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Given a generalized historical relationship between Philippine musical culture and that of the West, this study will tackle the main problem: ‖How did western vocalism become a Philippine ‗school‘ or tradition of singing?‖
This study covers the cultural history of music in Barangay Iglungsad, San Fernando, Bukidnon, Philippines, with a focus on the indigenous music of the Tigwahanons, aimed to provide a historical account of the music of this community.
ordinarily clear-cut distinction between two kinds of music (Western and native) in the Philippine Islands and stated that 90% of the population is oriented strongly towards Western music. He also remarked that the Muslims came to the Philippine Islands before the Spaniards - even to Manila.
The thesis examines the styles of music and the ways in which music is used by the Filipino migrant community in Christchurch during 2008, encapsulated in their fiesta celebrations. It acknowledges the recent growth in Filipino migration to New Zealand and seeks to identify a corresponding increase in Filipino musical activity.
View PDF chevron_right. Hunting Spectres of Invisibility among the Philippine Musical Avant-garde. Juro Kim Feliz. Oscar Campomanes conceived of a “spectre of invisibility,” informing how Filipinx invisibility in global contexts played out historically and in contemporary times.
The Philippine Madrigals sang nationalist songs, sometimes with texts that were supportive of the state, while Bayanihan encapsulated a national cultural tradition by formulating a standardized repertoire with the veneer of tradition.
The document provides an overview of the history of Philippine music. It discusses the three main influences: indigenous traditions, Spanish-European influenced traditions, and American influenced traditions.
