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Colonial Counterpoint
Music in Early Modern Manila
Irving
408 pages
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18 halftones
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241x163mm
978-0-19-537826-9
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Hardback
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24 June 2010
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- Provides first major monograph on the development of an Iberian-influenced musical culture in Southeast Asia
- Reconnects the history of music in the Philippines to related histories in Latin America
- Proposes the theory that musical counterpoint acted as a powerful agent of colonialism
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.Readership: It will be of interest to historical musicologists and ethnomusicologists studying Asian, Iberian, and Latin American musics; scholars working in colonial and postcolonial history; researchers working on the Spanish Empire and cultural globalization; and orientalists, anthropologists, and sociologists.
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Irving, Junior Research Fellow, Christ's College, Cambridge D. R. M. Irving is a musicologist and cultural historian whose work focuses on the role of music in early modern intercultural exchange and globalization. He is currently a Junior Research Fellow at Christ's College, Cambridge, and is also a performer on early violins. This is his first book.
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"By a whisker, in a great year for history books, I nominate Colonial Counterpoint: Music in Early Modern Manila by DRM Irving (OUP) because it inspires the excitement of a new departure in historical tradition and the awareness of new possibilities for the future. Never before has a writer done such a perfect job of making music a subject of cultural history and writing about it intelligibly for every kind of readership. I've struggled unsuccessfully to get music into my own classes and books; DRM Irving has found the right idiom as if by magic. And, by the way, he has made a fundamental contribution to the study of early modern empires and of the Filipino past." - Felipe Fernandez-Armesto, BBC History Magazine Books of the Year
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Introduction: Colonial Counterpoint
PART I: Contrapuntal Cultures
1.: Colonial Capital, Global City
2.: Musical Transactions and Intercultural Exchange
PART II: Enharmonic Engagement
3.: Mapping Musical Cultures
4.: The Hispanization of Filipino Music
5.: Courtship and Syncretism in Colonial Genres
PART III: Strict Counterpoint
6.: Cathedrals, Convents, Churches, and Chapels
7.: Regulations, Reforms, and Controversies
8.: Fiesta filipina: Celebrations in Manila
Conclusion: Contrapuntal Colonialism
Endnotes
Bibliography
Index
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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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