By D. R. M. Irving
During this groundbreaking learn, D. R. M. Irving reconnects the Philippines to present musicological discourse at the early glossy Hispanic international. For a few and a part centuries, the Philippine Islands have been firmly interlinked to Latin the US and Spain via transoceanic relationships of politics, faith, alternate, and tradition. town of Manila, based in 1571, represented an essential intercultural nexus and an important conduit for the neighborhood diffusion of Western track. inside its ethnically different society, imported and native musics performed a vital function within the institution of ecclesiastical hierarchies within the Philippines and in propelling the paintings of Roman Catholic missionaries in neighboring territories. Manila's non secular associations resounded with luxurious vocal and instrumental performances, whereas an annual calendar of festivities introduced jointly many musical traditions of the indigenous and immigrant populations in advanced sorts of creative interplay and opposition.
Multiple kinds and genres coexisted in line with strict laws enforced by way of country and ecclesiastical professionals, and Irving makes use of the metaphors of eu counterpoint and enharmony to critique musical practices in the colonial milieu. He argues that the advent and institutionalization of counterpoint acted as a robust agent of colonialism during the Philippine Archipelago, and that contrapuntal buildings have been mirrored within the social and cultural reorganization of Filipino groups less than Spanish rule. He additionally contends that the lively appropriation of tune and dance by way of the indigenous inhabitants constituted an important contribution to the method of hispanization. Sustained "enharmonic engagement" among Filipinos and Spaniards resulted in the synthesis of hybrid, syncretic genres and the emergence of functionality kinds which could contest and subvert hegemony. Throwing new gentle on a nearly unknown region of track heritage, this e-book contributes to present knowing of the globalization of song, and repositions the Philippines on the frontiers of study into early glossy intercultural trade.
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Extra resources for Colonial Counterpoint: Music in Early Modern Manila (Currents in Latin Amer & Iberian Music)
Even at the dawn of the seventeenth century, the empire was thought to be without limits. However, this sort of triumphalism obscured—probably intentionally—the reality of the struggles faced and deprivations endured during the course of events that led to the eventual foundation of Spain’s colony in the Philippines. Imperial Enterprises and Economic Establishment The voyages of Fernão de Magalhães (Ferdinand Magellan, 1480–1521) and then of Ruy López de Villalobos (1500–1544)—who in 1543 named the islands “Felipinas” in honor of the future Felipe II (1527–98)—forged the ﬁrst links in a chain of events that led ultimately to the arrival of the conquistador Miguel López de Legazpi (1502–72) in 1565.
The musical traditions that were associated with ecclesiastical institutions came to play a signiﬁcant role in metropolitan life, as we will see in subsequent chapters. 23 Many early modern historians and travel writers commented on the splendor of Manila’s ediﬁces. 25 This gives a three-dimensional view of the ediﬁces of Intramuros and also a glimpse of the surrounding suburbs (arrabales) of Extramuros. It illustrates daily life in the city at the time—we can even see a procession in progress in the plaza mayor—and contains a remarkable level of detail in the depiction of the major structures.
The majority of precolonial Filipino societies had a tripartite class structure, one with which early modern Europeans could easily identify and empathize: nobility, their free supporters, and serfs. 33 The datu was recognized as the head of each barangay, and was named cabeza de barangay. 35 The Spaniards gave the label principalía to the cabezas de barangay and their families, and in circumstances similar to the treatment of Aztec and Inca nobilities in the New World, this indigenous aristocracy was free from having to pay tribute or perform service to the colonial overlords.