Graduate Institute of Musicology College of Liberal Arts National Taiwan University
Master Thesis
The “Strategic Essentialism” and “Asia as Method” in José Maceda’s Academic Writings and Musical Compositions
Hui-Ping Lee
Advisor: Chien-Chang Yang, Ph. D.
August, 2016
20 24
.
Dr. Ramón Santos
Dr. La Verne de la Peña Dr. Jonas Baes Dr. José Buenconsejo
UPCE Ms. Grace
Buenaventura Mrs. Sol Trinidad Roan Opiso Philip
Noveras UPCE Dr. de la Peña
R01
103
2016 8 18 103
1917–2004
José Maceda
Abstract
This thesis re-examines the renown Filipino ethnomusicologist/composer José Maceda’s (1917–2004) academic writings and musical compositions in views from the concepts of “strategic essentialism” and “Asia as method”.
While the existing literatures by Western writers such as Michael Tenzer, Christian Utz and Matt Marble all tend to concentrate on Maceda’s cultural practices within a pre- supposed binary oppositional frameworks, none of them has really mined into the colonial contexts of the Maceda’s Philippines. In contrast to their writings, this thesis argues Maceda did not only connect cultural entities who share similar colonial experiences in his research methods, several distinct turns are easily found in his cultural strategies between different historical periods. Most importantly, as reviewing the social context of the Philippines, it is evident that Maceda’s cultural practice is by no means a replication of any kinds of dominating cultural structures, but rather a way of empowerment and self- understanding, a “strategic essentialism” from a post-colonial concern.
Moreover, although most of the writers do pay attention to the changes in the compositional approaches during Maceda’s late years, they rarely relate Maceda’s compositional changes in relations to his research. Therefore, this thesis also provides a different viewpoint on Maceda’s late “East-Asian” turn by way of “Asia as method,” a concept derived from the writings of Yoshimi Takeuchi, Yuzo Mizoguchi and Kuan-Hsin Chen. By reassessing Maceda’s late ethnomusicology works and musical compositions, such an approach of “Asia as method”, does not only notice the productive food for thought beneath Maceda’s late practices, but also at the meanwhile suggests a possible cultural interpretation as an intention to reconcile the tension occurred during his late practices.
Keywords: José Maceda, strategic essentialism, Asia as method
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1970 1990 ... 38
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61 ... 63
80 ... 63
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1990 ... 78
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... 125
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... 139
... 151
squares ... 81
Gondjang Gandjing slendro pathet Sanga ... 83
... 109
... 111
... 112
... 113
Sujeichon 2002 ... 106
... 117
Kalinga gangsa ... 91
... 92
Kubing 1967 105 109 ... 92
Pagsamba 1968 Kyrie 73 75 ... 93
Strata 1987 15 0 20 ... 94
batiwtiw bamboo zither ... 96
Ugma-Ugma 1963 105 109 ... 97
Music for Five Pianos 1993 1 3 ... 103
Music for Five Pianos 1993 84 87 ... 104
Music for Five Pianos 1993 133 135 ... 104
Sujeichon 2003 II 1 4 1 4 ... 105
Sujeichon 2002 1 6 ... 106
Sujeichon 2002 57 62 ... 107
11 12 ... 112
Nan Guan 2003 0 1 8 ... 115
Nan Guan 2003 3 1 8 ... 119
Nan Guan 2003 6 1 12 ... 120
Nan Guan 2003 12 1 8 ... 122
っ ラ
ム José Maceda 1917–2004
ユ ギ
ム タ ミ
ヨ 9 ラ
ラ Takemitsu
Toru 1930–1996 ラ Yun Isnag
윤이상1917–1995 ム Chou Wen-Chung 1923–
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ヨム とィ ず ム
ヨピ ム と ず
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1982 1990 1992 ム
Ph.D. ム
22013 ––––30 に
ム9
31 Ramón P. Santos, “Revivalism and Modernism in the Music of Post-Colonial Asia,” in A Search in Asia for a New Theory of Music, ed. José S. Buenconsejo (Quezon: University of the Philippines Center for Ethnomusicology, 2003), 412.
2 Dana Richard Wilson, “The Role of Texture in Selected Works of Toru Takemitsu,” (PhD diss., University of Rochester, Eastman School of Music, 1982); Seok-Kwee Chew, “An Analysis of the Selected Music of Chou Wen-Chung in Relation to Chinese Aesthetics,” (PhD diss., New York University, 1990); Yulee Choi, “The Problem of Musical Style: Analysis of Selected Intrumental Music of the Korean-born Composer Isang Yun,” (PhD diss., New York University, 1992).
3 Frances Alfaras Niduaza, “The Piano Music of José Montserrat Maceda,” (D.Ma Diss. University of
Ph.D. ム 2014 Neal D. Matherne ム
4ラ ム Ugnayan 1974 ム
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4 Neal D. Matherne, “Naming the Artist, Composing the Philippines: Listening for the Nation in the
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6 Dipesh Chakrabarty, Provincializing Europe: Post Colonial Thought and Historical Difference, (Princeton: Princeton University Press, 2000), 6.
7 ム Shyh-Ji Chew, “Maceda, José.” In Contemporary
Composers, ed. Brian Morton et al. (Chicago: St. James Press, 1992); Lucrecia Kasilag, "Maceda, José,”
in The New Grove Dictionary of Music and Musicians Vol. XV, ed. Stanley Sadie et al. (London:
Macmillan, 2001); Lucrecia Kasilag, “Maceda, José,” in Die Musik in Geschichte und Gegenwart Personenteil 11, aus. Herausgegeben Ludwig Finscher (Kassel: Bärenreiter, 2007).
ポ ム Ramón P. Santos, “José Montserrat Maceda: Rebellion, Non-conformity and Alternatives,” in Tunugan: Four Essays on Filipino Music, by Ramón Santos (Quezon City: University of Philippines Press, 2005a); Francisco F. Feliciano, The Four Asian Contemporary Composers (Quezon City: New Day Publishers, 1983), 81–129.
8 め Calabarzon Region, Region IV-A め Laguna
め Concepción Montserrat と
91917 1 31 め9 め
1930 る
University of the Philippines College of Music ––––
University of the Philippines Conservatory of Music ュ Francisco Santiago 1889–1947
[ Alexander Lippay
、 め
Academy of Music of Manila
Victorina Lobregat
そ 1937
École Normale de Musique de Paris
10ね Alfred Cortot 1877–1962 ラ 1941 ム
ざ Diplôme de virtuosité avec distinction や
め
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め ム め
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Santos, “José Montserrat Maceda,” 126. ム
10 ね 1919 と École Nationale
de Musique de Paris に 9 Elliott Carter
1946
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Elie Robert Schmitz 1889–1949
12ュ Edgard Varése 1883–1965
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1952 Queen’s College ュ
Edward Lowinsky 1908–1985 1952
Columbia University Paul Henry Lang 1901–1991
Mindoro Mindanao
1950
Northwest University Indiana University
Chicago University Alan Merriam 1923–
1980 George Herzog 1904–1983
1958
Radiodiffusion-Télévision Française, RTF; French Radio and Television Broadcasting
Pierre Schaeffer 1910–1995 musique concréte び
ュ ュ Iannis Xenakis 1992–2001
Pierre Boulez 1925–2016 ラ
University of California, Los Angeles 1963 ラ
ね Mantle Hood 1918–2005 る “The music of the
Magidanao in the Philippines”
Ugma-Ugma 1963
11 ラ 1961–63
ず 9 See Chew, “Maceda,
José,” 592.
12 Elie Robert Schmitz 1889–1949 9 ラ
Conservatoire de Paris Louis-Joseph Diémer 1843–1919
9 The Capture of Inspiration 1935 び The Piano works of Claude Debussy 1950
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15 José Maceda, “Elements for A New Music in Southeast Asia,” in Fourth Conference of Asian Composers’ League Final Report: Nov. 25 – Dec. 2 1976, ed. Asian Composers’ League (Taipei: Chinese Music Books House, 1978), 61–3.
あ ラ ヨ
Raymond Murray Schafer 1933– ラ
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16 Santos, “José Montserrat Maceda,” 142.
17 Ibid., 64.
18 Ibid., 65.
19 Ibid., 66.
20 Ibid., 67.
21 Jonas Baes, “From Ading to Nothingness: Questions on Maceda’s Music and Imagination in Philippine Society,” FO(A)RM Magazine 5 (2007); Jonas Baes, “Jose Maceda / Ading (1978): A Critical Dialogue.”
mural
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1930–1980 ピ ォ 9
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27Kalimantan
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28ア い
ラ パ Gramsci
22 と colossal work る
』 See Baes, “Jose Maceda,” 170–1.
23 Baes, “Jose Maceda,” 170.
24 Baes, “From Ading,” “Jose Maceda.”
25 Baes, “Jose Maceda,” 171.
26 Ibid., 177–8.
27 る9 め 1980 るギ ラ
– National-popular 〉 Ading 1978
ヨ 9— い
29Neal Matherne Naming the Artist,
Composing the Philippines: Listening for the Nation in the National Artist Award
ム め Felipe Padilla De Leon
2009 ォ
30
ヨ
31ピ 1986
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/ ピ cronyism
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1974
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29 Ibid., 179–81.
30 Matherne, “Naming the artist.”
31 Ibid., 3–4: “I contend that De Leon and Maceda created the nation through music and both were recognized as National Artists at fraught moments in Philippine history, making it necessary for others to revise official narratives of their careers.”
32 Ibid., 8–9.
33 Ibid., 82: “Only after exploring their capabilities on live instruments does he return to the idea of recording the sounds, as in Cassettes 100 and, later, Ugnayan.” ラ
パ ヨ 〉
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ピ ラ Ugnayan 1974
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34 Matherne, “Naming the Artist,” 97.
35 Ibid., 87: “Maceda planned for this work, like his others, to be an experiment in overlapping timbral interaction. The involvement of uninformed, “everyday” listeners with little instruction on this native music was not necessarily a consideration for his composition.”
36 Ibid., 87: “I have found no evidence that he envisioned this work as a social movement for the masses.”
37 Ibid., 87.
あ ピ
だ め Lucrecia Kasilag
ン ム ォ め
Matherne, “Naming the Artist,” 76.
め 1989
ム Cultural Center of the Philippines The
League of Filipino Composers Asian Composers’ League
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38 Santos, “José Montserrat Maceda,” 129–30.
39 José Maceda, “A Search for an Old and A New Music in Southeast Asia,” Acta Musicologica 51/1
ラ
40
ラ Ugnayan
1974 と
と9 1975
と ミ ユ
Ugnayan 1974
41カ ム 9
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と ム
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9
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40 La Verne de la Peña (dean, Department of Musicology, College of Music, University of the Philippines Diliman), in discussion with the author, June 24, 2014.
42
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1 Harrison Ryker, “Introduction,” in New Music in the Orient: Essays on Compositions in Asia since World War II, ed. Harrison Ryker (Buren, The Netherlands: F. Knuf, 1991): 11: “A striking tendency among composers in Asia today is a sensed need to explain one’s work in relation to the society one lives in.”
ー 9 ム /
」あ Christian Utz 1969–
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cross-cultural signification multi-textual impact
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4
〉
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ヨ explicit だ implicit
ム ム 9
— 〉と
Oh Hee-Sook 오희숙 と Contemporary Music in East Asia 2014
ム
ヨ ポ
ラ 』 』 ユ neo-
nationalism anti-essentialism
2 Christian Utz, “Listening Attentively to Cultural Fragmentation: Tradition and Composition in Works by East Asian Composers,” The World of Music, 54/2 (2003):8.
3 Ibid., 8: “How can we understand encounters between traditional non-Western music and contemporary compositional practice without applying terms that classify or evaluate them too hastily?”
4 Ibid., 8: “How can we connect an interpretation of a musical work based on musical analysis with necessary and helpful theoretical frameworks such as (post-)colonial theory or cultural studies?”
1960 ム
51960
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ユ
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5 Christian Utz, “Neo-Nationalism and Anti-Essentialism in East Asian Art Music Since the 1960s and the Role of Musicology,” in Contemporary Music of East Asia, ed. Oh Hee-Sook (Seoul: Seoul National University Press, 2014).
6 Ibid., 14–19.
7 Ibid., 19–23.
8 Ibid., 25.
9 Christian Utz, “Listening Attentively,” 33: “If we oppose cultural essentialization or simplification on the side of the composers, we must neither essentialize their creative work in particular nor the intricacies and richness of today's global musical culture in general.”
ム
ム ヨ
10ム ォ
ォ 9 ラ
immanenten Analyse と
kontextuellen Analyse ヨ
な
sound-mass Klangmassen り ヨ 」あ ––––
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』
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Suling 1986 と
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10 Christian Utz, “Aurale Überlieferung und Verschriftlichung in der Musik von Yuji Takahashi und José Maceda: Zur Methodik einer interkulturellen Kompositionsgeschichte” in Oralität, klingende Überlieferung und mediale Fixierung: Eine Herausforderung für die Musikwissenschaft, hrsg. von Andrea Lindmayr-Brandl (Wien: Edition Praesens, 2005).
う ム ー Maria Prause
とォ
11 Ibid., 62: “Jose Maceda: Klangmassen und die Suche nach einer anti-kausalen Logik”
ム ラ
12 Ibid., 55–62.
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る9 と ピ
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ラ 」あ と ず ‧
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1613 Ibid., 65: “…dass Takahashi letztlich dem Prinzip des kulturellen Essentialismus' insgesamt eine Absage erteilt und seine Aufmerksamkeit auf ganz konkrete Detailphänomene richtet, die er auch in ihrer Partikularität belässt, während Maceda durchaus mit dem Anspruch auftritt, eine wenn nicht universelle, so doch überregionale Substanz aufzuspüren, die der kausalen Logik der westlichen Musik etwas Gleichwertiges und Differentes entgegenzusetzen vermag.”
14 Ibid., 65.
15
ラ と と
ォ ラ
1565 333 ダ
っ ピ
ム
ユ 1977 227–9
い と
16 ラ ヨ と
1914–1996 」あ 1961 1961 9 ず 1995
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” と ラ そ
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」 」 ラ 」あ と
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Academism ラ
」あ は ォ デ ば
ず
48/4 1997 1023 ラ
ラ
」あ
9 チ
ム ム ど
17ラ ば
ム ラ ヨ 9
ム Michael Tenzer 1957–
ム José Maceda and the Paradoxes of Modern Composition in Southeast Asia
な と
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18と
ヨ そ
』 universality チ
』 ュ ュ Iannis
Xenakis 1922–2001 ュ Edgard Varèse
ミ 1
approximate 』 ]
ね Claude Lévi-Strauss 1908–2009 る
と ジ 』 」
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Kubing 1967 そ
17 Utz, “Aurale Überlieferung,” 65.
18 Michael Tenzer, “José Maceda and the Paradoxes of Modern Composition in Southeast Asia,”
Ethnomusicology 47/1 (2003).
19 Ibid., 112–3.
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い と ー
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Matt Marble 1979–
FO(A)RM ラ 〉
Techniques of Ambiguity — José Maceda and a Music of Shares ム
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ヨ ヨ
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20 Ibid. 106–7: “...this is not Western music, it is Asian music. I don't know if you can call these structures rhythmic or melodic, these things are intentionally blurred, it is more of an outlay of sounds according to a certain logic that is Asian.”; “Yes, there is a counterpoint of sounds here, which could not have been possible for me without my studies of Palestrina or Xenakis. Yes, this is Western music, Western music played with bamboo tubes and men's voices.”; “So,” “are you saying that on the one hand it’s Palestrina, and on the other it’s a ritual at a village in Mindanao?”; “Bravo,” “Yes.”
21 Ibid., 105.
22 Ibid., 102: “It is paradoxical that Maceda could find the music of the Western avant-garde to be both universal and applicable to Southeast Asian values; as it were, one man’s crystals are another man’s coconuts.”
23 Matt Marble, “Techniques of Ambiguity – José Maceda and a Music of Shares,” FO(A)RM Magazine 5 (2007).
24 Ibid., 54: “Regardless, in Maceda's urgency to emphasize Oriental values (from an Occidental platform), he has also drawn the line of demarcation between the two more deeply, reinforcing the kind of qualitative opposition he sought to transcend.”
せ せ ム
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25と ェ
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26ヤ と
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1990
25 Ibid., 54: “…there is certainly some truth, and yet we may also detect in these words an inflated nostalgia and a cultural romanticism worth calling into question, for this is the source of Maceda's humanism: an idealized set of human values reduced to their representation of SE Asian musical practices.”
26 ラ べ ラ 9
[ ] 』 だ ‧
』 』
Ibid., 55: “…what is the practical significance of such assertions for us and for our sound practices today? Or more pointedly - how do we, today and in the wake of globalism, reconcile the localized traditions of our respective pasts with the nomadic multiplicities of our present?”
い
ば
bi-polar logic
bipolarity ラ
ム だ と ム
27
る9 ヨ
28
ラ
そ 〉
29ラ
1986 ム
A Concept of Time in a Music of Southeast Asia (A Preliminary Account)
30ラ
だ
ラ ラ 』 』
31
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32
』
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とィ 〉 ラ
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27 José Maceda, “Review Essay: Bipolarity, Ki Mantle Hood's Trilogy, Four Counts, and the Fifth Interval; Ki Mantle Hood. The Evolution of Javanese Gamelan, Book III, Paragon of the Roaring Sea,”
Asian Music 21/2 (1990b). José Maceda, “A Logic in Court Music of Tang Dynasty,” Acta Musicologica 67/2 (1995a). José, Maceda, “The Structure of Principal Court Musics of East and Southeast Asia,” Asian Music 32/2 (2001).
28 José Maceda, “Theories of Music from Ensembles in Asia,” Proceedings of the 18th conference and festival of the Asian Composers League, Manila, Philippines, ed. Ramon P. Santos, 26. Manila: League of Filipino Composers, 1997. José Maceda, “The Structure of,” 160.
29 Maceda, “Theories of Music,” 26.
30 José Maceda, “A Concept of Time in a Music of Southeast Asia (A Preliminary Account),”
Ethnomusicology 30/1 (1986).
31 Utz, “Listening Attentively,” 29–30. Utz, “Aurale Überlieferung,” 39, 65.
32 Utz, “Neo-Nationalism,” 21.
だ
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34
と
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ヨ ォ ユ ム
Bill Ashcroft ‧
だ タ だ ‧』
そ と
35〉 ム
33 ば ラ
34 び ュ Charles Ives 1874–1954
ュ Bernd Alois Zimmermann 1918–1970 John Cage 1912–
1992 ラ び と
ム Alvin Lucier 1931– ム
ム ム 9
ラ ヨ
‧ そ
あ る9 ヨ ム
35 Bill Ascroft et al, “Essentialism/Strategic Essnetialism,” in Postcolonial Studies: The Key Concepts, ed. Bill Ashcroft et al. (London & New York: Routeledge, 2013), 96: “Essentialism is the assumption
だ 』 る 』 』
』 ム る ‧
ラ 』ム とォ
9 ma 〉 ム
36ピ べ
』
ピ る
る9
ム と inferior other
37ム ピ
ヨ っ 1960 70
ム ヨ
と 』 だ
ユ neo-colonialism ず
38
ォ ォ ま な
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39
Gayatri Spivak 1942– い
strategic essentialism 〉 ィ
』 と 9
』 チ な
』 』
40
』
that groups, categories or classes of objects have one or several defining features exclusive to all members of that category.”
36 Utz, “Neo-Nationalism,” 19–21.
37 Ascroft et al, “Essentialism,” 96–7.
38 Ibid., 97.
39 ム ピ 2012 371
40 Gayatri Chakravorty Spivak, “Criticism, Feminism, and the Institution,” in The Post-Colonial Critic:
Interviews, Strategies, Dialogues, ed. Sarah Harasym (New York: Routledge, 1990) 10: “How can the unexamined universalising discourse of a certain sort of feminism become useful for us, since this is the hegemonic space of feminist discourse?”
だ 』 』
ず チ— 9
ろっ— あ ず チ
あ ––––
— り な
41
ィ
42
』
チ ォ ま
』
43い と
』 イ
44〉 』 』
Kristina Wolff
‧ お ピ ラ
』 〉 ば 』
— な
45
〉 ず
Cynthia R. Nielson 』 The Négritude Movement
る9 ず
い ‧ ォ
41 Ibid., 11: “I think we have to choose again strategically, not universal discourse but essentialist discourse. I think that since as a deconstructivist—see, I just took a label upon myself— I cannot in fact clean my hands and say, ‘I'm specific.’ In fact I must say I am an essentialist from time to time.”
42 Ibid., 11: “But strategically we cannot.”
43 Ibid., 12.
44 Ibid., 11: “…my search is not a search for coherence…”
45 Kristina Wolff, "Strategic Essentialism," in Blackwell Encyclopedia of Sociology, ed. George Ritzer.
(Blackwell Publishing, 2007), Blackwell Reference Online Accessed June 16.
http://www.blackwellreference.com/subscriber/tocnode.html?id=g9781405124331_yr2012_chunk_g97 8140512433125_ss1-268: “…a strategic use of positivist essentialism in a scrupulously visible political interest. It utilizes the idea of essence with a recognition of and critique of the essentialist nature of the essence itself. It is a means of using group identity as a basis of struggle while also debating issues related to group identity within the group.”
46
ム Martin Gallivan
〉 ラ
47め ュ
ィ ヨ ュ ま フ
48
〉 ラ 〉
そ ォ な
ば 』
49〉ず と
《 tactics だ そ
ラ ム と
ム ム ユ
ム ム
』 チ
ム チ ォ ラ
だ 《 ヨ タ
ム ム ヨ そ
と と
だ
』 ラ
ム
タ ム
46 Cynthia R. Nielsen, "Frantz Fanon and the Négritude Movement: How Strategic Essentialism Subverts Manichean Binaries," in Callaloo 36/2 (2013).
47 Martin Gallivan et al, "Collaborative Archaeology and Strategic Essentialism: Native Empowerment in Tidewater Virginia," in Historical Archaeology 45/1 (2011).
48 Akiko Watanabe, "Representing Muslimness Strategic Essentialism in a Land Dispute in Metro Manila," in Philippine Studies 56/3 (2008).
49 Wolff, “Strategic Essentialism.”
1. 1950–60
1956 Rockfeller
Foundation
16
50
ヨ / / だ
』
51ポ る9
ム ム
そ
521961 6 5 め Sarawak Museum と
– ム Seminar on Philippine-Bornean Cultures ラ
め ゆ Kuching, Saribas
ィ メ Iban, Sea Dayak
53そ ム そ
そ
Bahia ラ1964
め ム
54ず ミ ム ヨ
ヨム 」
ム ム ム
い ム
あ ラ ぬは
だ だ だ
50 José Maceda, “Music of Southeast Asia: A Report of a Brief Trip,” Journal of East Asiatic Studies 5/3 (1956).
51 Ibid., 298–9, 301–3.
52 Ibid., 310–1.
53 José Maceda, “Field-Recording Sea Dayak Music,” Sarawak Museum Journal 10 (1962).
54 José Maceda, “Latin Qualities in Brazil and the Philippines,” Asian Studies 2/2 (1964).
ラ ム き
–––– –––– 』
パ
ヨ ヨ と ラ
・ だ そ
あ
55
と ム
ム 』
ポ め
ォ9ム パ そ
タ ム な
2. り drone ロ melody
ム ラ 1969 つ
り ロ ム
56ねュ ム
な り
55 Ibid., 227: “It may be incongruous to conceive of a modern man in the tropics clad in this attire, driving a car, holding a conference, or entertaining in a cocktail party. But it may be argued that his condescension to accept another dress foreign to his cultural habits and to his sense of aesthetics, has made him give up —under the duress of conformism— many things in the spiritual sphere, not only in the matter of dress but also in other things. To the native man assuming this cold-climate dress, any changes in style or proportion and in aesthetic attitudes would be guided by Western ways; and his spontaneous sense of lines, color and balance would be sublimated or almost completely lost. Thus, he becomes a perennial servant of foreign ideals in dress; he not only loses his natural postures, but tends to assume a different personality.”
56 José Maceda, “Drone and melody in Philippine musical instruments,” (paper presented at the International Conference on the Traditional Drama and Music of Southeast Asia, held by Malaysian Society for Asian Studies, Kuala Lumpur, August 27–31, 1969). José Maceda, “Drone and Melody in Philippine Musical Instruments,” in Traditional drama and musics of Southeast Asia, ed. Mohd. Taib Osman, (Kuala Lumpur: Dewan Bahasa dan Pustaka, 1974), 246–73.
ム バ ラ ム ラ
と だ
ヨ
ロ
57れ 1970
」あ
58れ ム り
drone 〉
59ム な
60そ ム
61ユ
62
ム ー ム ラ
ミ と
63ぶ
Malaysian music
64に
65
デ 1950 と モ
ロ
57 Ramon Santos, “José Montserrat Maceda: Rebellion, Non-conformity and Alternatives,” in Tunugan:
Four Essays on Filipino Music, by Ramon Santos (Quezon City: University of Philippines Press, 2005a), 143–5: “Maceda formulated classifications of the drone-and-melody phenomenon according to an almost surgical analysis of their micro-structural properties in different musical settings.”
58 Santos, “José Montserrat Maceda,” 145.
59 Frances Alfaras Niduaza, “The Piano Music of José Montserrat Maceda” (D.Ma Diss., University of Memphis, 2013), 27–8.
60 José Maceda, A Manual of a Field Music Research with Special Reference to Southeast Asia (Quezon: Department of Music Research, College of Music, University of the Philippines, 1981), 14.
61 Maceda, “A Concept of Time,” 12–3. José Maceda, “In search of a source of pentatonic hemitonic and anhemitonic scales in Southeast Asia,” Acta Musicologica 62 (1990a): 192.
62 José Maceda, “Sources of Musical Thoughts in Southeast Asia,” in Third Asian Composers’ League conference-festival final report: Oct. 12 – 18, 1975, Manila, Philippines, edited by Asian Composers’
League, (Philippines: The National Music Council of Philippines, 1976) 65–6. Maceda, “Theories of Music,” 24.
63 José Maceda, “The Music of the Magindanao of the Philippines,” (PhD diss., University of California – Los Angeles, 1963), 5–6. José Maceda, “Means of Preservation and Diffusion of Traditional Music: The Philippine Situation,” Asian Music 2/1 (1971): 14. Maceda, “Drone and Melody,” (1974), 246.
64 ず ム とィ ヨ
ュ ム 9 ム
ラ ミ Maceda, “The Music of the Magindanao,” 10–2.
pro-Hindu Indonesian
Sotheast Asian - Malayo-polynesian ユ
neolithic ム Maceda, “Drone and Melody,” (1969) 1.
65 Maceda, “Drone and Melody,” (1974), 246–7.
〉 り ロ
66を —
り drone ‧ 』 だ り 』
り ロ と
67
ロ り だ
だ と そ
68repetition
and permutation 〉 り ロ 〉
れ り ロ 〉
A り B り 9 C り ロ
9 D り ロ E ミ り ロ
F り と そ ロ
69ム
ー
ィ ラ り ロ
と balingbing 〈
‧ そ り ラ り
と そ gangsa
ラ
り と そ ロ と
70
だ だ ラ とョ
う ム と ‧
ラ と
る9 な タ
66 ロ ヨ ロ とる
〉 あ 〉 ロ
い
67 Maceda, “Drone and Melody,” (1974), 247: “…a periodic reiteration or as a continuous sounding of one or more tones which act as organ points, ostinati, centres or pivots around which a melody circulates.”
68 Ibid., 247: “…consists of a permutation, combination or an arrangement of two or more tones with or without pitch.”
69 Maceda, “Drone and Melody,” (1974), 247–8.
70 と Tongatong
(bamboo tubes) Patatag (Thigh xylophone) Gangsa Agung
り ロ
ム
71ミ り ロ と ら
ロ れ ‧
mode り
ヨ –ぬ う
れ
72
ー ヨ / ‧ロ cantus
firmus り basso continuo だ 』
り ロ 』
73ム り
ロ
74り ロ 〉 だ ユ
」あ
75」
〉 と
76り ロ
77ュ ュ Alan Lomax 1915–2002
1970 ラ ー
78
り ロ ラ ヨ ム
り ロ ラ
る ラ と チ
い
71 Maceda, “Drone and Melody,” (1969), 3. Maceda, “Drone and Melody,” (1974), 252.
72 Maceda, “Drone and Melody,” (1969), 13–4. Maceda, “Drone and Melody,” (1974), 270–1.
73 Maceda, “Drone and Melody,” (1974), 271.
74 Maceda, “Drone and Melody,” (1969), 10–1. Maceda, “Drone and Melody,” (1974), 263–8.
75 Maceda, “Drone and Melody,” (1969), 15. Maceda, “Drone and Melody,” (1974), 268–9, 272.
76 Maceda, “Drone and Melody,” (1969), 15. Maceda, “Drone and Melody,” (1974), 263, 270.
77 Maceda, “Drone and Melody,” (1969), 16. Maceda, “Drone and Melody,” (1974), 271–2.
78 Maceda, “Drone and Melody,” (1974), 272.
あ ー
イ ム 』
ヨ ヨ ら
ム と
Agungan 1967 あ り
ロ ム そ
ム
3. 1980
79ユ イ
1970 ォ ポ 〉
1975 ラ と ム “Sources of Musical
Thoughts in Southeast Asia” 」あ
80“Elements
for A New Music in Southeast Asia” ユ
81ム
ポ ォ 」 だ
」あ ム と
と
り –
ォ とる
79 め ラ ォ ム
ィ regional approach ム
1960
そ Department of Asian Music め
Department of Musicology っ ラ
い め
ム
80 Maceda, “Sources of Musical.”
81 José Maceda, “Elements for A New Music in Southeast Asia,” in Fourth conference of Asian Composers’ League final report: Nov. 25 – Dec. 2 1976, ed. Asian Composers’ League, (Taipei:
Chinese Music Books House, 1978): 59–66.
1979 International Society of Musicology
IMS Acta Musicologica
“A Search for an Old and a New Music in Southeast Asia” ユ
イ ム
82い ヨ
ム
ば り
も
83ォ9
ヨ –––– ポ
84
ム
85ム
ュ ム ム ホ ラ
ム ォ9
〉 り ラ 〉
86ユ 」あ る9
と《 ム
〉 ず だ
87ば ォ9 ム
と ォ9 ラ 」あ
82 José Maceda, “A Search for an Old and a New Music in Southeast Asia,” Acta Musicologica 51/1 (1979).
83 Ibid., 160–1.
84 Ibid., 161–2.
85Ibid., 163: “However, beyond national researches, there is a need to coordinate work cross-culturally.”
86 Ibid., 163–6.
87 Ibid., 166: “A neglected phase of music research lies in an application of native cultural concepts- such as infinity, balance with nature, time and other elements-to the creation of music, or to a transference of such concepts to another order of sound, or to another music.”
ム Ugnayan 1974 Udlot-Udlot 1975 Music for automobiles 1969
88ー と ム 〉
89
ユ
と ム 」
ラ ユ う 1976
とキ
ミ に 」 い ム 〉
ム 」あ
と ン ム
る 1970
[ な
そ
を 』
— み 〉 9
90ユ イ ラ 1981
ム UNESCO 9 A Manual of a Field Music
88 れ ラ び 〉う
Ugnayan 1974 Udlot-Udlot 1975
1969 」 コ ナ
89 Maceda, “A Search for an,” 167–8.
90 Maceda, “A Search for an,” 168: “A task of this kind of music research would be to find a means of musical expression that would lead men away from standardization, mechanization, an achievement- complex, and a rule of restrictive logic which encompass [encompasses] the world today…It is one study to understand how this innate balance can be emulated in modern life; it is another study to capture the hidden qualities of this well-being, and express them in music, a very effective medium for bringing these qualities outside of the abstractions that hide them.”
ム ず デ ー
Ugnayan 1974 ぶ— 《
ムと ー 」
Research with Special Reference to Southeast Asia な 」
あ ヨ そ ラ な
と ラ
ピ な と ヨ
と ム
91な ー
あ 1 』 」 2 ム
』 ラ ム
92
そ る ポ
ピ ポ モ ム
と ——
a unity of purpose
ポ モ ミ 〈 と ず
group effort ラ
93
な ユ イ
ー あ 〉
い
ミ ム と 9
ユ
だ ユ ヨ ム
ぶ—
と り
94》 ヨ ユ
91 Maceda, A Manual of, 8.
92 Ibid., 10–1.
93 Ibid., 11. 〉 〉 mass
participation び human labor と 〉 9
94 Maceda, A Manual of, 16: “Hidden facets of a village culture in Southeast Asia may be seen or studied from a modern point of view, and be directed to support the needs of life today.”
an anchor of reference び
95
ー と
ー る
1986 ラ Ethnomusicology ム “A Concept of Time In A Music of Southeast Asia (A Preliminary Account)”
〉
96そ
め Sarawak of Borneo メ Iban
North Sumatra Batak Phu Phai
pii-phaad
97モ ー
り ロ drone & melody 〉 ム ヨ
〉
98ム “In Search of a Source of
Pentatonic Hemitonic and Anhemitonic Scales in Southeast Asia”
イ と
— そ る9
グ ヨ と
れ そ
99ユ イ ム
な と ヨ ム ‧
95 Ibid., 9.
96 Maceda, “A Concept of Time.”
97 Pii-phaad ム よ Piphat
98 」あ anti-kausalen logik とる9
〉 だ ‧ ヨ
い」 せず ラ 」あ 》 ォ
ユ ヨ だ ム
ム
Maceda, “A Concept of Time,”
49. 〉 ラ
だ 」あ
99 José Maceda, “In Search of a Source of Pentatonic Hemitonic and Anhemitonic Scales in Southeast Asia,” Acta Musicologica 62 (1990a).
9 そ ム
1970 1990
color り drone classification of things
100
ラ ミ
ポ だ
〉
ー ラ ヨ
ュ
』
101ラ 」あ
そ る9
り 1997
と ム ォ9
1021994 ラ いン
ム そ ミ
103
ラ 1970
び
104ラ 1997
とォ9
100 Tenzer, “José Maceda,” 101.
101 Ibid., 101–2.
102 Maceda, “Theories of Music.”
103 José Maceda, “Music Research and Music Composition or Counts of Four, the Fifth Interval and Classification of Things as Basic Structures in Music and Music Compositions,” in ACL ’94 Final Report The 16th Conference & Festival of ACL, Towards A New Era of Asian Pacific Music Retrospect and Propect, May 22–28, 1994, ed. by National Committee, ACL, R.O.C., 80–90. (Taipei: National Committee, ACL, R.O.C., 1994)
104 Maceda, “Sources of Musical.”; “Elements for A New.”; José Maceda, “Populations, Inventions and A New Music in Asia,” in The 6th Asian Composers’ League Conference / Festival October 11–19, 1979, ed. by Jae-You Park et al. (Seoul: The Korea National Committee/ACL, 1980).
ラ ム
105
ユ
106ム ヨ
れ ‧
ム 1997 とォ9
り
」あ 〉 ム る9
ラ 》 〉 ‧
ず 」あ
と ヨ
カ 1997 り
ラ》 》
ォ9
ラ 」
とォ9 ユ
ヨ ラ
だ 』 ラ
107ラ ヨ
1. 1970
1963
1971 そ
」あに ム
105 Maceda, “Theories of Music.”
106 José Maceda, “Cultural Sources for Contemporary Music in ASIA,” in ACL ’98 Final Report The 19th Conference and Festival of the ACL ~~Discovery of Asian Music~~ Discovering the Significance of Oriental Philosophy in Music September 20–26, 1998, ed. Shyh-Ji Chew et al, 43–9. Taipei:
National Committee, ACL, R.O.C., 1998b.
107 ム と ず other alternative
る い ラ ヨ ム
1975 “Source of Musical
Thought in Southeast Asia” 」あ ム
108ム い
」あ ず
〉 な 〉
り 〉
109
ォ9
ムー
ム る9 」あ
〉 と
ム ヨ だ 」あ
ム ヨ
」あ
〉
110』
ム ム ム に
111
り 〉
」あ …
ら め
に ラ
と イ 」あ イ ず
〉 り 〉
ユ
108 Maceda, “Sources of Musical.”
109 National Music Council of the Philippines. Third Asian Composers’ League Conference-Festival Final Report: Oct. 12 – 18, 1975, Manila, Philippines, (Philippines: National Music Council of Philippines, 1976) 2.
110 Maceda, “Sources of Musical,” 63: “…some of the musical instruments and musical ideas in India and China are found also in Southeast Asia, and may have come this region.”
111 Ibid., 63:
ヨ と9
ォ
112ー 〉
〉
ヨ ー 」あ ー だ ‧
う
113–––– –––– ォ
114カ
‧ 」あだ
と
る9
〉 1 ぶ
と ォ
ラ るギ ね
Somtow Sucharitkul 1952–
〉 る ォ
115い
ラ
‧ だ ず
』 そ ラ
ず
116ー り 〉
だ ム ム
ム
い ‧ ヨム ム チ
〉 ず 」 ラ
112 Ibid., 66: “An existing music mirrors this life in one dimension, but a re-creation of this music can give this life still another dimension.”
113 Ibid., 66: “A density of nature in the tropics can be conveyed in musical concepts, in a similar manner that a transparency of sounds describes a clarity of thought in an old southern Chinese musical ensemble, or that a particular use of timbre results in evoking a sensuousness of a 19th century life in Debussy’s entourage.”
114 Ibid., 66: “A music in the tropical belt –– in Southeast Asian and around the world–– has a philosophy to offer.”
115 National Music Council of the Philippines. Third Asian, 3.
116 Ibid., 3–4: “But I don’t know how to define what’s Asian and what’s not. The difference probably lies in its application. The repetitive, non-developmental feature of Asian music, I think it constitutes a reaction against the very planned and intricate music of the post-serialists.”
ム そ せ ラ
1970 ム
パ と ポ
と “Elements of New Music from Southeast Asia”
ユ ム
び 〉
117Ugnayan 1974 ー バ び
と
パ あ
118Udlot-Udlot 1975 ー ラユ ナ び
び ホ ラ
119ム
ユ
び ユ び モ ユ
び モ ユ イ
ム
ユ
1201979 “Populations,
Inventions and A New Music in Asia” ユ ユ ム
イ 〉
121び
」あ ラ ヤ』 」あ
ヨムー ム 』
117 Maceda, “Elements for a.”
118 Ibid., 59–63.
119 Ibid., 63–6.
120 Ibid., 63–6: “Sources of a new musical expression in Asia can be discovered through research methods in the production of sound and in the treatment of sounds of musical instruments. While a modern technology looks for new sounds in new technological material, it is also possible to look for new sounds in old technological material, which has the added advantage of having been isolated by previous cultures to have a musical rapport life, unlike the raw sounds of contemporary electronic and computer music which has not yet passed through the scrutiny of time and age.”
121 José Maceda, “Populations, Inventions and A New Music in Asia,” in The 6th Asian Composers’
League Conference / Festival October 11–19, 1979, ed. Jae-You Park et al, (Seoul: The Korea National Committee/ACL, 1980).
ヨ
122」 ラ
〉 そ ミ
』
123Ading
1978 〉 そ
ず ヤ
124
ン 』ォ9 ば
ユ な な
と —
125
2. 1990
1994 16 ラ 1970 り
“Music Research and Music Composition or Counts of Four, the Fifth Interval and Classification of Things as Basic Structures in Music and Music Compositions”
ミ
126パ 1970 』
ェ 』
ム ーミ
〉
127ミ
ヨ と
ずミ ミ ず
122 Ibid., 34–5.
123 Ibid., 35–7.
124 Ibid., 38–42.
125 Ibid., 34.
126 José Maceda, José. “Music Research and Music Composition or Counts of Four, the Fifth Interval and Classification of Things as Basic Structures in Music and Music Compositions,” in ACL ’94 Final Report The 16th Conference & Festival of ACL, Towards A New Era of Asian Pacific Music Retrospect and Propect, May 22–28, 1994, ed. National Committee, ACL, R.O.C., (Taipei: National Committee, ACL, R.O.C., 1994) 80–90.
127 ミ ム
チ そ
9
128ム
/
129
」 ラ イ
ム
バ ラ
ず 〉 ラ
ヨ
だ ォ
だ と
と
/ 〉 /
ヨ
パ 》
〉だ — ォ
ず 〉
ム ォ ミ
130tunugan soundings 1997 18
め ラ
131
っ
る9 ヨ
128 Maceda, “Music Research,” 84–8.
129 Ibid., 87–8: “Indeed, there are probably other musical cultures in the world who use other systems of an organization of intervals, and who did not share a macro-structure of the fifth interval in classical European and East-Southeast Asian music.”
130 Ibid., 89: “To be sure, such arrangements would also be as artificial as a string quartet composed in Kuala Lumpur or Nagoya, but the “artificiality” is a step away from classical notions of instrumentation… These forms are of course a carry-over of trios and quartets in chamber music of European classicism, but they SEARCH FOR ANOTHER MUSICAL direction [capitals Maceda’s].
Once started, several compositions with various instrumental combinations not only from Beijing, Tokyo and Seoul but also from Bangkok, Hanoi, Jakarta and Mindanao can multiply and change the musical atmosphere of the region… It is still too soon to foretell what abstraction a music of these ensembles can lead to, but they would provide a link between this application of instruments in music composition to another sense of music where instruments would apply concepts of “no time” and no pitch levels spoken of previously.”
131 Maceda, “Theories of Music.”
ユ ム ユ
ラ ム ォ9ユ
ム 9 だ
132
う 』
と color produced by joint work
133り
drone classification of things ず
イ ラ ユ 』
ユ も ユ
134
ム Udlot-Udlot 1975 ユ
」 ヨ ロ
だ り ロ
135と
そ
1361998 19
チ ム ム
ム
137ラ 〉
ム ム 15 /
ヨ ム と 」あ
ォ9
ォ9 ム
ム
」あ ム
132 Ibid., 21–2.
133 ム と と ー ラ ヨ
1970 ず
Pagsamba 1968 れ
ラ ム 9
Maceda ”Theories of Music,” 24
134 Maceda, “Theories of Music,” 27.
135 ム ム ロ melody ロ る と
‧ だ / だ
136 Maceda, “Theories of Music,” 25: “If rhythm, harmony, and melody are three basic elements of music, is it possible to have another structure or skeleton of music comprising drone, color, and melody?”
137 Maceda, “Cultural Sources.”
