Music and Society
by John N. Ponsaran
Music is defined as a creative human activity in which sounds are combined and systematized to communicate meaning. As a process of combining sounds, it is important to understand the manner in which the sounds are put together and the socio-cultural context where it takes place. The latter is the particular concern of ethnomusicologist. Ethnomusicologists specifically analyze the individual musical traditions in view of the social norms and cultural context of a given society.
Given the multi-dimensionality of music, it should be viewed not only as a pure technicality but as a social event as well. This shall be discussed in details as you proceed with the succeeding paragraphs. Whether vocal or instrumental, music is more than just a form of leisure. It is a medium to communicate an idea or an emotion and disseminate the value system of a particular culture. The following are also some of the benefits of music in the individual and societal level.
• Conditions the mood
• Brings out human creativity
• Promotes physical, emotional and spiritual healing (therapeutic)
• Breaks the monotony of life
• Serves as a medium of communication
• Strengthens the bond of a group
• Serves as a medium to facilitate the transfer of culture (value and belief system)
• Boosts national pride
• Serves as a tourist attraction and an income-generating scheme
• Acts as a catalyst of social change
The origin of music can be attributed to any or combination of the following assumptions. [1] Music started from the use of primitive communication. (e.g. tribal drums, calls, etc.), [2] Music is associated with work rhythms and patterns, [3] Music is an outgrowth of the innate nature of humans to express their emotion (Miller: 1971).
Music scholars assume that music did not exist as a separate art until the Medieval Period or later. During the ancient times, music was more valued based on its various functions than its artistic appeal. It was viewed as an integral part in the performances of the following rituals.
• Birth rite
• Baptismal rite
• Rite of passage
• Ritual to appease the spirits
• Hunting and gathering ritual
• Farming and fishing ritual
• Religious worship
• War ritual
• Courtship
• Wedding ceremony
• Thanksgiving ceremony
• Festival
• Healing ritual
• Death and burial rite
According to Professor Corazon Canave-Dioquino of the College of Music at the University of the Philippines, musical instruments have been used for a variety of purpose. She pointed out that in earlier times they were also used as an accompaniment to dance or to labor. In fact, the playing of gong among the Cordillerans is an essential element in the setting of peace pacts (bodong) and numerous ritual elaborations. The National Museum has several collections of indigenous musical instruments of the different ethnolinguistic groups in the Philippines. Each of which is a reflection of their physical and social environment.
Artists communicate to their audience through their music. However, the communication process is affected by various factors such as time, religion, gender, age, educational background, geography, social status, among others. This explains why a particular music is appreciated by a particular subculture but not by another.
These often determine the kind of exposure the listener has had to different kinds of music and his or her ideas about what is or what is not musical. People judge sounds as pleasant or unpleasant, soothing or irritating, meaningful or chaotic based on this cultural conditioning (Flores:1997)
In the religious sphere, the Roman Catholic tradition has a profound influence in the development of musical tradition in the Philippines. The religious faith paved the way to the proliferation and spread of sacred songs, chants and instrumental music of the church. It also led to the formation of music schools, the construction of baroque pipe organs such as the renowned Bamboo Organ of Las Pinas City and a host of other landmarks.
The cultural tradition of Folk Catholicism (fusion of Catholic and indigenous religious traditions) also typifies the strong influence of the Western symbolism in the manner of worship of Filipinos through feasts, songs, prayers and other religious rites. This is particularly true in the performances of folk rituals in the provinces of Batangas (subli), Cavite (sanghiyang) and Laguna (turumba) in which syncretism is quite evident.
Popular Music in the Philippines
Professor Jonas Baes of the University of the Philippines points out that the Euro-Hispanic influence cultivated a culture of aristocracy and cosmopolitanism among the privileged ilustrado class. He noted that it was from this social class that the concert artists, pianists, vocalists, violinists as well as composers—the classicists—would emerge. The common expression “Classical music” denotes Euro-centric musical tradition which includes Gregorian chants, Ludwig van Beethoven’s symphonies, broadway musicales, among others. Likewise, it is also used to distinguish it from the popular music (pop music) as we know it today. It was only during the arrival of the American colonialists that the Filipinos were introduced to the pop culture.
The Philippine music is a cultural mix of indigenous, Eastern and Western influences. This diversity, however, is also evident in other areas of arts such as painting, fashion, sculpture, dance, theater, drama and even in the culinary tradition. The evolution of the Philippine music is a product of the country’s indigenous (pre-Hispanic) heritage, Asian roots, cultural exchanges with other societies and colonial and neo-colonial experience both in secular and religious terms.
The pervasive influence of the 333 years of Spanish annexation and 45 years of American control has rendered the mainstream Philippine culture almost a “ mirror-image” of its former colonial masters. Although it is apparent that the Philippine’s case is more Americanized than Hispanized in detail.
The rise of the Philippine popular musical tradition is attributable to the strong influence of the Anglo-American colonial institutions to the Filipino culture. As noted, the American had the most enduring influence in our collective psyche which led to the neocolonial character of the mainstream music in the contemporary period.
I. American Period
Vaudeville shows (bodabil) as a form of leisure during the early 20th century included jazz songs and tap dances to the tune of popular musical genre. The prominence of the American value system permeated the themes and styles of the Philippine entertainment scene.
II. Japanese Period
Strong anti-American sentiment was promoted to “popularize” Asian traditions and imbue Japanese value system. It was realized through the imposition of Filipino and Nihonggo language and other art forms such as literature, music and drama.
III. Post-War Period
This period is characterized by the re-surfacing of the American-modeled cultural tradition and the introduction of swing, samba and cumbachero.
Rock and roll and country music dominated the music scene in the 50’s up to the 60’s. The intense popularity of Western artists such as Elvis Presley and the Beatles in the Philippines has reached to cultic proportion.
The ‘70s gave rise to the pool of Filipino artists and musicians who aims to popularize a musical genre distinctly Filipino in character (e.g. Pinoy rock and Pinoy jazz) Tatak Pinoy, so to speak. Songs with Taglish lyrics (Tagalog and English) also gained popularity.
IV. Modern Period
The introduction of modern technologies like cable television, computer, Internet and audio CDs has further facilitated the integration of the popular music to the Filipino psyche and social being. The avalanche of Music Television Videos (MTVs) in the local music scene further devalued the indigenous tradition vis-Ã -vis its Western counterpart.
Songs of Protest
As noted above, music can also be an agent of social change. Liberal and progressive artists believe that their music is a reflection of the social realities (social realism). Through their music, they aim to expose the causes of social ills and raise the collective consciousness of the people. Foremost among them are Freddie Aguilar, Gary Granada, Buklod, Noel Cabangon, The Jerks, Joey Ayala, among others.
Protest music exudes nationalistic and progressive overtones. As social realist, these artists claim that music can serve as a political weapon to empower their ranks. They proved this by confronting and condemning the fascist dictatorship of Marcos during his presidency.
Wikipedia noted that revolutionary/protest songs become popular during times of social disruptions and among socially marginalized sectors. The theme of most songs of protests rejects all forms of social injustice, racial discrimination, bigotry and the like. To illustrate, here are some of the foreign examples of protest songs.
Protest songs concerning racism
• "Blackheart Man" by Bunny Wailer
• "Can Blue Men sing the Whites?" by Bonzo Dog Band
• "Free Nelson Mandela" by The Specials
Protest songs concerning war
• "Army Man in Vietnam" by Big Joe Williams
• "Eve of Destruction" by Barry McGuire
• "War" by Bob Marley & the Wailers
Protest songs concerning nuclear weapons
• "Nagasaki Nightmare" by Crass
• "Put Down That Weapon" by Midnight Oil
• "Redemption Song" by Bob Marley & the Wailers
Protest songs concerning poverty
• "Electric Avenue" by Eddie Grant
• "Freddie's Dead" by Curtis Mayfield
• "Them Belly Full (But We Hungry)" by Bob Marley & the Wailers
Protest songs concerning governments and imperialism
• "God Save the Queen" by The Sex Pistols
• "Give Ireland Back to the Irish" by Paul McCartney
• "Revolution" by Bob Marley & the Wailers
Protest songs concerning feminism
• "I am Woman" by Helen Reddy
• "Only Women Bleed" by Alice Cooper
• "Woman is the Nigger of the World" by John Lennon
Protest songs concerning environmentalism
• "Damn this Traffic Jam" by James Taylor
• "Mercy Mercy Me (The Ecology)" by Marvin Gaye
Protest songs concerning slavery
• "Mister Charlie" by Robert Hunter/Grateful Dead
• "Redemption Song" by Bob Marley
Most of the protest songs or chants, if not all, are Marxist in orientation. They condemn the ruling elite (power-wielder) for using the art as an ideological state apparatus in order to perpetuate themselves in power. They believe that art and media should instead serve as means to liberate the masses from all forms of oppression and manipulation of the bourgeois class. The following are examples of protest music chanted by participants of mass demonstrations.
Ang tao ang bayan ngayon ay lumalaban.
Ngayon ay lumalaban—ang tao, ang bayan!
Bayan bayan bayan ko, di pa tapos ang laban mo.
Ang laban ni Bonifacio, isulong mo, isulong mo.
Imperialismo, ibagsag!
Burukrata kapitalismo, ibagsak!
Piyudalismo, ibagsak!
Si Erap mismo, babagsak!
U.S. Imperialist—Number 1 Terrorist!
Number 1 Terrorist—U.S. Imperialist!
Uring magsasaka, pangunahing puwersa!
Uring manggagawa, hukbong mapagpalaya!
Never again, never again, never again to Martial Law!
Exercises and Enrichment Activities:
1. “In Western cultures, the distinction is made between string, wind, and percussion instruments in an orchestra. This classification focuses on the manner in which the sound material is made to vibrate—by plucking or rubbing a stretched chord, blowing a column of air, or striking some other percussive movement. The emphasis is on acting and doing. The criteria for grouping an instrument into a specific category is the operation performed by the player on the instrument.
In traditional Chinese music, on the other hand, the material of the instrument itself— stone, metal, wood, and so on- forms the basis for classifying it under the major categories for tonal color. The materials represent the components of the physical universe and their presence in a musical grouping has philosophical and religious significance. Thus, in ya-yueh (ritual music of Confucianism), earth, membrane, bamboo, gourd, and string— must be present, both to create a satisfying musical sound and to reflect a complete cosmic system.”—an excerpt from the book, Art and Society (1997) edited by Patrick Flores
Based on the passage above, discuss how the physical (geography) and social (culture) environment influence the classification and production of music in the Western and Chinese societies.
2. In an essay, elaborate the idea that music is not an isolated phenomenon and it does not occur in a vacuum.
3. Analyze the lyrics of the song Lalawigan composed and interpreted by Gary Granada. Answer the following guide questions:
a. What is the main theme of the song?
b. Cite the main points in the song which highlight the rural-urban dichotomy?
c. Is the message of the song a clear reflection of the social realities? Is it valid in the experience of the Philippines?
Lalawigan
by Gary Granada
Verse 1
Narito sa lalawigan ang una mong pag-ibig
Ang iyong mga kaibigan, ang iyong mga kapatid
Si Juan minsa'y nangarap, at kung saan saan pa nagpunta.
Ang asensong hinahanap, sa lalawigan lang pala.
Chorus 1
Dito lang matutupad ang hinahangad
Dito lamang uunlad at lalawig ang bukas
Dito lang nagmumula ang yaman ng ating bansa
Dito tayo gagawa, sa kinagisnang lalawigan
Verse2
Ang damdaming makatao dito rin natutunan
Mga ugaling Pilipino, gaya ng pagdadamayan
Sa siyudad ibang sistema, sa sobrang kasikipian
Pati na sa iyong problem, halos walang mahingahan
Chorus 2
Dito mo ako mahalin, dito natin didiligin
Palagihi't palaguin ang ating sumpaan
Dito tayo mamumunga, gigiik at giginhawa
Sasaya at sasagana sa kinagisnang lalawigan
Dito tayo titira, sisikhay at sisigla
Tatagal at tatanda sa kinagisnang lalawigan.
4. Dr. Ramon P. Santos identified that there are two distinct repertoires in Philippine oral traditions: 1) musical forms that evolved from Southeast Asian cultures, usually referred to as indigenous traditions, and 2) musical forms that developed in rural Christian communities, more commonly known as folk music. From the above classification, identify the category where following musical forms belong. (1-indigenous tradition, 2-folk music)
____a. Owiwi (Kalinga lullabies)
____b. Salidumay (Mandaya entertainment songs)
____c. Sowe-ey (rice-pounding song of the Bontoc)
____d. Didi-yaw (Bontoc chant for death rituals)
____e. Pasyon (chanting of the life and passion of Christ)
5. Divide the class to sub-groups with 4-5 members each. Submit a research output about any of the following topic. Conduct an archival/library research and an interview with resource persons. Before the research proper, submit an outline of your group’s research proposal to your professor for approval.
a. Filipino Musical Artists in the International Scene
b. Asian Element in the Philippine Music
c. Americanization of the Philippine Popular Music
d. The History of Commercialized Music
e. The Musical Genre of the Islamic Culture
f. The State of the Philippine Music Industry
g. Censorship in Music during the Martial Law Regime
h. The Therapeutic Effect of Music
i. A Study about Songs with Double-Meanings (e.g. Salbakuta songs)
j. Music as an Integral Part of Religious Worship
k. Music as a Form of Protest
l. The Impact of Piracy to the Global Music Industry
m. The Development of Music Education in the Philippines
n. The Relevance of Ethnomusicology as a Field of Study
o. The Musical Tradition of the (any indigenous tribe in Philippines)
6. “In the pre-colonial context or Asian philosophy of art, then, music was a community enterprise both in forms and content—a social vehicle for getting people together, interacting with each other to keep the village whole and secure. The other characteristic of this kind of music may be implied: participation was by everyone, where no one was barred from joining no matter how ordinary the artistic ability of the person was. Although, there was expertise, there were no superstars. Authorship was not important. A work of art and music was a product of the community’s labor and creative talents. There was no gap between performer and audience, no desire to preserve their arts in permanent forms, not only because their materials were perishable, but also because there was simply no need for it. The joy of creating came from the process or from performing, not in the finished product; and because there was artistic abundance hoarding or preservation of the works did not arise.”—An excerpt from The State of Philippine Music by Fe Mangahas (1983).
In an essay form, analyze whether or not the state of the Philippine contemporary music is still communal in philosophy and practice based on the definition of the passage above.
References:
Ferris, Jean. Music: The Art of Listening. U.S.A.: Wm. C. Brown Publishing, 1988.
Flores, Patrick , ed. Art and Society. Quezon City: U.P. Press, 1997.
Kamien, Roger. Music: An Appreciation. U.S.A.: McGraw-Hill Book Co., 1980.
Mangahas, Fe. The State of the Philippine Music in Politics of Culture edited by Nicanor Tiongson. Manila: PETA, 1984.
Miller, Hugh Milton. History of Music 3rd ed. Philippines: Barnes and Noble, Inc.,1971.
World, Milo. An Introduction to Music and Arts in the Western World. Iowa: Win C. Brown Publisher, 1972.
Grolier Academic Encyclopedia Volume XIII. U.S.A.: Grolier International, Inc., 1989.
Popular Music in the Philippines by Professor Jonas Baes downloaded from
Wikipedia—free encyclopedia downloaded from
http://www.wikipedia.org/wiki/Protest_song
Valuable inputs from Professor Juliet Bien of the Philippine Arts Program, University of the Philippines-Manila.
