By D. R. M. Irving
Named one in every of BBC heritage Magazine's "Books of the 12 months" in 2010
In this groundbreaking learn, D. R. M. Irving reconnects the Philippines to present musicological discourse at the early glossy Hispanic global. For a few and a part centuries, the Philippine Islands have been firmly interlinked to Latin the United States and Spain via transoceanic relationships of politics, faith, exchange, and tradition. town of Manila, based in 1571, represented an essential intercultural nexus and an important conduit for the nearby diffusion of Western song. inside its ethnically different society, imported and native musics performed a very important position 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 complicated types of inventive interplay and opposition.
Multiple types and genres coexisted based on strict laws enforced via nation and ecclesiastical experts, and Irving makes use of the metaphors of eu counterpoint and enharmony to critique musical practices in the colonial milieu. He argues that the creation and institutionalization of counterpoint acted as a strong agent of colonialism through the Philippine Archipelago, and that contrapuntal buildings have been mirrored within the social and cultural reorganization of Filipino groups below 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 types that can contest and subvert hegemony. Throwing new gentle on an almost unknown zone of song heritage, this ebook contributes to present knowing of the globalization of tune, and repositions the Philippines on the frontiers of analysis into early glossy intercultural exchange.
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Extra info for Colonial Counterpoint: Music in Early Modern Manila (Currents in Latin American and Iberian Music)
There nonetheless exists info in relation to the musical lives of those filthy rich associations. significant parish church buildings of Extramuros with signiﬁcant musical traditions incorporated Tondo, Malate, Binondo, Santa Cruz, Quiapo, the Parian, and Hermita (now Ermita). remoted items of archival information let the development of a mosaic-like photo of the existing musical developments in parochial areas and in deepest or particular chapels. The Venerable Orden Tercera de San Francisco maintained a chapel adjoining to the Franciscan convent in Intramuros (ﬁgure 6. 2). The order was once based within the Convento de San Francisco in 1611; in 1618, a small chapel was once erected for the order’s use, and this served for non secular celebrations until eventually 1723, whilst “it used to be rebuilt and enlarged. ” the recent ediﬁce used to be accomplished in 1733 and devoted the subsequent yr.