I. Summarize three oral reports rendered in the classroom.

Jose Maceda

Maceda, Jos (b. January 31, 1917, Manila d. May 5, 2004, Quezon City). Philippine composer of interdisciplinary works that have been performed throughout the world; he is also an ethnomusicologist. Prof. Maceda studied piano with Victorina Lobregat at the Academy of Music in Manila, where he graduated in 1935, and with Alfred Cortot at the cole Normale de Musique de Paris from 193741. Later he studied in the USA, including private piano studies with E. Robert Schmitz in San Francisco from 194649 and musicology studies at Queens College and Columbia University from 1950 52. He then studied anthropology at the University of Chicago and ethnomusicology at Indiana University in 195758 and the University of California at Los Angeles from 196163, where he earned his PhD. He also worked with the Groupe de Recherches Musicales in Paris in 1958. Prof. Maceda has devoted much of his time to ethnomusicological studies of the music of The Philippines and Southeast Asia since 1953. He has done field music research throughout The Philippines and in eastern and western Africa, Brazil, China, Indonesia, Malaysia, Myanmar, Thailand, and Vietnam and has written extensively about this research for publications in Canada, Germany, Malaysia, The Philippines, the UK, and the USA. Vietnam music Traditional Vietnamese music is highly diverse and syncretistic, combining native and foreign influences. Throughout its history, Vietnam has been heavily impacted by the Chinese musical tradition, as an integral part, along with Korea, Mongoliaand Japan.[1] The ancient Indochinese kingdom of Champa also had a historical effect upon this music, because the Vietnamese court found it intriguing. However, even with these foreign influences, Vietnam has a unique musical tradition stemming from its native roots. The most notable feature of Traditional Vietnamese music is that it is based on the Five Notes Scale, which is called "Ng Cung", meaning of Pentatonic. Instead of the scale of 7 notes: Do Re Mi Fa Sol La Si Ti, its 5 notes include: H X Xang Cng Liu. Isang Yun Isang Yun (also spelled Yun I-sang; 17 September 1917 - 3 November 1995) was a Korean-born composer who made his later career in Germany. Yun was born in Chungmu City, Korea (now absorbed into Tongyeong in present day South Korea) in 1917, the son of poetYun Ki-hyon. He began writing music at the age of 14, and began studying music formally two years later, in 1933. He studied at the Osaka Conservatory, and composition under Tomojiro Ikenouchi in Tokyo from 1938. After Japan entered World War II, he moved back to Korea and participated in the Korean independence movement. He was captured and imprisoned by the Japanese in 1943. After the war, he did welfare work, establishing an orphanage for war orphans, and teaching music in Tongyeong and Busan. After the armistice ceasing hostilities in the Korean War in 1953, he began teaching at the Seoul National University. He

received the Seoul City Culture Award in 1955, and traveled to Europe the following year to finish his musical studies. In Paris (till 1957) and West Berlin (195759), he studied composition under Tony Aubin, Pierre Revel, Boris Blacher, Josef Rufer, and Reinhard Schwarz-Schilling. In 1958 he attended the International Summer Courses of Contemporary Music in Darmstadt, and began his career in Europe with premieres of his Music for Seven Instruments in Darmstadt and Five Pieces for Piano in Bilthoven. The premiere of his oratorio Om mani padme hum in Hanover 1965 and Rak in Donaueschingen 1966 gave him international renown. With "Rak" he introduced the sound idea of Chinese-Korean ceremonial music as well as the East Asian mouth organ saenghwang(Korean), sheng (Chinese), or sh (Japanese) into Western avant-garde music.
II. Write an essay of not less than 300 words entitled. Why Should Music Students Study the History of Music in the Different Asian Countries?

What is Music history? Music history is sometimes called historical musicology, is the highly diverse subfield of the broader discipline of musicology that studies music from a historical viewpoint. Through music history you can see the evolution of music that we have today. It may not seem very important but when you look at it weve come from Gregorian chant to Hip hop. Also, you can hear ideas from the past coming back the music we have today. As a music student I believe its our duty to attend or witness live performances and find different themes and variations in music and also in different aspects of music. In my opinion its great that we learn about the different cultures and different composers of our past. Its like we ask ourselves, Why do we take Asian history? Well the answer is because some things in the past happen or could happen again, and through history we learn more about ourselves. Eliminating music history eliminates the "who", the "how", the "when" and most importantly the "why". All that we are left with is the "what". And you can't do much with that, without understanding all of the other four. In my opinion it is important to know the history of music in different Asian countries because The Philippines is an Asian country. We cannot guarantee to ourselves that we would be living in the Philippines forever. Someday, after we succeed we need to explore and go to different countries to teach or to perform. The main importance of Asian History is, it teaches us how each Asian country music differs from one another.