019 Professor Deborah Wong, Chairperson In the aftermath of 9/11, South Asian Americans and Middle Eastern Americans experienced heightened racial violence and discrimination that subsumed their differences in the monolithic image of the Brown Other. In response, many have forged new alliances based in a shared marginalization as people of color. Recent scholarship in ethnic studies highlights the racial and class tensions surrounding interminority coalition building, particularly in relation to blackness (Kun and Pulido 2013; N. T. Sharma 2010). Music also functions as a site for the construction of community across difference. Scholars of critical studies in improvisation (CSI) highlight the role that real-time performance plays in generating meaningful encounters across divergent social identities and histories (Fischlin, Heble, and Lipsitz 2013; Stanyek 2004). Little research, however, explores the work of non-black, US-based improvisers of color. I fill in this critical gap through an examination of intercultural improvisation in the post-9/11 era. Across a multi-sited research network from New York to Chicago, Los ix Angeles, and San Francisco, I explore the impact of post-9/11 racial and gender politics on the performance, reception, and representation of South Asian American and Middle Eastern American jazz improvisers. I examine the lives of four interrelated musicians in the jazz and creative music scene: Vijay Iyer, Priya Gopal, Amir ElSaffar, and Hafez Modirzadeh. I position their work in broader collaborative contexts and in relation to discourses on race, interculturalism, and improvisation. I employ dialogic (Feld 2012) and autoethnographic (Anderson 2006; Reed-Danahay 1997) methodologies in order to situate my own identity as a South Asian American artist-scholar within these musical communities. I ask these questions: How do race and gender influence the way Brown artists are seen and heard? What are the tensions surrounding interminority encounters with blackness? How does improvisation offer a creative medium to articulate these marked identities and forge new spaces of community across difference? I argue that post-9/11 Brown jazz serves as a social vision and political strategy to negotiate the spatial, temporal, and cartographic ruptures of 9/11 through the fugitive break that constitutes blackness. My research provides a more nuanced understanding of the limits and possibilities surrounding South Asian
Load more

Recommended publications
  • The Percussion Family 1 Table of Contents
    THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine).
    [Show full text]
  • Rachmaninoff Symphony No
    RACHMANINOFF SYMPHONY NO. 3 10 SONGS (ARR. JUROWSKI) VLADIMIR JUROWSKI conductor VSEVOLOD GRIVNOV tenor LONDON PHILHARMONIC ORCHESTRA SERGE RACHMANINOFF SYMPHONY NO. 3 Sir Henry Wood, writing in his autobiography My Life and conductor. If the public in Russia, Europe and America of Music (1938), predicted that Rachmaninoff’s Third recognised his gifts in all three branches of the profession, Symphony would ‘prove as popular as Tchaikovsky’s Fifth’. he himself always regarded himself as a composer first If that has never really been the case, Wood’s further and foremost. If he also happened to be one of the finest assessment of the score does ring true: pianists the world has ever known, that was, to a certain extent, a bonus. In 1917, however, there came a seismic ‘The work impresses me as being of the true Russian change in his life. With the onset and aftermath of the Romantic school. One cannot get away from the October Revolution, Rachmaninoff and his family felt beauty and melodic line of the themes and their logical compelled to emigrate. ‘Everything around me makes it development. As did Tchaikovsky, Rachmaninoff uses the impossible for me to work’, he wrote to his cousin and fellow instruments of the orchestra to their fullest effect. Those pianist Alexander Ziloti, ‘and I am frightened of becoming lovely little phrases for solo violin, echoed on the four solo completely apathetic. Everybody around me advises me to woodwind instruments, have leave Russia for a while. But where to, and how? And is it a magical effect in the slow movement.
    [Show full text]
  • The Role of Bell Patterns in West African and Afro-Caribbean Music
    Braiding Rhythms: The Role of Bell Patterns in West African and Afro-Caribbean Music A Smithsonian Folkways Lesson Designed by: Jonathan Saxon* Antelope Valley College Summary: These lessons aim to demonstrate polyrhythmic elements found throughout West African and Afro-Caribbean music. Students will listen to music from Ghana, Nigeria, Cuba, and Puerto Rico to learn how this polyrhythmic tradition followed Africans to the Caribbean as a result of the transatlantic slave trade. Students will learn the rumba clave pattern, cascara pattern, and a 6/8 bell pattern. All rhythms will be accompanied by a two-step dance pattern. Suggested Grade Levels: 9–12, college/university courses Countries: Cuba, Puerto Rico, Ghana, Nigeria Regions: West Africa, the Caribbean Culture Groups: Yoruba of Nigeria, Ga of Ghana, Afro-Caribbean Genre: West African, Afro-Caribbean Instruments: Designed for classes with no access to instruments, but sticks, mambo bells, and shakers can be added Language: English Co-Curricular Areas: U.S. history, African-American history, history of Latin American and the Caribbean (also suited for non-music majors) Prerequisites: None. Objectives: Clap and sing clave rhythm Clap and sing cascara rhythm Clap and sing 6/8 bell pattern Dance two-bar phrase stepping on quarter note of each beat in 4/4 time Listen to music from Cuba, Puerto Rico, Ghana, and Nigeria Learn where Cuba, Puerto Rico, Ghana, and Nigeria are located on a map Understand that rhythmic ideas and phrases followed Africans from West Africa to the Caribbean as a result of the transatlantic slave trade * Special thanks to Dr. Marisol Berríos-Miranda and Dr.
    [Show full text]
  • Public Perceptions of Mt. Merapi and Mt. Agung
    SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2019 There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung Trey Atticus Spadone SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Asian Studies Commons, Civic and Community Engagement Commons, Emergency and Disaster Management Commons, Organizational Communication Commons, Pacific Islands Languages and Societies Commons, Place and Environment Commons, and the Volcanology Commons Recommended Citation Spadone, Trey Atticus, "There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung" (2019). Independent Study Project (ISP) Collection. 3165. https://digitalcollections.sit.edu/isp_collection/3165 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung Trey Atticus Spadone Project Advisor: Rose Tirtalistyani SIT Study Abroad Indonesia: Arts, Religion, and Social Change Spring 2019 PUBLIC PERCEPTIONS OF MT. MERAPI AND MT. AGUNG 2 Table of Contents Acknowledgments .....................................................................................................................................................................
    [Show full text]
  • The Finest and Most Complete Virtual Bell Instrument Available
    Platinum Advanced eXperience by Chime Master The finest and most complete virtual bell instrument available. Front and center on the Platinum AX™ is a color touch screen presenting intuitive customizable menus. Initial setup screens clearly guide you with questions about your traditions, ringing preferences and schedule needs. The Platinum AX ™ features our completely remastered high definition Chime Master HD-Bells™. Choose your bell voice from twenty-five meticulously sampled authentic bell instruments including several chimes and carillons cast by European and historic American foundries. Powerful front facing speakers provide inside ringing and practice sound when you play or record the bells using a connected keyboard. Combined with a Chime Master inSpire outdoor audio system with full-range speakers, the reproduction of authentic cast bronze bells is often mistaken for a tower of real bells. An expansive library of selections includes thousands of hymns in various arrangements and multiple customizable ringing functions. You may expand your collection by personally recording or importing thousands more. Control your bells remotely from anywhere with Chime Master’s exclusive Chime Center™. This portal seam- lessly integrates online management and remote control. Online tools facilitate schedule changes, backup of recordings and settings, as well as automatic updates as soon as they are available! ® Where tradition meets innovation. ™ Virtual Bell Instrument FEATURES HD-Bells™ Built-In Powerful Monitor Speakers Twenty-five of the highest quality bell Exceptional monitoring of recording and instruments give your church a distinctive voice performances built right into the cabinet. in your community. Built-In Network Interface Enhanced SmartAlmanac™ Easy remote control via your existing smart Follows the almanac calendar and plays music phone or device.
    [Show full text]
  • UNITED STATES DISTRICT COURT NORTHERN DISTRICT of INDIANA SOUTH BEND DIVISION in Re FEDEX GROUND PACKAGE SYSTEM, INC., EMPLOYMEN
    USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 1 of 354 UNITED STATES DISTRICT COURT NORTHERN DISTRICT OF INDIANA SOUTH BEND DIVISION ) Case No. 3:05-MD-527 RLM In re FEDEX GROUND PACKAGE ) (MDL 1700) SYSTEM, INC., EMPLOYMENT ) PRACTICES LITIGATION ) ) ) THIS DOCUMENT RELATES TO: ) ) Carlene Craig, et. al. v. FedEx Case No. 3:05-cv-530 RLM ) Ground Package Systems, Inc., ) ) PROPOSED FINAL APPROVAL ORDER This matter came before the Court for hearing on March 11, 2019, to consider final approval of the proposed ERISA Class Action Settlement reached by and between Plaintiffs Leo Rittenhouse, Jeff Bramlage, Lawrence Liable, Kent Whistler, Mike Moore, Keith Berry, Matthew Cook, Heidi Law, Sylvia O’Brien, Neal Bergkamp, and Dominic Lupo1 (collectively, “the Named Plaintiffs”), on behalf of themselves and the Certified Class, and Defendant FedEx Ground Package System, Inc. (“FXG”) (collectively, “the Parties”), the terms of which Settlement are set forth in the Class Action Settlement Agreement (the “Settlement Agreement”) attached as Exhibit A to the Joint Declaration of Co-Lead Counsel in support of Preliminary Approval of the Kansas Class Action 1 Carlene Craig withdrew as a Named Plaintiff on November 29, 2006. See MDL Doc. No. 409. Named Plaintiffs Ronald Perry and Alan Pacheco are not movants for final approval and filed an objection [MDL Doc. Nos. 3251/3261]. USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 2 of 354 Settlement [MDL Doc. No. 3154-1]. Also before the Court is ERISA Plaintiffs’ Unopposed Motion for Attorney’s Fees and for Payment of Service Awards to the Named Plaintiffs, filed with the Court on October 19, 2018 [MDL Doc.
    [Show full text]
  • What Do Your Dreams Sound Like?
    Volume 6 › 2017 Orchestral, Concert & Marching Edition What do your Dreams sound like? PROBLEM SOLVED WHY DREAM? D R E A M 2 0 1 7 1 D R E A M 2 0 1 7 Attention Band Directors, Music Teachers, “The Cory Band have been the World's No.1 brass band for the past decade. We feel privileged Orchestra Conductors! to have been associated with We understand how frustrating it can be to try to find the professional Dream Cymbals since 2014. quality, exceptionally musical sounds that you need at a price that fits into From the recording studio to your budget. Everyone at Dream is a working musician so we understand the challenges from our personal experiences. You should not have to Rick Kvistad of the concert halls across the UK and sacrifice your sound quality because of a limited budget. San Francisco Opera says: abroad, we have come to rely From trading in your old broken cymbals through our recycling program, on the Dream sound week in putting together custom tuned gong sets, or creating a specific cymbal set “I love my Dream Cymbals up that we know will work with your ensemble, we love the challenge of week out.” creating custom solutions. for both the orchestra and Visit dreamcymbals.com/problemsolved and get your personal cymbal assistant. By bringing together our network of exceptional dealers and our my drum set. Dr. Brian Grasier, Adjunct Instructor, Percussion, in-house customer service team, we can provide a custom solution tailored They have a unique Sam Houston State University says: to your needs, for free.
    [Show full text]
  • Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music Instruments, Mechanisms That Produce Sounds, Have Been Used for Various Purposes
    Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music instruments, mechanisms that produce sounds, have been used for various purposes. In earlier times they were also used as an adjunct to dance or to labor. In later civilizations, instrumental music was used for entertainment. Present day musicological studies, following the Hornbostel-Sachs classification, divide instruments into the following categories: idiophones, aerophones, chordophones, and membranophones. Idiophones Instruments that produce sound from the substance of the instrument itself (wood or metal) are classified as idiophones. They are further subdivided into those that are struck, scraped, plucked, shaken, or rubbed. In the Philippines there are metal and wooden (principally bamboo) idiophones. Metal idiophonse are of two categories: flat gongs and bossed gongs. Flat gongs made of bronze, brass, or iron, are found principally in the north among the Isneg, Tingguian, Kalinga, Bontok, Ibaloi, Kankanai, Gaddang, Ifugao, and Ilonggot. They are most commonly referred to as gangsa . The gongs vary in sized, the average are struck with wooden sticks, padded wooden sticks, or slapped with the palm of the hand. Gong playing among the Cordillera highlanders is an integral part of peace pact gatherings, marriages, prestige ceremonies, feasts, or rituals. In southern Philippines, gongs have a central profusion or knot, hence the term bossed gongs. They are three of types: (1) sets of graduated gongs laid in a row called the kulintang ; (2) larger, deep-rimmed gongs with sides that are turned in called agung , and (3) gongs with narrower rims and less prominent bosses called gandingan . These gongs may be played alone but are often combined with other instruments to form various types of ensembles.
    [Show full text]
  • The Chinese in Hawaii: an Annotated Bibliography
    The Chinese in Hawaii AN ANNOTATED BIBLIOGRAPHY by NANCY FOON YOUNG Social Science Research Institute University of Hawaii Hawaii Series No. 4 THE CHINESE IN HAWAII HAWAII SERIES No. 4 Other publications in the HAWAII SERIES No. 1 The Japanese in Hawaii: 1868-1967 A Bibliography of the First Hundred Years by Mitsugu Matsuda [out of print] No. 2 The Koreans in Hawaii An Annotated Bibliography by Arthur L. Gardner No. 3 Culture and Behavior in Hawaii An Annotated Bibliography by Judith Rubano No. 5 The Japanese in Hawaii by Mitsugu Matsuda A Bibliography of Japanese Americans, revised by Dennis M. O g a w a with Jerry Y. Fujioka [forthcoming] T H E CHINESE IN HAWAII An Annotated Bibliography by N A N C Y F O O N Y O U N G supported by the HAWAII CHINESE HISTORY CENTER Social Science Research Institute • University of Hawaii • Honolulu • Hawaii Cover design by Bruce T. Erickson Kuan Yin Temple, 170 N. Vineyard Boulevard, Honolulu Distributed by: The University Press of Hawaii 535 Ward Avenue Honolulu, Hawaii 96814 International Standard Book Number: 0-8248-0265-9 Library of Congress Catalog Card Number: 73-620231 Social Science Research Institute University of Hawaii, Honolulu, Hawaii 96822 Copyright 1973 by the Social Science Research Institute All rights reserved. Published 1973 Printed in the United States of America TABLE OF CONTENTS FOREWORD vii PREFACE ix ACKNOWLEDGMENTS xi ABBREVIATIONS xii ANNOTATED BIBLIOGRAPHY 1 GLOSSARY 135 INDEX 139 v FOREWORD Hawaiians of Chinese ancestry have made and are continuing to make a rich contribution to every aspect of life in the islands.
    [Show full text]
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ...............................................................................................................
    [Show full text]
  • UNIVERSITY of CALIFORNIA RIVERSIDE Naming
    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.
    [Show full text]
  • Sociología Del Kulintang
    CUADERNOS DE MÚSICA IBEROAMERICANA. Vol. 28 enero-diciembre 2015, 7-36 ISSN: 1136-5536 ISAAC DONOSO Universidad de Alicante Sociología del kulintang El kulintang y su orquesta forman la música más singular de las sociedades musulma- nas del sur del archipiélago Filipino. En este trabajo se estudia el significado social de la música de kulintang, sus raíces preislámicas y sus roles en una sociedad islámica, desde las descripciones históricas del siglo XVI hasta la actualidad. La finalidad es establecer la realidad social de la música de kulintang históricamente y su posición actual en una sociedad fili- pina que se enfrenta a un mundo global con fragilidad en su conciencia identitaria. Palabras clave: kulintang, música filipina, islam en Filipinas, moros, sociología de la música, identidad musical. Kulintang and its ensembles represent the most unique music of the Muslim communities in the Southern Philippines. This study examines the social significance of kulintang music, its pre-Islamic roots and its roles in an Islamic society, from the historical descriptions dating back to sixteenth century to the present. The article’s objective is to establish the social reality of kulintang music in history and its present position in a Philippine society facing a global world with a fragile awareness of identity. Keywords: Kulintang, Philippine music, Islam in the Philippines, Moors, music sociology, musical identity. Aproximación a la sociedad islámica de Filipinas La presencia del islam en el archipiélago Filipino tiene su origen en el proceso de islamización que en el Sudeste asiático tuvo lugar como con- secuencia de las rutas comerciales que unían los puertos musulmanes de Oriente próximo con China1.
    [Show full text]