Riza S. Pepito BSE32 Homework 1 1. Philippines Music 1.

1 Philippines Indigenous Music

Dr. Florencio Abanes October 2, 2013

Filipinos already had a rich and unique musical tradition long before westerners set foot on our native land. Music was present in every stage of our ancestors lives from birth to death, in blissful or tragic times. Ethnic music continues to thrive in the Philippines, particularly among indigenous people who comprise 10 percent of the countrys population and represented by more than 100 language groups from the mountains of northern Luzon as well as from Mindanao, Sulu, Palawan, and Mindoro in southern and western Philippines. Such instruments as flat gongs, bamboo buzzers, clappers, quill-shaped percussion tubes, and brass Jews harps are often seen in the north. Meanwhile, bossed gongs, ring flutes, log drums, xylophones, single-stringed violins, and suspended beams are commonly used in the south. These musical instruments are used in various rituals, festivities, and other activities. For instance, the paldong or kaldong, the lip-valley flute of the Kalinga, is a favorite instrument for serenading. Vocal forms, performed either responsorially (viz., leader-chorus) or solo, are also used for different purposes. They follow the sequence of natural events and human activities, from the personal to social, from the economic to the political, from the spiritual to the cosmic. The Ibaloy ba-diw, an example of responsorial singing, is used in ceremonies for the dead called du-udyeng or ta-tamiya. In weddings, epic songs, which may be sung for one or more nights, may also be chanted to entertain guests or villagers themselves. Meanwhile songs, performed by a soloist may be accompanied by instruments and/or dancing. Among indigenous Filipinos, one important function of music is to celebrate or commemorate important events in the human life cycle. Examples are the Kalinga dopdopit, which is sung the first time a child is bathed outside the familys house; and the dinnayan, dawak, and paliwat, also of the Kalinga, which are sung during a ritual celebrating the rite of passage from boyhood to manhood.

The variety of musical forms, styles, repertoires, and traditions that exist mirror the rich diversity in Filipino culture. Fortunately, until today, these rich indigenous musical traditions live on. They serve as a reminder of the Filipinos long history of musical talent and ingenuity.

1.1 (a) Philippines Folk Music during Spanish Period

Spanish musical influence is mainly intended to bring the Christian faith closer to the natives. The Spanish regime gave new form to Philippine music in particular. Songs, epics, native drums and gongs were overshadowed by the Christian chants and the harmony of new Western instruments - namely the organ, harp and the guitar (Anupol, 2007). Since Christianity proved to be a very powerful force in the Colonial period, the influence of Church music extended to everyday living (Anupol, 2007). When the Hispanics occupied the Philippines, they greatly influenced its music. The music developed during this period is one of the roots for modern Filipino music. It was during this period that guitars became popular. Because of this, almost all the musical forms in this period made use of the guitar (Anupol, 2007). Natives were not only instructed in singing but also in playing various instruments such as the guitar, violin, flute, harp, and organ (The Freshmen Music Room, 2011). The three main forms introduced to the Filipinos were the harana, the kundiman, and the rondalla. Most of these forms were developed as a result of the fusion between tribal music styles and traditional Spanish and Mexican music. The harana is a traditional form of courtship music in Spain in which a man woos a woman by serenading her underneath her window at night. The main instrument used for the harana is the guitar. The kundiman is a lyrical song characterized by a minor key at the beginning and shifts to a major key in the second half. The lyrics depict all sorts of stories about love from broken-heartedness to unrequited love. The rondalla is an ensemble of instruments. Philippine rondallas consist of the piccolo bandurria, bandurria, la-ud, and the guitar-shaped octavina and mandola, guitarra, and double bass (Anupol, 2007).

1.2(b) Philippine Contemporary Music during American Period

After the 400-year reign of the Spaniards, the American colonists brought with them a new breed of music. During this era, vaudeville (bodabil), cabaret (kabaret) and kundiman became the most popular forms of music (Anupol, 2007). When the Americans came, they brought the blues, folk, R&B, and rock and roll. They also made music a part of the educational curriculum. This developed the musical skills of the Filipinos who used this skill to imitate Western music and to create local versions of Western music. Eventually, the Philippines promoted its own talents like Lea Salonga at a much later date. What was popular during this time though were the juke boxes, AM radio, American dance hall, vaudeville, jazz, the Broadway musical, and vinyl records where they listened to American rock bands (Anupol, 2007). Songs became a hybrid of other forms of music that were popular then such as the kundiman. Nevertheless, the influence of the Americans in Filipino music proved to be evident during the 1960s (during the popularity of the Beatles) and 1970s (disco fever) (Anupol, 2007). The less formalized styles of music were heard and made popular in concert halls called kabaret, vaudeville shows showcasing comic, raucous, and even lewd sketches accompanied by jazz music, and even sometimes, traditional grass-root kundiman (Anupol, 2007).

1.3 Famous Composer during Spanish and American Period 1.3(a) Spanish period

The native sarswela in the vernacular, an outgrowth of the Spanish zarzuela introduced in1879, appeared by 1900. Composers who wrote music for these dramas included Bonifacio Abdon, Alejo Carluen, Gavino Carluen, Jose Estella, Fulgencio Tolentino, Juan Hernandez, Francisco Buencamino, Leon Ignacio, and Francisco Santiago. As a general rule sarswela composers functioned as conductors of the orchestra. Often they were instrumental performers of note in their own right. Many taught in schools or gave private lessons in homes. They also appeared in large public music concerts as well as in smaller gatherings where music programs formed the main attraction of informal and semi-formal occasions.

The sarswela solo songs became models for the classical kundiman and the lighter type of love songs and ballads used in radio and in the cinema. These songs were further popularized in the 1950's with the advent of the recording industry, particularly the Villar Recording Company. It gave rise to the unprecedented popularity, not only of the music, but also of the performers. Outstanding instrumental groups included the Juan Silos Rondalla, the Leopoldo Silos Orchestra, and the Mabuhay Recording band. Top artists were Sylvia La Torre, Ruben Tagalog, Cely Bautista, Raye Lucero, Diomedes Maturan, Pilita Corales, Cenon Lagman, Ric Manrique, and Nora Aunor. Initially the songs were written by Abelardo, Santiago, Buencamino, later joined by Mike Velarde, Constancio de Guzman, Josefino Cenizal, Juan Silos, Manuel Velez, Leopoldo Silos, Simplicio Suarez, Minggoy Lopez, Santiago Suarez, Restie Umali, Antonio Maiquez, and Ernani Cuenco. A favorite lyricist of these major songwriters was Levi Celerio.

1.3(b) American period The Conservatory of Music of the University of the Philippines was established in 1916 to counteract the onslaught of American jazz and to raise the standards of performance and public appreciation for fine classical music. The first two directors were Wallace George and Robert L. Schofield, succeeded in 1926 by Alexander Pippay, a Viennse conductor/composer who introduced changes in the curriculum and appointed European artists in the teaching staff. He resigned in 1931 and founded the Manila Academy of Music. Francisco Santiago (1881-1983), Santiago formed a triumvirate of composers known for their sense of nationalism, teachings and compositions. They wrote works n the larger forms: sonata, concerto, symphony, symphonic poems, mostly based on folk themes. Founded in 1903 under the direction of Walter H. Loving, the Philippine Constabulary Band carried a long tradition of brass bands dating back to the 19th century. The PC Band gained international recognition when it won the first prize at the St. Louis Exposition in Missouri in 1904. It gave regular Sunday concerts at the Luneta park. The PC Band was further recognized in 1945 by col. Antonino Buenaventura and became a convertible symphonic band, continuing to date with involvement in varied civic and cultural activities. Provincial bands have become the purveyor of classical music throughout the country, and an integral part of town fiestas as well as a laboratory for young Filipino composers today. A forerunner of the Manila Symphony Orchestra (MSO), the Constabulary Civic Orchestra was founded in 1926 by Alexander Lippay with the PC Band and faculty and students of the UP Conservatory of Music as members. The formal organization of MSO

took place in 1932 through the efforts of Trinidad F. Legarda to bring music of the masters to the masses. An outgrowth of the MSO is the Manila Chamber Orchestra under the direction of Sergio Z. Esmilla, which holds its concert season at PCIBank in Makati. The first Filipino artists to win international recognition abroad was soprano Jovita Fuentes, Isang Tapales, Merceds Matias, bass Jose Mossessgeld Santiago-Font, and violinists Ramon Tapales, Ernesto Vallejo and Luis Valencia. Dr. Lucrecia R. Kasilag.

2. Asian Music 2.1 China Chinese Music, a combination of vocal and instrumental music composed and played by the Chinese people. For several thousand years Chinese culture han been dominated by the teachings of the philosopher Confucius, who conceived music in the highest sense as a means of calming the passions and of dispelling unrest and lust, rather than as a form of amusement. The ancient Chinese belief that music is meant not to amuse but to purify one's thoughts finds particular expression in the cult of the qin (ch'in), a long zither possessing a repertory calling for great subtlety and refinement in performance and still popular among a small circle of scholar-musicians. A famous qin scholar once said, "Though the qin player's body be in a gallery or in a hall, his mind should dwell with the forests and streams." Also, traditionally the Chinese have believed that sound influences the harmony of the universe. Significantly, one of the most important duties of the first emperor of each new dynasty was to search out and establish that dynasty's true standard of pitch. A result of this philosophical orientation was that until quite recently, the Chinese opposed the theory that music was performed solely for entertainment; which accordingly relegated musical entertainers to an extremely low social status. Melody and tone color are prominent expressive features of Chinese music, and great emphasis is given to the proper articulation and inflection of each musical tone. Most Chinese music is based on the five-tone, or pentatonic, scale, but the seven-tone, or heptatonic, scale, is also used, often as an expansion of a basically pentatonic core. The pentatonic scale was much used in older music. The heptatonic scale is often encountered in northern Chinese folk music. Chinese musical instruments traditionally have been classified according to the materials used in their construction namely metal, wood, silk, bamboo, gourd, clay,

skin, and stone of these, the stone and wood instruments are obsolete. The older instruments include long zithers; flutes; panpipes; the sheng, or mouth organ; and percussion instruments, such as clappers, drums, and gongs. Of later origin are various lutes and fiddles, introduced to China from Central Asia. Chinese music is as old as Chinese civilization. Instruments excavated from sites of the Shang dynasty (circa 1766-c. 1027 BC) include stone chimes, bronze bells, panpipes, and the sheng. In the Zhou dynasty (circa 1027-256 BC) music was one of the four subjects that the sons of noblemen and princes were required to study, and the office of music at one time comprised more than 1400 people. Although much of the repertoire has been lost, some old Chinese ritual music (yayue) is preserved in manuscripts. During the Qin dynasty (221-206 BC) music was denounced as a wasteful pastime; almost all musical books, instruments, and manuscripts were ordered to be destroyed. Despite this severe setback Chinese music experienced a renaissance during the Han dynasty (206 BC-AD 220), when a special bureau of music was established to take charge of ceremonial music. During the reign (AD 58-75) of Ming-Ti the Han palace had three orchestras consiting of a fofal of in all 829 performers. One orchestra was used for religious ceremonies, another for royal archery contests, and the third for entertaining the royal banquets and harem. During the Tang dynasty (618-906) Chinese secular music (suyue) reached its peak. Emperor T'ai-Tsunghad ten different orchestras, eight of which were made up of members of various foreign tribes; all the royal performers and dancers appeared in their native costumes. The imperial court also had a huge outdoor band of nearly 1400 performers. Portions of Tang music are preserved in Japanese court music, or gagaku. During the first half of the 20th century Chinese music was considerably influenced by the music of the West. Three major schools of thought arose in response to this influence. The first school was aimed at reviving the old thousand-piece orchestras that once delighted ancient princes and sages and resisted the influence of Western music. The second school concerned itself almost exclusively with Western music. The last school of Chinese music took great pride in traditional Chinese musical culture but did not hesitate to apply it to Western techniques of composition and performance. Since 1949, the P.R.C was founded, Chinese Music got a splendid development. In contemporary China notable facilities have been built for the training of musicians in both Chinese and Western styles. Many symphonic orchestras and Chinese-style instrumental ensembles exist, and large choral groups are commonly found in large cities, universities, and factories. Both Chinese and Western instruments are manufactured in large quantities and are used in public schools and conservatories throughout the country.

2.2 Japan The earliest forms of music were drums and flute music accompanying the kagura shrine dances. From the 6th century on, music came from Korean and Chinese courts and monasteries and was performed at the Japanese court under the generic name gagaku (court music). The 8th-century court established a music bureau (gagakuryo) to be in charge of musical duties, both ritual and entertainment. The standard full-range gagaku ensemble has about 16 musicians on percussion, string, and reed instruments, the most distinctive being the free-reed mouth organ (sho), cyndrical oboe (hichiriki), the biwa lute, and the koto zither. Meanwhile with the introduction of Buddhism to Japan in the 6th century, Buddhist rites and liturgical chants gave rise to the development of a great variety of bells, gongs, wooden clappers, plaques, percussion tubes, and rattles, many of which found their way also into kabuki music of the Edo period (1600-1868). As Japan changed from a court to a military-dominated culture in the 12th century, theatrical genres of music started to develop. From this time Buddhist evangelists and chanters reciting long historical tales (notably the Heike monogatari) went around the country singing or chanting, accompanying themselves on the biwa lute, while noh became the official entertainment of the new warrior class. Its music was provided by hayashi (an ensemble of drums and flutes) plus chanters. From the 17th century, the shamisen (three-stringed plucked lute) came to the fore, providing the lively rhythm that dominated the sounds of the popular kabuki and bunraku theaters. In the bunraku puppet theater, a skilled chanter was accompanied by a shamisen, while in kabuki, shamisen solos or choruses were combined with flutes and drums and an eclectic assortment of folk and religious instruments. Japanese musical instruments are dominated by plucked string, flute and percussion instruments. Among the string instruments, special mention must be made of the koto (13-stringed zither). Formerly part of the gagaku ensemble, the koto was developed as a solo instrument from the 17th century, having its repertoire considerably enhanced by the Ikuta school in the 17th century and the Yamada school in the 18th century. Their solo and chamber music are considered by most Japanese to be the "classical" music of Japan. In percussion, the taiko nailed drum has taken off in popularity in recent years. Concerts of drum music provide popular entertainment at festivals and events, and drum groups such as Kodo have achieved spectacular success overseas. The endblown bamboo flute, the shakuhachi, is another noteworthy solo instrument. It first developed under the influence of Zen priests, with new schools of performance growing up from the 16th to 19th centuries.

In addition to religious and festival music, every region of Japan has its own folksongs minyo - which, depending on daily activities of the traditional community, may be riceplanting songs, boatman's songs, sake-making songs, or grass-cutting songs, plus a variety of songs sung at parties. Among folk music styles, Okinawan music (from which the shamisen originally derived) is experiencing a strong revival. Enka, Japan's equivalent of American Country and Western music, commonly sung at karaoke bars, has some of its origins in older, traditional Japanese popular music.

2.3 Korea Korea has long been known as The actual stretch of land of the Morning quiet for generations. For hundreds of years Korean peninsula has been dominated by larger, lot more ambitious nearby or distant neighbors such as North America, Russia, China, and Japan because of its Geo-political situation. Music and songs education as well as culture is an important part of the lifestyle within Korea. It usually takes in personalized, life-long learning, and local community contexts. Together recreational as well as professional music artists usually acquire musical training, in the form of brief personal sessions with an individual instructor. Beginner music artists typically take instruction to learn musical rudiments and also beginner-tointermediate-level musical approaches. Traditional Korean music is founded on Buddhist and also native Shamanic beliefs. Buddhist along with Shamanic dance, and also Shamanic drum music and songs are typical inside a melodic dance tune called sinawi. Music has been a significant part associated with common Buddhist events, usually including expressive chants sung solo or perhaps in unison along with rhythmic accompaniment created with woodblocks and bells. Apart from the instruments employed, conventional Korean music is actually characterized by improvisation and the absence of pauses around parts. Pansori is a great one of the latter. A pansori performance may last for more than eight hours during which a solitary singer performs consistently. Historically, melodic instruments were not played by monks through ceremonies, however at times small troupes of community musicians might perform accompaniment to Buddhist dances.

Nowadays music performances at Buddhist temples are hardly ever practiced, they are observed just on occasion in the greatest temples, and these music performances are usually in a scale much smaller as compared to sophisticated musical practices of past centuries. The particular division of traditional Korean music is unique. Unlike traditional western music, which usually alternates in between slow and quick motions, Korean music commonly starts with a slow one that gradually accelerates as the event advances. A typical instrument, the geomungo is mostly played while sitting on to the floor. The particular strings are plunk using a small stick of bamboo named suldae. The suldae is held with two fingers, index and the middle of the right hand, while the left one presses on the strings to generate numerous tones. The most typical adjusting connected with the open strings for that classic Korean instrument and tunes is D(sharp)/E(flat), G(sharp)/A(flat), C, A(sharp)/(flat)(flat), A(sharp)/B(flat), and A(sharp)/B(flat) an octave lower than the key tone. The instrument is actually played in regular Korean court tunes and also the folk varieties of sanjo and sinawi.

2.4 Thailand Thai music is what it is today because of its strong ties to the United States during the second half of the 20th century. And yet while it is heavily influenced by American music, a unique system has emerged within the music and entertainment industry that is clearly distinctive from that in America. The direction of the Thai music industry had largely been directed by the music preferences among the young people of the Gen X generation. These were the people that grew up during the turbulent time of the Cold War as it was played out in Southeast Asia. As a result of Thailand aligning itself early on with the United States in its war on communism, Thai youths came to heavily favor American style music as it was played over the airways. The American culture was dominant in Thailand at the time and most of the music played and sold there were American rock songs. With most of the Americans leaving Southeast Asia at the end of the Vietnam War, Thailand began to carve its own musical identity that showcased its own native talents yet was still reminiscent of the American style. The traditional Thai music was purely oral in culture. The traditional music of Thailand has no written notational styles. The music is also comparatively new when compared

to its counterparts in Asia. Thai music is assumed to be not more than 600 years old. The first historical evidence of Thai music was found during the reign of the Ayuthaya kingdoms around the 14th century. The development of Thai classical music reached its nadir during the Bangkok period of Thai history. Music flourished in Thailand during the 18th century. Contemporary Thai music is a harmonious blend of the old and the new genres of music. Thai musical instruments consist of strings, percussion and wind to create melodies and rhythms. Thai classical music band is divided into three types. The String Quartet This ensemble is consisted of Saw and Jakhe (three-string harp-shaped alligator) as the main sound, and with other instruments like Thai flute (Khlui), Thai drums (Toan: onesided drum and Ramana: flat-rounded drum) and mini cymbals(Ching). The Gamelan (Pi-Pat) Instruments used are mainly percussion with Thai wood wind instruments. The band mostly performs in special events from festive events to the funerals and in Thai performance like Khon (Thai masked performance), Thai puppet performance, Thai traditional dance, and Ta-lung (shadow play). The Mahori Orchestra This ensemble is the combination of the string quartet and the Mahori orchestra. The ensemble is performed at a celebration or festive event.

2.5 Indonesia Indonesian music generally means gamelan music, especially those various related types found on the two neighboring islands of Java and Bali. Partly because of the availability of this type of Indonesian music, and partly because of the sustained interest by Western-trained ethnomusicologists, Javanese and Balinese orchestral gamelan traditions have been heard and studied by Americans over the past half century as much as have other related high art musical traditions of Asia, such as China, Japan, and India. The main types of performing arts on the neighboring islands of Java and Bali are very closely related, since, in the 15th century when Islam overtook the entire island of Java,

the royal courts of East Java fled to the island of Bali, bringing with them their music, dance, and dramatic theatrical arts (especially the shadow-puppet play and the dance drama). Consequently, today in both Java and Bali gamelan music is used to accompany closely related types of dance dramas as well as various types of aesthetically related puppet-theater traditions. As orchestral traditions, Javanese and Balinese gamelan music share several similarities with the orchestral symphonic music of the West. Both the Indonesian gamelan orchestra and the symphony orchestra, for instance, consist of a large instrumentarium of standard instruments: they perform highly structured sophisticated compositions, and they use the manipulation of dynamics (i.e., volume) for expressive purposes. However, aside from these few fundamental similarities, the two types or orchestral traditions have many differences, particularly in terms of aesthetics, playing techniques, and musical styles. The Western orchestra, for example, is essentially an audience-oriented, bowed-string ensemble played by professional musicians who "read" from notated music, while an Indonesian gamelan is essentially a performer-orientated, struck-percussion ensemble played by amateur musicians who "perform" from memory. In addition, the conductor of the Western orchestra is the designated "leader" of musical compositions of nearly unlimited melodic diversity but considerable restricted rhythmic range, while the drummer of the gamelan orchestra is the "leader" of compositions of limited melodic diversity but great rhythmic range. Whereas Western symphonic music is typically an indoor, virtuosic, secular art form reserved as an elitist activity, Indonesian gamelan music is generally an outdoor, nonvirtuosic, religious art form designed ideally for every person. There are six basic instrument types shared by the principle kinds of gamelan in Java and Bali. The first is a large vertically suspended gong, sometimes over three feet in diameter, which is used to punctuate the ends of long musical phrases (i.e., it is used like a period in a sentence); smaller suspended gongs are used for shorter internal phrases (i.e., they are used like a comma in a sentence). A second instrument type found in both Java and Bali is the gender type--an instrument that has thin, metal (usually tuned bronze) keys suspended over sympathetically tuned tube resonators; it is played with either one or two mallets (two are used for playing polyphonically). Another instrument type common to both cultures is the rebab, a two-stringed bowed fiddle, which is a relatively new instrument of the gamelan--one that was imported along with Islam from the Middle East. An end-blown bamboo flute, the suling, is another important instrument in both Javanese and Balinese gamelans: in Java it characteristically plays melodic phrases only intermittently, while in Bali it plays the main melody continuously throughout long sections of music. A fifth shared instrument type is a gong chime of tuned metal kettles. Called bonang in Java, it comes in two sizes, each played by one player; called reyong in Bali, it is played simultaneously by three or four players sitting side by side. (The even larger Balinese trompong, like the Javanese bonang, is played

by a single musician, however.) The last and most important--since it is generally the "leader," that is, the conductor of the gamelan--of the six instrument types shared by Javanese and Balinese gamelan types is the drum. The kendang, a double-head, barrel-shaped, laced drum is normally played with bare hands and thus produces a wide range of different sounds, depending on precisely how it is struck.

Sources:
http://www.himig.com.ph/features/18-philippine-ethnic-music http://www.wfmt.info/WFMT/Folk_Music_Project/Entries/2012/12/29_Philippines.html http://philippinesfinest.wordpress.com/tag/filipino-composers/ http://english.peopledaily.com.cn/features/music/music.html http://web-japan.org/museum/music/about_mu.html http://mehmetokonsar.wordpress.com/2011/04/29/an-overview-of-the-korean-music/ http://www.mapsofworld.com/thailand/culture.html http://www.itdaculture.com/EN/en_thai_instruments.html http://trumpet.sdsu.edu/M345/Indonesian_Music1.html