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The Music of Jose Maceda : Musical Ideas in New Music in Southeast Asia

Arsenio Nicolas, Ph.D. College of Music

Mahasarakham University

Indonesia Institute of the Arts Surakarta Postgraduate Program International Symposium on Local Aesthetics

Tuesday, 26 July 2016 Teater Kecil, ISI Surakarta

Abstract: In the 1960s, music composition in Asia reached new directions. The first stemmed from the tradition that developed from the musical encounter with Europe and America. The second germinated from this encounter but sought to explore the rich musical traditions of Asia and create new forms and structures, as well as new philosophies and ideas of composing and making music, based on ancient sources of musical thought in Asia. In this paper, I describe and illustrate the compositional processes leading to the creation of Ugnayan and Udlot-Udlot, two of Jose Maceda’s monumental compositions. Ugnayan, originally named Atmospheres, was composed for broadcast in 20 radio stations and was premiered in Metro Manila, Philippines on January 1, 1974, aired via 33 radio stations. Udlot-Udlot (Hesitations, 1975) is a music piece for an open-air ritual for hundreds or thousands of performers.

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The Music of Jose Maceda : Musical Ideas in New Music in Southeast Asia Jose Maceda pioneered in the research of the musics in Asia from 1952, and directed the survey of music in the Philippines, now housed at the University of the Philippines, with about two thousand hours of recorded music on analog tapes, volumes of ethnographic notes, transcriptions and translations of texts of vocal music, transcriptions of music, collections of musical instruments and thousands of photographs. From his studies of music in Europe, North and South America, Africa and Asia, Maceda began to compose a new music and a new musical language from 1963 to 2003. He composed seven works from 1963 to 1975, which can be considered as the first period -- Ugma-Ugma (1963), Agungan (1965), Kubing (1966), Pagsamba (1968), and Cassettes 100 (1971). The progression in the use of music structures (drones, melodies, sound cells, sound textures) can be traced through all these five works, leading to Ugnayan (1974), and finally Udlot-Udlot (1975). Some of the compositional techniques employed in Ugnayan (1974) can be traced to Maceda’s earlier works, especially Pagsamba (1968), music for 231 players for a circular church or auditorium, Cassettes 100 (1971), music for 100 tape recorders, and to the sequel piece, Udlot-Udlot (1975), open air ritual music for 1000 or more players and vocalists. This paper is a memoir, reminiscing on Jose Maceda’s music. I witnessed the premiere of Pagsamba in 1968 and Cassettes 100 in 1971 when I was an undergraduate student at the University of the Philippines. I participated in the production and performance of Ugnayan (1974) and Udlot-Udlot (1975). I was the production manager for the performance of Kubing, Agungan and Ugma-Ugma (1976) at the University of the Philippines and Cultural Center of the Philippines. Following its first performance at the University of the Philippines, I produced Udlot-Udlot in April 1975, for 1,200 players in Calauag, Quezon, which Maceda attended. This was followed by Maceda’s performance of the piece, which I attended, at the Taman Ismail Marzuki in Jakarta in 1980 (?) with performers dancing around a square in-door theater arena. Based on these, I created two pieces produced in Malaysia and the Philippines. I produced Tetuangan, an experimental new music composition for 20 players for bamboo musical instruments and singers, at the National University of Malaysia in Bangi. In 2009, I produced Kalutang, music for 300 players, using pairs of bamboo sticks (kalutang), bamboo stamping tubes (tongatong) and bamboo flutes and performed by students of anthropology classes at the University of the Philippines, Palma Hall Lobby in Quezon City. And in October, 2010, I conducted music workshops for the Senri Foundation, National Museum of Ethnology, Osaka, Japan, for the production of Udlot-Udlot later in the end of the year. Maceda wrote numerous articles that explored ideas on new music composition, musical ideas on drone and melody, ritual and music, and the place of traditional music in contemporary society, which I reviewed (Nicolas 1988). UGNAYAN : Music for Radio Stations Ugnayan runs for 51 minutes, written in a score with twenty parts originally recorded on full track magnetic tapes. Each part has five lines for five performers variably playing kolitong (Kalinga bamboo polychordal zither), bungbung (Tagalog bamboo blowing horns), ongiyung (Ifugao whistle flutes), bangibang (Ifugao yoked-shaped wooden bars with beaters), balingbing (Kalinga bamboo buzzers), agung (Mindanao

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wide-rimmed bossed gongs), Chinese cymbals and gongs, with a vocal part in the second half. INSTRUMENTATION AND PLAYING TECHNIQUES The instrumentation and playing techniques utilized in Ugnayan, are described by Maceda on the second page of the score: kolitong (polychordal bamboo zithers ) --- about 40, in different tunings bungbung (bamboo tube horns) --- 10 ongiyong (bamboo whistle flutes) --- about 100 bangibang (yoke-shaped wooden bars) --- about 100 balingbing (bamboo buzzers) --- about 100 agung (suspended bossed gongs) --- about 10 Chinese cymbals, gongs, echo gongs --- about 10 Musical instruments and their playing techniques : kolitong (bamboo zithers) -has at least 3 strings -laid horizontally between two stands; struck with one or two sticks -tremolo, allow heavier stick to drop on string or strings -muffled tremolo, press stick against the string -rocking zither : hold tube with left hand and rock it as right hand allows stick to bounce between strings -tremolo preceeded by mordials, played by left hand kolitong (bamboo zithers) -low pitched – with parallel strings and hollow sounds -low pitched -- multi-strings, long tubes with long strings -similar techniques as above bungbung (bamboo blowing tubes) -technique for blowing : similar to french horn, tuba ongiyong (whistle flutes) -high pitched, by overblowing -medium or lower pitch, by softer blowing -any pitch is acceptable from 2 to 3 stops bangibang (yoke shaped percussion bars) -strong and soft reverberating sounds balingbing (bamboo buzzers) -with or without tremnolo (opening and closing stop with thick finger) agung (suspended gong with high boss and wide, turned-in rim) -free, repeating sound -stopped by holding and releasing the boss

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Chinese gongs, cymbal, echo gongs -freely vibrating: stopped with hand -loud, soft strokes and different mallets PREPARATIONS : Notating the Music The preparations lasted for three months. We started notating the music in October, 1973, with Professor Maceda working on the structural parts of the work, while I and Ruben Federizon, who joined us on a few occasions, notated parts that used number combinations and formulas. For more than a month, from October to November, we worked on the score from about 3 in the afternoon to 7, then taking a break for dinner and return to work till about 11:30 pm, beating the midnight curfew. At the latter part of the last pages, we worked from morning till midnight1. Maceda made sketches of the music on loose white bond paper, where each section was outlined, including the number combinations, and other features of the work.2 THE MUSIC SCORE The score measures 84 cm in width by 64 cm in height. The notation was first written on tracing paper, using pencils, and these were then blueprinted3 and then pasted together and bound. On each page of the 51 pages, twenty horizontal 5-line notation bands had been drawn by pencil, one band for one tape. The five lines, numbered 1 to 5, indicated the parts for the five players per tape. The numbers before each notation band on the left edge of the left page, and the numbers on the right edge of the facing page on the right indicated the tape number, 20 in all. The numbers on the top line indicated the seconds, numbered every 4 seconds, totalling 60 seconds per line, which means that each whole face of two pages each will have a duration of one minute in playing. The large numbers on the top left and top right corners are markers in minutes. THE RECORDING The recordings were accomplished in 5 days of the first week of December 3-7, 1973, from Monday to Friday, held at the studios of the sprawling Radio Veritas in Quezon City, producing four tapes a session. For every tape, five performers were assigned as performers or players 1 to 5. In the recording of all the twenty tapes, I played as player no. 1, while for the four other parts, these were played by Nita Abrogar, Josefina Arrieta, Ruben Federizon, Fabian Obispo, Felicidad Prudente, Antonio Regalario and some ten or so other performers who came to play alternately on all five days, including a choral group of 3 to 5 singers, all of whom were students at the College of Music, University of the Philippines. In some tapes as well, Maceda 1 In one of our conversations on music and music research, Professor Maceda replied to my query on

the history of gongs – that if one wanted to study its history, one has to take into account the history of ceramics in Southeast Asia. Indeed, much later, I published an article on this topic (Nicolas 2012).

2 All the notes are stored in the Maceda Collection at the College of Music, University of the Philippines.

3 I brought the score in tracing papers to the Floro Blue Printing Services at the corner of East Avenue and Epifanio de los Santos Avenue in Quezon City for printing. After printing, each page was then folded with the notation page inside and then the outer parts were pasted one by one to later form the pages of a bound book.

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played as player 5, when there were few students who could come for the recording. Maceda conducted the work, reading his own score with annotations. As player no. 1, I had one score for myself, and two other scores were read by players 2 and 3, and players 4 and 5 (Figure 1). A fifth score was kept as an archive copy. The chorus members read from separate sheets of paper, and whose part came in the last section, beginning from minute 37:30, reappearing again on minute 47:10 and 48:15, continuing on to 50:00 before the piece ends on minute 51:59. Three participants were engaged as page turners -- one for me and two for the two scores of the four other performers. Time was kept by flashing numbers drawn on white A4 bond paper from 1 to 51, indicating minutes, held by another participant, who took his cue from another who held a stop watch, signalling the changes in minutes by counting 4-3-2-1 as the minute ends and shifts to the next. Several others were assigned to hand in to the 5 performers musical instruments for every section of the composition. All these musical instruments had been arranged in the order of their use and were placed in boxes on one side of the studio. At a certain part on tape 1 (minute 37:00), Prof. Maceda and I played duo, where we played alternately with one bangibang (yoke shaped wooden percussion bar) each, before the entry of the gongs (agung) and voices. This section is a thin space of pairs of sticks, when all twenty tapes are heard. Each individual tape, however, had a character of its own, or they can be played by five players. Thus in this section, we played in opposition to each other. This part was notated by Maceda himself, which seemed to stand on its own, along with other parts of the composition. The musical instruments, all new, used in this recording are the following : kolitong (zithers ) --- about 40, in different tunings; bungbung (bamboo tube horns) --- 10; ongiyong (whistle flutes) --- about 100; balingbing (bamboo buzzers) --- about 100. The bangibang (yoke shaped wooden bars --- about 100, were already used during the first performance of the piece Pagsamba in 1968. The gongs which consisted of agung (suspended bossed gongs) --- about 10 --- and the Chinese cymbals, gongs, echo gongs --- about 10 – all belonged to the collection of musical instruments which Maceda had collected himself.

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Figure 1. Schematic diagram of the recording of Jose Maceda’s UGNAYAN at the studios of Radio Veritas, Quezon City, Philippines (December 3-7, 1973) Jose Maceda (conductor) Timer

Chorus of 3 to 5 players 4 and 5 Arsenio Nicolas players 2 and 3 (player 1) Players 2, 3, 4 and 5 : Nita Abrogar, Josefina Arrieta, Ruben

Federizon, Fabian Obispo, Felicidad Prudente, Antonio Regalario and ten or so other students from the UP College of Music

THE FIRST PERFORMANCE – Ten Studios at Radio Veritas, Friday, December 7, 1973 After completing the recording in one of the main studios at the end of the week, we played all twenty tapes in the ten broadcasting studios of the radio station, arranged five studios on each side of a long hallway. As each studio spinned two tapes, leaving the doors wide open, the premiere of the work was heard throughout the hallway that linked the ten studios, attended by all the performers, recording technicians and invited guests of the work, who walked about, sat on the carpeted floor or went inside studios to hear closely the music (Figure 2). Years later, as I listened to each individual tape and to the composite mix of all twenty tapes, now in digital format, it came upon me that as player 1, and for my co-players as well, I was hearing myself play twenty times or to the nth time. And recalling the radio broadcast later, the fact that there were hundreds or thousands of those who tuned in to any one of the 33 radio stations, our “playing” was multiplied to countless “performances” over the air, although all of us were unnamed and unidentified. Figure 2. Schematic diagram of 20 broadcast studios at Radio Veritas during the first performance of Jose Maceda’s UGNAYAN, on a Friday, December, 1973, after the recording of all 20 tapes. The ten studios were connected along a hallway, each studio was equipped with two Siemens tape decks and amplifiers. Performers and technicians roamed, sat, and listened to the 20 tapes. The first and only radio broadcast was held at 6 pm, January 1, 1974 in Metro Manila, aired by 33 radio station, with 13 tapes duplicated totalling 33 tapes in all. (S = Studio; T = Tape number).

0:00 51:00

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THE MUSIC Each transistor radio then became a source of musical sound, which, when joined by hundreds or thousands, create that atmosphere of large groups of people coming together, with sounds emanating from large numbers of sources, rather than just one. It is a gathering of thousands or millions of people, each one participating in the creation of a music, with an effect that forms cells and textures of sounds, of drones in densities and clusters of sounds of bamboo, wood and gongs, interspersed with voices: thin and thick, soft and loud, waves like the flow of the waters in the streams or rivers, or the whispering of winds. The music may be divided into three parts. The first part, starting at 0:00, is series of alternating sections of sound cells, of various densities, thicknesses, thinness, that are produced by the various musical instruments, mostly one or two at a time, and no more than three in a few parts. The second part begins at minute 37:00 when the chorus sings, and the last part on 50:00 when three instruments and then one final, are heard. The number formulas and combinations employed allowed the player to think in terms of dividing time segments in seemingly unequal parts, with the aid of counts in seconds, and which could then be generated at any given point. Part one (0:00) Sections playing the following - one, two or three instruments at a time: high pitched polychordal zithers, on two strings only buzzers zithers on three strings bamboo blowing horn polychordal zithers, buzzers, bamboo blowing horn ; thicker sounds bamboo blowing horns alone : a few seconds polychordal zithers, buzzers, bamboo blowing horn bamboo blowing horn alone bamboo zithers : thin sounds, thick sounds, then thinner sounds bamboo blowing horns bamboo blowing horns with soft zithers

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bamboo zithers : thick sounds, thinner sounds, then tremolo whistle flutes and bamboo zithers : thick sounds whistle flutes and bamboo zithers : thin sounds, then thicker sounds whistle flutes : low and high tones zithers : tremolo and dampened end sounds flutes (long sounds) and zithers zithers (beats of five or six counts) and bamboo tube horns (bungbung) yoke-shaped wooden bars and bamboo blowing horns (loud and thick) yoke-shaped wooden bars : very thick sounds; alternating thicknesses, thinner sounds Part two : 37:30 Voices sing descending two-tone phrases with the words *nangis and *rasa --- *nangis (Austronesian : to cry, weep or mourn, as if in anguish and pain; Malay: nangis; Tagalog : tangis); *rasa (Sanskrit : feeling, emotion, taste, essence, substance, intention; Javanese and Malay: rasa; Tagalog: lasa), and texts from a Kalinga epic from northern Luzon, Ullalim, uttered and whispered like prayers. These two words and the text of an epic pictured a world that first was in anguish and pain, and in tears (nangis), after which the recitation of passages from the Ullalim simulates the chanting of rituals and prayers towards the restoration of order, of substance, of essence (rasa). The musical rendition of these texts are mild and gentle, gradually strengthened by the beating of gongs, cymbals and wooden bars. After some thin strata of gongs (agung), descending two-tone nangis vocal segments appear with dispersed yoke-shaped wooden bars. An interlude of Chinese gongs, wooden bars, bamboo buzzers leads to the whispered recitation of the epic text, interspersed with beatings on the strings of bamboo zithers. Then the chorus sings again, chanting the word rasa, again on two tones but on higher pitch registers, with louder yoke-shaped wooden bars and bamboo zithers, proceeding to vocal sounds in loud, ascending and descending glides in still higher registers, alternating with yoke-shaped wooden bars, zithers and Chinese gongs. Part three : 50:00 to 61:00 In the last minutes, zithers, yoke shaped wooden bars, Chinese gongs continue in thicker sounds, and finally the whistle flutes emit thick and dense sounds, all gradually thinning out...

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UDLOT-UDLOT In the next year, Maceda explored the musical ideas he had formulated, explored and developed in Ugnayan, from the concept of utilizing the recorded media and broadcasting the music via radio station to the concept of throngs, masses and crowds of performers and peoples gathering in large spaces, playing the music and join in the musical event. The Structure of Jose Maceda’s Udlot-Udlot Udlot-Udlot (Hesitations, 1975) is a music piece for an open-air ritual for hundreds or thousands of performers. In his compositions, Jose Maceda sought to explore musical ideas that invoke the sounds of nature --- a quest for music to identity with nature, for deeper meanings in the contemporary crises in spirituality and the onslaught of technology and commercialism. The architecture of his music is a shared human activity by as many people as there are present in one occasion, reminiscent of the atmosphere of rituals in villages where people converged in the central square, in megalithic arenas, in rice fields, in sacred water springs and trees, in village temples or crossroads, in mountain sanctuaries, in ancestral graves and monuments, where powerful spirits reside and preside over the affairs of humans. The quality of the piece is undoubtedly sustained over time by its simplicity and its appeal to a large number of people coming together to play a music that places us all at the center of our engagement with nature. With more people participating, the wider the spread of the sound. The music of bamboos and wood is widespread in Asia and it is just to this phenomena that Udlot-Udlot will ultimately be embedded. Variations of rhythmic drones are played on wooden percussion sticks (kalutang), bamboo buzzers (balingbing), bamboo stamping tubes (tongatong), bamboo flutes (ongiyong) and voices, singing drones of two short vocal phrases. The performers are grouped into three --- the first group plays a rhythmic drone on wooden percussion sticks (kalutang), the second plays a mix of three instruments (balimbing, bamboo buzzer; tongatong, bamboo stamping tubes; ongiyong, bamboo flutes) and the third group is made up of voices, singing two short vocal phrases --- one a descending slide, and the other a descending melody of 5 tones. The proportion of the performers of 1,000 may be divided into 200, 400, 400. It was first performed by the U.P Integrated High School students at the University of the Philippines and at the Cultural Center of the Philippines parking lot in 1975. It has since been held in several cities -- Bonn (1980), in a Buddhist temple in Japan (1991), in Jakarta (1981) and several others. The original score, dated June, 1975, in the handwriting and drawing of Maceda (Fig. 1), is attached at the end of this paper. The text is in Tagalog or Filipino, and was first performed by students of the University of the Philippines High School, Diliman, Quezon City, Philippines. The instructions on the score is detailed, but there is another separate sheet of paper, Paliwanag (Explanations) which described the playing techniques as well as the performance itself. This score can be found in a book of articles of Maceda translated into Japanese and edited by the Japanese pianist

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and composer, Yuji Takahashi, and published in Japan.4 The videos on YouTube and the several performances that Jose Maceda had conducted himself in the Philippines, Bonn (Germany), California and Japan; the performance at Banpaku organized by Hiroshi Nakagawa, and the several performances and adaptations document the possible interpretations of the original ideas of Maceda.5 These interpretations adapted to the venue of the performance, the number of performers and the availability of bamboo and wooden musical instruments. In the 1975 performance in Calauag, Quezon, a stick beating on the bamboo stamping tube substituted for bamboo buzzers, which was also adapted at the 2010 Osaka performance – as the type of bamboo used for buzzers are not available in these places. The vocal parts had been equally rich in texture and vocal timbre, as Filipinos, Japanese, Germans and Americans interpreted and sung the two melodies in varying localized vocal sounds.6 The following description of the music can be applied to the reading of the notation in the original score. DESCRIPTION OF THE MUSIC The following description of the music is based on a simplified version made by Hiroshi Nakagawa for the performance at the Banpaku (Senri Expo Park, Suita City, Osaka, Japan) on October 23, 2010, as commissioned by the Senri Foundation. This score is based on the original as published in the book mentioned above (Figure 2). The music piece, lasting 40 minutes, is divided into several parts. The sections are described in some detail as follows: There are three groups that play in this piece: 1. DRONE (Tuloy-uloy) : players beat pairs of wooden bamboo sticks (Tagalog : kalutang) There are only two rhythmic patterns : R1 :

To illustrate: 1 2 3 4 5 x x o x o x = beat on the sticks o = pause 4 Maceda 1989 : 210-11; See also Belleza and Maceda 1977. 5 See https://www.facebook.com/Jose-Maceda-Composer-Ethnomusicologist-393080087497411/ 6 This is most evident in two recordings of Maceda’s first three compositions, Kubing (1966), Ugma-

Ugma (1963) and Agungan (1965). Kubing and Ugma-Ugma employed vocal parts. The 1976 premiere performance in California involved American vocalists and the 1976 performance at University of the Philippines College of Music involved Filipino tenors and baritones.

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R1a : 5/4 : x x o x o (same as above) In any number of players in this group, there are two ways of playing this pattern: 1. The whole group of players is divided into 5 groups. -The first group leads by playing R1. After a one or two repeats of R1, -the second group enters on beat 2 of the the 1st group; -the 3rd group enters on beat 2 of the 2nd group; -the 4th group enters of beat 2 of the 3rd group; -the 5th group enters on beat 2 of the 4th group.

To illustrate: group 1 x x o x o group 2 x x o x o group 3 x x o x o group 4 x x o x o group 5 x x o x o 2. One player may initiate as player 1, followed by player 2, player 3, player 4, 5, 6, 7, 8, etc. until all have joined. In the original score dated June, 1975, (Fig. 1), Maceda conceived of three rhtyhms, R1, R2, and R3 for the drone part (tuloy-tuloy) played by the kalutang. In subsequent performances, this had been revised by simply playing R1 and R1a. B. MIXED SOUNDS (haluan) This group plays three musical instruments: 1. balingbing (Kalinga : bamboo buzzers) 2. tongatong (Kalinga : bamboo stamping tubes) 3. ungiyong (Kalinga : bamboo whistle flutes) This group is further divided into two. For large groups of performers, each player may be assigned odd and even numbers by counting from 1 to the last player. Odd numbers will play column 1, and even numbers column 2. There are three rhythmic patterns in this section. All players use a combination of two numbers which each may choose from several combinations as written in the score.

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R2 : After one has chosen a 2-number combination, the player counts the two numbers, and beats on the first count of both numbers. Example: 5,7 1 2 3 4 5 1 2 3 4 5 6 7 x o o o o x o o o o o o 2,5 1 2 1 2 3 4 5 x o x o o o o 6,12 1 2 3 4 5 6 1 2 3 4 5 6 7 8 9 10 11 12 x o o o o o x o o o o o o o o o o o R3 : For bamboo flutes (ungiyong) Blow on the flute as one counts on the first number; silent on the second number. 5,4 1 2 3 4 5 1 2 3 4 -------------- (silent) 7,4 1 2 3 4 5 6 7 1 2 3 4 -------------------- (silent) R4 : Blow on both numbers (breathing every after one number) 2,3 1 2 1 2 3 ----- ------- 4,5 1 2 3 4 1 2 3 4 5 ----------- -------------- C. VOICES (tinig) The vocal group sings two melodies. M1 : The melody starts on a low C (or any other low tone) and jumps to the upper octave, and slides down slowly, from a loud start and slowly diminishes in volume as it slides down.

7" 5" 10"

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M2 : The melody is in 5-tones, with a quiver, which may be omitted.

Conclusion Udlot-Udlot is the culmination of the first period in Maceda’s music. The first three compositions, Ugma-Ugma (Structures, 1963), Agungan (A Play of Gongs, 1965), Kubing (1966) – made use of gongs, bamboo and wooden musical instruments that are found widepread in Southeast Asia. These three works are small ensembles, with some fifteen to twenty players. The following four major works : Pagsamba (Worship, 1968), Cassettes 100 (1971), Ugnayan (1974), and Udlot –Udlot (1975) --- expanded the musical ideas and philosophies of the first three in various idioms that can now involve hundreds and thousands of participants. Pagsamba is adapted to a Catholic ritual with a Tagalog text, and the possibilities of substitution in other languages can be explored. Cassettes 100, which is a work for recorded 100 cassette tapes, can now be played by hundreds or thousands of participants, in much the same way the twenty recorded parts of Ugnayan can be multiplied in new idioms in an age of digital technology and the internet. Udlot-Udlot is the apex to these ouevres --- by engaging communities to group together, make their own instruments and play the music. In the succeeding years from 1983 to 2003, Maceda sought to explore new forms and idioms. Siasid (1983) made use of 10 blown bamboo tubes/10 trombones, 10 violins, 4 percussion [3 bamboo slit drums, 3 tagutok, 3 pakkung, 3 conical Ibaloy drums/similar drums] --- a break from the exclusive use of Asian musical instruments, with the inclusion of trombones and violins. In Music for Gongs and Bamboo, 1997, hanging gongs and metallophones of Javanese gamelan, Philippine bamboo instruments, ryuteki (Japanese flute), and contrabassoon play in three tunings – Indonesian (Javanese), Japanese and European. The succeeding 11 compositions, which he classified as Music for European Instruments, Bamboos, Percussion, and Gongs (V) and Music for Orchestral or European Instruments (VI) --- are equally of diverse instrumental combinations that offer musicians of diverse orientations and traditions a new music. MUSIC, NATURE AND RITUAL In Maceda's music, we are asked to participate in a ritual that connects contemporary life to a world of nature, a life of ritual and a connection between human action and respect for nature. The music, in effect, recreates ritual with an underlying principle, in order that a desired medium of expression can evolve and given form. There are, however, two important features in the process of composition : the musical ideas and the intentions of the composer with regards to any domain which it renders as primary or which surfaces as its structural principle, and the production of that ritual art --- the staging, the materialization, objectification, realization. If the intent is to change traditional forms and evolve new structures, then the remaining two components, ritual and other

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social facts, become subsumed in the production of the work, as these are expressed according to the techniques chosen to compose the desired form. Maceda’s notes describes the music as --- in Ugnayan, the musical experience “is a departure from the usual way of listening to music as emanating from one source – the concert stage or loudspeaker… the idea that only large groups of people can put together sounds spread out over a big area is paralleled by the cooperation necessary for large numbers of people to achieve a certain purpose. A spiritual consciousness for change can be aroused by a new rather than a worn-out musical language…” (Maceda 1974). Maceda’s theoretical ideas and philosophical concepts on music encompassed a wide array of themes, among others ---- ancient musical thought and ritual systems, drone and melody, concept of time, hemitonic and anhemitonic scales, bipolarity and fifth intervals, classicism and modernity in music and architecture, chromaticism, the piano music of Debussy and Ravel (Maceda studied piano in Paris in 1937-1941 with Alfred Cortot, who was a student of Claude Debussy, staying four years at the Ecole Normale de Musique where he earned the Diplome de Virtuosite with distinction… Prior to graduation he had twice won first place in the school examinations), structuralism and semiotics, primitive and modern technology in music, concepts of four, squares and mathematics, Indic and Sinic relations with the Philippines and Southeast Asia. His music compositions were created as he explored and expounded on these theories, the structures of which showed lineages of drones and melodies, correspondences between sound cells, textures, timbres and natural phenomena, as well as oppositions between densities, tempo and noise, and scalar constructions of varying modalities. Maceda’s thoughts and ideas on music and music compositions introduced new paradigms for a continuing study of long-term historical processes in music in the Philippines, in Asia and the world today (Nicolas 2008). With worldwide mobility and the spread of digital technology and the internet to almost all over the world, the new musical ideas of Jose Maceda may go beyond Asia, as this connectivity, in various technological format, may now cross such borders and boundaries.

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Jose Maceda, Udlot-Udlot, original score (June, 1975) In : Maceda, Jose. 1989. Drone and Melody. Musical Thought in Southeast Asia (In

Japanese). Translated and ed. by Yuji Takahashi. Shinjuku Shobo Co., Ltd. pp.110-111. See also Belleza and Maceda 1977.

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R2�5.4 5.6�6.3 6.4 �7.4�

R4--3.2 4.2 �4.3 4.5 3.6�

kalutang = pair of wooden sticks ; kubing = mouth harp; tongatong = bamboo stamping tube; kaen = mouth organ��R1=Second player enters on 2nd beat of the 1st player; 3rd player on the 2nd beat of the 2nd, etc.��R2=Count the two numbers. Beat on the first count of both numbers 2.3 = ×・×・・���R3=First numbers -- blow on the kaen. Second numbers -- Silent 2.3 = -- / ・・・��R4=Blow on both numbers 2.3= -- / ---�

Revised notation by Arsenio Nicolas (2015), based on transcription from the 1975 original by Hiroshi Nakagawa (2010)��

Udlot-Udlot ������������������� Jose Maceda,1975�

R2--2.3 2.4 �2.5 3.4 3.5�

7"              5"              10"  

     owa                              k  

R1  

na                    na              na                na                na  

1"                1"                1"                1"                  1"                5"      

7"              5"              10"  

     owa                              k  

7"              5"              10"  

     owa                              k  

na                    na              na                na                na  

1"                1"                1"                1"                  1"                5"      

na                    na              na                na                na  

1"                1"                1"                1"                  1"                5"      

Repeat�

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References: Belleza, Marietta and Jose Maceda. 1977. Udlot-Udlot: Isang Bagong Musika na

Maituturo sa High School. (Udlot-Udlot: A New Music for High School Students). Musika Jornal 1. University of the Philippines, Department of Music Research.

Billiet, Francisco and Francis H. Lambrecht. 1974. The Kalinga Ullalim. Baguio City, Philippines, Igorot Culture Research Studies.

Blust, Robert. 2013. The Austronesian Languages. Rev. ed. Asia-Pacific Linguistics Open Access monographs, A-PL 008. Canberra, ACT: Asia-Pacific Linguistics.

Nicolas, Arsenio. 2008. Bamboo, Bronze Drums and Gongs. A Musical Exchange in Maritime Asia. A Review Essay of Jose Maceda. Gongs and Bamboo. A Panorama of Philippine Music Instruments. Quezon City: University of the Philippines (1998). In Musika Jornal 4 ; 198-215. Quezon City: University of the Philippines Ethnomusicology Center. (for the original unedited paper, see www.academia.edu/ArsenioNicolas)

2009a. Gongs, Bells, and Cymbals. The Archaeological Records in Maritime Asia from the Ninth to the Seventeenth Centuries. ICTM Yearbook for Traditional Music 2009, pp. 62-93.

2009b The Music of Jose Maceda. Lecture and Concert at the College of Music, Mahidol University, Salaya, Bangkok, Thailand. December 25, 2009 (With thanks to Associate Prof. Dr. Sugree Charoensoek, Dr. Anak Charanyananda and Dr. Pedro Rivadeneira).

2010 The Music of Jose Maceda. Lecture delivered at the Urban Research Plaza. Osaka City University, Osaka, Japan. June 9, 2010. (With thanks to Prof. Shin Nakagawa)

2015 From UGNAYAN to UDLOT-UDLOT : The Music of Jose Maceda. Musical Ideas in New Music in Southeast Asia. Paper pead at The First International Conference on Ethnics in Asia Life, Power and Ethnics On the Occasion of the 25th Anniversary of Naresuan University, August 20-21, 2015. Naresuan University, Pitsanulok.

2016. FROM ATMOSPHERES TO UGNAYAN : The Music of Jose Maceda. (ms. Article on peer-review for publication).

Wilkinson, R.J. l90l. A Malay-English Dictionary. Singapore: Kelly & Walsh. Zoetmuder. P.J. 1982 Old Javanese-English Dictionary. With the collaboration of

S. O. Robson. Two volumes. s-Gravenhage: Nijhoff. CD Discography: José Maceda ‎– Ugnayan Tzadik ‎– TZ 8068; Composer Series – TZ 8068 You Tube recordings of Jose Maceda’s selected works: Ugnayan - https://www.youtube.com/watch?v=qlrOS3qjsbk Pagsamba – Agnus - https://www.youtube.com/watch?v=9vP0u9FPF30 Udlot-Udlot -https://www.youtube.com/watch?v=aJL0Ta1jsNQ&list=PLeSKdzVKFTTbZnzbfppD0hb-0bE_04ZJQ&index=26

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Webpages: https://www.facebook.com/Jose-Maceda-Composer-Ethnomusicologist-393080087497411/ Sample recordings of Jose Maceda’s music (free download) https://www.myfreemp3.club/music/MACEDA# Acknowledgments and thanks: Marialita Tamanio-Yraola, University of the Philippines Sayam Chuangprakhon, College of Music, Mahasarakham University

(schematic diagrams of the recording of Ugnayan, Figures 1 and 2.) Hiroshi Nakagawa (for the Udlot-Udlot score) Dr. Aton Rustandi, Institut Seni Indonesia (ISI) Surakarta, Program Pasca Sarjana Institut Seni Indonesia Surakarta (formerly Akademi Seni Karawitan Indonesia (ASKI Surakarta, Dharmasiswa Republik Indonesia 1979-1983).