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Books > Arts & Architecture > Music > Western music, periods & styles > Baroque music (c 1600 to c 1750)
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Colonial Counterpoint - Music in Early Modern Manila (Hardcover)
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Colonial Counterpoint - Music in Early Modern Manila (Hardcover)
Series: CURRENTS IN LATIN AMER & IBERIAN MUSIC
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In this groundbreaking study, D. R. M. Irving reconnects the
Philippines to current musicological discourse on the early modern
Hispanic world. For some two and a half centuries, the Philippine
Islands were firmly interlinked to Latin America and Spain through
transoceanic relationships of politics, religion, trade, and
culture. The city of Manila, founded in 1571, represented a vital
intercultural nexus and a significant conduit for the regional
diffusion of Western music. Within its ethnically diverse society,
imported and local musics played a crucial role in the
establishment of ecclesiastical hierarchies in the Philippines and
in propelling the work of Roman Catholic missionaries in
neighboring territories. Manila's religious institutions resounded
with sumptuous vocal and instrumental performances, while an annual
calendar of festivities brought together many musical traditions of
the indigenous and immigrant populations in complex forms of
artistic interaction and opposition.
Multiple styles and genres coexisted according to strict
regulations enforced by state and ecclesiastical authorities, and
Irving uses the metaphors of European counterpoint and enharmony to
critique musical practices within the colonial milieu. He argues
that the introduction and institutionalization of counterpoint
acted as a powerful agent of colonialism throughout the Philippine
Archipelago, and that contrapuntal structures were reflected in the
social and cultural reorganization of Filipino communities under
Spanish rule. He also contends that the active appropriation of
music and dance by the indigenous population constituted a
significant contribution to the process of hispanization. Sustained
"enharmonic engagement" between Filipinos and Spaniards led to the
synthesis of hybrid, syncretic genres and the emergence of
performance styles that could contest and subvert hegemony.
Throwing new light on a virtually unknown area of music history,
this book contributes to current understanding of the globalization
of music, and repositions the Philippines at the frontiers of
research into early modern intercultural exchange.
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