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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. -
Miguel Castro Biographical Information
CV Miguel Castro MIGUEL CASTRO (Gregorio Enrico Garcia Castro) BIOGRAPHICAL INFORMATION Place of Birth: Lipa City, Batangas, Philippines Nationality: Filipino Height: 173 cm Weight: 75 kg Hair Color: Brown/Grey Eye Color: Brown Address: 27 Wyoming Avenue Oatlands, NSW 2117 Mobile: 0420648214 e-mail: [email protected] Webpage: https://miguelcastro.art/ ACADEMIC QUALIFICATIONS Elementary: Lipa City South Central School, Lipa Batangas, From Grade One to Grade 6 High School: The Mabini Academy, Lipa City Batangas, Graduated March 1985 University: Lyceum of the Philippines, Intramuros, Manila, 3rd Year Mass Communication TRAINING • 1982-1986 Bookbinding Apprenticeship Tayuman, Manila, Philippines • 1989 Gantimpala Acting Workshop, Gantimpala Theatre Foundation Manila Metropolitan Theatre, Lawton, Manila, Philippines • 1989-1994 Company actor/production work apprentice for Gantimpala Theatre Foundation, Manila Metropolitan Theatre, Lawton, Manila, Philippines 1 CV Miguel Castro • 2005-2006 Private Vocal Training under Lionel Guico University of the Philippines, Music Department, Manila, Philippines • 2007-2015 Private Vocal Training under Pablo Molina, Quezon City, Philippines • 21-23.6.2019 Anthony Brandon Wong Acting Workshop, Sydney, Australia Business Experiences • 1992-2019 Castro Designs Paper Products Manufacturing and Local Distributing Company, Manila, Philippines • 1998-2003 Castro Designs Paper Products Manufacturing and Exporting Company, Quezon City, Philippines • 1998-2003 Castro Designs retail gift shops chain, SM North Quezon City, Mega Mall Mandaluyong, Robinsons Galleria Pasig City, Robinsons Place Manila, Philippines Agents • 2005-2016 Bibsy Carballo Talent Management, Manila, Philippines • May 2019-present Focus Talent Management, Sydney, Australia ARTIST INFO – Actor/Singer/Visual Artist Miguel Castro started his career as a stage actor with one of the oldest theatre companies in Manila, Philippines, Gantimpala Theatre Foundation, in 1989. -
A Comparative Study of Two Kindergartens
HARMONIA : Journal of Arts Research and Education 15 (2) (2015), 101-106 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v15i2.4099 FORMS, DEVELOPMENT AND THE APPLICATION OF MUSIC MEDIA IN THE KINDERGARTENS: A Comparative Study of Two Kindergartens Totok Sumaryanto Florentinus Study Program of Art Education Post Graduate Program, Semarang State University, Indonesia E-mail: [email protected] Udi Utomo Music Department, Semarang State University, Sekaran Campus, Semarang 50229, Indonesia E-mail: [email protected] Received: October 18, 2015. Revised: November 29, 2015. Accepted: November 29, 2015 Abstract This study was aimed at investigating the form of music media employed in the teaching and learning process (TLP) in the kindergartens, and the teachers’ effort to develop and apply music media in the TLP. The researchers used a qualitative approach. The research was conducted in TK Hj. Isriati Baiturahman and TK Negeri Pembina Semarang. The subjects of the study were principals, teachers, staffs and students. In collecting the data, the researchers used three different techniques: interview, observation and documentation. Then, the researchers used data reduction, categorization and data interpretation to analyse the data. The result shows that the teachers in both schools have utilized varied music media in the TLP. In TK Hj. Isriati, the teachers used music media in the form of music composition and electronic equipment; and the new music instruments were used by the teachers in extracurricular activities. Meanwhile, the teachers in TK Negeri Pembina utilized music media, including music composition, music instruments and electronic equipment. -
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). -
The Philippines
THE PHILIPPINES A GUIDE TO AUDIO-VISUAL RESOURCES ON PHIUPPINE STUDIES IN HAWAII Prepared by Belinda A. Aquino Marissa C. Garcia Center for Philippine Studies School of Hawaiian, Asian and Pacific Studies University ofHawaii at Manoa Copyright 1993 CENTER FOR PHILIPPINE snmlEs School ofHawaiian, Asian and PacifIC Studies University ofHawaii at Manoa Printed by Hawaii Correctional Industries Cover: Detail of a brass earring from eagayan Valley, designed by the Isnegs. Source: Men:edita Jose-Dela Cruz, Sourcebook ofPhilippine Traditiollll1 Art Motifs and Crafts Processes, (Manila: Philip pine Committee, 1992.) TABLE OF CONTENTS FOREWORD 1 GENERAL INFORMATION 3 PART I: 5 Subject Index to Videotapes PART II: 14 Summaries and Descriptions PART III: 46 Miscellaneous Holdings PARTN Infonnation on Policies and Instructions 49 Wong Audiovisual Center University ofHawaii at Manoa Art, Music & Recreation Section 54 Hawaii State library IYloREWORD Panofthejustification we citedfor the establishmentofa programon PhilippineStudies at the University ofHawaii atManoa (UHM)in 1974wasthepresenceofanextensivecollection of material on the Philippines in the university's libraries, which would enhance the basic missions ofinstruction, research and service on this campus. At that time the collection on the Philippines at the Asia Collection ofthe Hamilton Library numbered 2,404 (monographic titles only). This has grown to more than 10,000 titles, which is more than adequate to back up an academic program. Theprogrameventuallybecame the CenterforPhilippine Studies, when the Asian Studies Program to which Philippine Studies was attached was made pan of the new School ofHawaiian. Asian and Pacific Studies (SHAPS) in 1987. In time theresearchcollection would becomplemented by the acquisitionofaudiovisual material on various aspects of Philippines Studies, thereby increasing the resources on this campus for studies on the Philippines. -
Clemente C. Morales Family Salinas, California
The Filipino American Experience Research Project Copyright © October 3, 1998 The Filipino American Experience Research Project Clemente C. Morales Family Salinas, California Edited by Alex S. Fabros, Jr., The Filipino American Experience Research Project is an independent research project of The Filipino American National Historical Society Page 1 The Filipino American Experience Research Project Copyright © October 3, 1998 The Filipino American Experience Research Project Copyright (c) October 3, 1998 by Alex S. Fabros, Jr. All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper, or broadcast. Published in the United States by: The Filipino American Experience Research Project, Fresno, California. Library of Congress Cataloging-in-Publication Data Library of Congress Catalog Card Number: 95-Pending First Draft Printing: 08/05/98 For additional information: The Filipino American Experience Research Project is an independent project within The Filipino American National Historical Society - FRESNO ALEX S. FABROS, JR. 4199 W. Alhambra Street Fresno, CA 93722 209-275-8849 The Filipino American Experience Research Project-SFSU is an independent project sponsored by Filipino American Studies Department of Asian American Studies College of Ethnic Studies San Francisco State University 1600 Holloway Avenue San Francisco, CA 94132 415-338-6161 (Office) 415-338-1739 (FAX) Page 2 The Filipino American Experience Research Project Copyright © October 3, 1998 TABLE OF CONTENTS TABLE OF CONTENTS ................................................................................. -
Kolintang Studies During a Pandemic
[Working Paper] Kolintang Studies during a Pandemic MATT MENGER Matt Menger has bachelor’s and master’s degrees in music from the University of Houston, and continued his studies with courses in World Arts at Dallas International University. He is an Arts Consultant with SIL and has worked in Southeast Asia for the past ten years. Matt has a particular interest in the interaction of local arts and religion, as well as in arts revitalization movements. He is a member of the Society for Ethnomusicology, the International Council for Traditional Music, and the Global Ethnodoxology Network. Introduction Just over a year ago, my family and I relocated to a new city in Indonesia: Manado, near the northern tip of the island of Sulawesi. Although we have lived in Indonesia for over ten years, and in a different city on Sulawesi for the past nine, moving to a new location requires starting over: building new relationships in our neighborhood, meeting the artistic community, building relationships with new coworkers, learning and understanding the cultural differences here from where we lived previously, and much more. Doing research for a graduate class in learning a new art form, for which I initially wrote this paper, was not only an excellent way to begin learning about all of the above but is also a path to how I might be able to better serve this community. Choosing a Focus As I considered which artistic tradition to pursue for this course, I was torn, primarily due to the history of this area of Indonesia. There has been a colonial presence in North Sulawesi since the 1600s, with influences from the Spanish, Portuguese, Dutch, and English (Ricklefs 2008). -
History of Philippine Music
PRESENTED BY: Frances Ramona Pantig Joyce Cristene Marquez Fatima Munoz Bianca Monique Bargas Fundamentals of Music 1 Fundamentals of Music 2 Filipinos are said to be Musical Peoples. In most cases, singing is accompanied by dancing. They used Bamboo canes, Palm leaves and bark of trees to write their songs and a piece of sharp stick or iron for their pen. Even their instruments were made of Bamboo and wood which indicated their primitiveness. Fundamentals of Music 3 Functions of their music: Religious Social life Characteristics of their Music: Recitative Mostly simple two note music Example of these are: | Dal-lot – a song sung by farmers during wedding, baptismal and others parties accompanied by Kutibeng (guitar). | Pamulinawen – is a love song | Dung-aw – is a song requesting a dead person to be good in his next life. Fundamentals of Music 4 Early Filipinos music was influenced by trade relations other races like: |Malays |Indonesians |Arabs |Chinese |Indo-Chinese |Japanese and |Hindus Fundamentals of Music 5 Chinese, Japanese and Hindus introduce their five-tone scale called pentatonic. The rhythmic effects through the use of gongs, drums and cymbals were brought by Hindus and Mohammedans. Reed type of wind instruments were brought by Japanese and Chinese Fundamentals of Music 6 Ordinary songs (diyuna, talindaw) Street songs (indulamin, suliranin) Sorrow (dalit, umbay) Wedding (ihiman) Rowing (tigpasin, kalusan) Lullaby (hele-hele, hili, oyayi, iyaya) Success (baling-kungkong, dapayanin, hiliran, sambotani, tagumpay) House (tingad) General merry making (kalipay) Counting (urukay) Fundamentals of Music 7 Musical Airs From different Regions Filipino Music has grown from the simple two note melody to the music that has become today. -
Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and The
Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and the Symbolic Ecology of the Gambus Lute Joseph M. Kinzer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Christina Sunardi, Chair Patricia Campbell Laurie Sears Philip Schuyler Meilu Ho Program Authorized to Offer Degree: Music ii ©Copyright 2017 Joseph M. Kinzer iii University of Washington Abstract Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and the Symbolic Ecology of the Gambus Lute Joseph M. Kinzer Chair of the Supervisory Committee: Dr. Christina Sunardi Music In this dissertation, I show how Malay-identified performing arts are used to fold in Malay Muslim identity into the urban milieu, not as an alternative to Kuala Lumpur’s contemporary cultural trajectory, but as an integrated part of it. I found this identity negotiation occurring through secular performance traditions of a particular instrument known as the gambus (lute), an Arabic instrument with strong ties to Malay history and trade. During my fieldwork, I discovered that the gambus in Malaysia is a potent symbol through which Malay Muslim identity is negotiated based on various local and transnational conceptions of Islamic modernity. My dissertation explores the material and virtual pathways that converge a number of historical, geographic, and socio-political sites—including the National Museum and the National Conservatory for the Arts, iv Culture, and Heritage—in my experiences studying the gambus and the wider transmission of muzik Melayu (Malay music) in urban Malaysia. I argue that the gambus complicates articulations of Malay identity through multiple agentic forces, including people (musicians, teachers, etc.), the gambus itself (its materials and iconicity), various governmental and non-governmental institutions, and wider oral, aural, and material transmission processes. -
Module 2: (EXPLORING MUSIC of MINDANAO)
Republic of the Philippines Department of Education Regional Office IX, Zamboanga Peninsula 7 MUSIC Quarter 3 – Module 2: (EXPLORING MUSIC OF MINDANAO) Name of Learner: ___________________________ Grade & Section: ___________________________ Name of School: ___________________________ What I Need To Know Good day learners! We’re glad you finish your module 1 on time. Now we want you to proceed to the next level. Are you guys ready? Great! We know that you can finish it again on time with good results. Let’s get it on. In this module, you are expected to attain the following MELCS: 1. improvises simple rhythmic/melodic accompaniments to selected music from Mindanao; (MU7LV-IIIb-h-5) 2. perform music from Mindanao with own accompaniment;(MU7LV- IIIc-h-6) 3. evaluates music selections and music performances using rubrics on musical elements and style. (MU7LV-IIIb-h-10 What I know Activity title: Name me please! Directions: Name the different instruments of Mindanao below then identify whether it is Islamic or Non-Islamic instruments. Write your answers on the space provided. Gabbang Kulintang Suling Bamboo Ensemble Kudyapi Agung Seronggagandi 1. https://mikehayes77.tripod.com/p2africa/flutes.jpg _______________________________________________________________ 2. https://www.philippinegenerations.org/wp-content/uploads/2009/08/kulintang1.jpg _________________________________________________________________ 3. https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcR9tOxxY03wvVYtXrPbgEe2c3n52nDcISWvMA&usqp=CAU __________________________________________________________________ -
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.