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Maceda, José (b. January 31, 1917, Manila – d. May 5, 2004, Quezon City). Philippine composer of interdisciplinary works that have been performed throughout the world; he is also active as an ethnomusicologist.
Prof. Maceda studied piano with Victorina Lobregat at the Academy of Music in Manila, where he graduated in 1935, and with Alfred Cortot at the École Normale de Musique de Paris from 1937–41. Later he studied in the USA, including private piano studies with E. Robert Schmitz in San Francisco from 1946–49 and musicology studies at Queens College and Columbia University from 1950–52. He then studied anthropology at the University of Chicago and ethnomusicology at Indiana University in 1957–58 and the University of California at Los Angeles from 1961–63, where he earned his PhD. He also worked with the Groupe de Recherches Musicales in Paris in 1958.
Among his many honors are grants from the Guggenheim (1957–58, for study in the USA) and Rockefeller (1968, for research in Africa and Brazil) foundations, the honor l'Ordre des Palmes Académiques in France (1978) and the University of The Philippines Outstanding Research Award (1985). He has also received the John D. Rockefeller Award from the Asian Cultural Council in New York (1987), the Philippine National Science Society Achievement Award (1988), the award Tanglaw ng Lahi from Ateneo University (1988), and the award Gawad ng Lahi from the Cultural Center of The Philippines (1989).
Furthermore, he has received the Fumio Koizumi Award for Ethnomusicology in Japan (1992), the National Research Council Award (1993), the award Araw ng Maynila (1996), the Nikkei Award in Tokyo (1997), the award of the Fondazione Civitella Ranieri in Italy (1997), and the title of National Artist for Music (1998). He also holds the titles of Officier dans l'Ordre National du Mérite (1997) and Chevalier de la Légion d'Honneur (2001) from the government of France.
Initially active as a pianist, he appeared in France, The Philippines and the USA from 1935–57, during which time he introduced many new works, mainly by French composers, and pioneered a French style of piano playing in The Philippines. He also appeared as a conductor of avant-garde music that he arranged for various Philippine organizations and UNESCO from 1964–68 and introduced music by Edgard Varèse, Iannis Xenakis and other composers alongside Chinese and Philippine music.
Prof. Maceda has devoted much of his time to ethnomusicological studies of the music of The Philippines and Southeast Asia since 1953. He has done field music research throughout The Philippines and in eastern and western Africa, Brazil, China, Indonesia, Malaysia, Myanmar, Thailand, and Vietnam and has written extensively about this research for publications in Canada, Germany, Malaysia, The Philippines, the UK, and the USA.
He wrote the book Gongs and Bamboos: A Panorama of Philippine Music Instruments (1998, University of The Philippines Press) and the composer-pianist Yuji Takahashi translated many of his articles into Japanese in the book Drone and Melody (1989, Shinjuku Shobo Company). In addition, the University of The Philippines in Quezon City contains an archive of more than 2,500 hours of his field recordings in 51 language groups, complete with musical instruments, photographs, text transcriptions, and translations.
He taught as Professor of Piano and Ethnomusicology at the University of The Philippines from 1952–90, where he was named a University Professor in 1988 and as professor emeritus until 2004. He served as Executive Director of its Center for Ethnomusicology from 1997–2004. He has also given lectures throughout the world, including the Charles Seeger Lecture at the meeting of the Society for Ethnomusicology in Los Angeles in 1984 and a lecture as the International Arts Symposium Speaker at the National Academy of Arts in Seoul in 1994. Most recently, he spoke at the Arts Summit in Indonesia in 1995, was the Rayson Huang Visiting Lecturer at the University of Hong Kong in 1999 and served as the Jean-MacDuff Vaux composer-in-residence at Mills College in 2000.
CONTACT INFORMATION
E-mail address: josemmaceda@skyinet.net
Street address (university): Prof. José Maceda, Center for Ethnomusicology, College of Music, Rooms 214–16, University of The Philippines, 57 F. Agoncillo St., Quezon City 1101, The Philippines
Telephone (home): + 632 927 3608
Telephone (university): + 632 925 7139
COMPLETE LIST OF WORKS (note that these works are listed according to a general category defined by the composer; dates given are those of première)
I – MUSIC FOR BAMBOOS, MIXED INSTRUMENTS AND VOICES:
(1) Ugma-ugma – Structures (text by the composer), mixed chorus, rattle, tagutok (scraper), carabao horn, whistle, shō (Japanese mouth organ), cowbells/other small bells, clapper, pakkung (buzzer), tongatong (stamping tubes), kubing (mouth harp)/aroding (mouth harp), Chinese pai-pan clappers, bamboo sticks, gabbang (xylophone), kulintang (gongs in a row), gender (Indonesian metallophone), suspended agung (gongs with stopped sounds), suspended gandingan (gongs with freely-vibrating sounds), 1963
(2) Kubing (text by the composer), 5 male voices, 7 pairs of tongatong, 3 batiwtiw (bamboo zithers), 3 tagutok, 7 pakkung, 7 kubing, 1966
(3) Pagsamba – Worship (ritual music for a circular auditorium, text from the Mass [Tagalog translation]), 100 mixed voices, 25 male voices, 8 suspended agung, 8 suspended gandingan, 100 players (100 balingbing [bamboo buzzers], 100 palakpak [bamboo clappers], 100 bangibang [yoke-shaped wooden bars; played with beaters], 100 ongiyong [whistle flutes]), 1968
(4) Udlot-udlot – Hesitations (open-air ritual, text by the composer), vocal group (100s of voices; moving around every 10 minutes), bangibang group (100s of players; circling around with formal steps), instrumental group (100s of players; balingbing, tongatong, flutes) (sitting inside a circle), 1975 (also theatre version [VII (1)])
(5) Ading (text by the composer), 100 mixed voices, 100 players (100 pakkung, 100 bangibang, 100 batiwtiw, 100 tagutok), audience ad libitum, 1978
(6) Music for Indonesian Gongs, Metallophones, Bamboos, Flute, Contrabassoon, and Voices (text by the composer), 8 female voices, 8 male voices, piccolo, contrabassoon, pakkung (+ clapper, tagutok, 2 sticks, 2 tongatong, shaker, whistle), ketuk (Indonesian gong) (+ kempul [Indonesian gong], suwukan [Indonesian gong], 4 saron [Indonesian metallophones], 4 gender), 1997
II – MUSIC FOR SIX GONG FAMILIES:
(1) Agungan – A Play of Gongs, 3 high suling (bamboo flutes)/other flute-type instruments, 5 small suspended Tiruray agung, 4 kulintang, 6 gangsa (flat gongs; played with the hands), 6 gangsa (played with sticks), 3 large suspended agung, 2 suspended gandingan, 4 sulibao (conical drums) (1 player), 1965
III – MUSIC FOR MOUTH HARPS:
(1) Aroding (text from a Palawan song), 7 male voices, 3 pispis (tiny flutes), 40 aroding, 1983
IV – MUSIC FOR CASSETTE RECORDERS AND RADIO STATIONS:
(1) Cassettes 100, 100 tape recorders (100 operators), 1971
(2) Ugnayan – Atmospheres, 20 radio stations, 1974
V – MUSIC FOR EUROPEAN INSTRUMENTS, BAMBOOS, PERCUSSION, AND GONGS:
(1) Siasid, 10 blown bamboo tubes/10 trombones, 10 violins, 4 percussion (3 bamboo slit drums, 3 tagutok, 3 pakkung, 3 conical Ibaloy drums/similar drums), 1983
(2) Suling-Suling, 10 suling/10 flutes, 10 kudlung (bamboo string percussion)/10 pakkung/10 tagutok, 10 gangsa, 1985
(3) Strata, 5 flutes, 5 guitars, 5 celli, 10 balingbing/10 similar instruments (+ 10 bangibang/10 Chinese pai-pan clappers/10 similar instruments), 5 tam-tams, 1988
VI – MUSIC FOR ORCHESTRAL OR EUROPEAN INSTRUMENTS:
(1) Dissemination, olimong (whistle flute)/similar instrument, 5 flutes, 5 oboes, 5 French horns, 5 violins, 3 celli, 2 double basses, 2 gongs/2 tam-tams, 1990
(2) Distemperament, 3 flutes, 3 oboes, 3 clarinets, 3 bass clarinets, 3 bassoons, 3 French horns, 3 trumpets, 3 trombones, 3 violins, 3 violas, 3 celli, 3 double basses, 1992
(3) Music for Five Pianos, 1993
(4) Two Pianos and Four Winds, clarinet, bassoon, French horn, trombone, 2 pianos, 1996
(5) Exchanges, Music for a Chamber Orchestra, 1997
(6) Colors without Rhythm, harp, piano, harpsichord, celesta, vibraphone, xylophone, marimba, 10 percussion groups (10 total players), large orchestra, 1998
(7) Music for Two Pianos and Four Percussion Groups, 2 pianos, 4 percussion, 2000
(8) Sujeichon – Korean Court Music for Four Pianos, 2002
(9) Banter and Profundity, small orchestra (19 players), 2003
VII – MUSIC AS THEATRE:
(1) Udlot-udlot (music theatre work, text by the composer), voice, 4 flutes (all + balingbing, tongatong), bangibang, 1997 (version of open-air ritual work [I (4)])
DISCOGRAPHY
Music for Indonesian Gongs, Metallophones, Bamboos, Flute, Contrabassoon, and Voices. Josefino Chino Toledo/AUIT Vocal Chamber Ensemble (National Commission for Culture and the Arts/Tunugan Foundation, 1999)
Pagsamba; Suling-Suling; Colors without Rhythm. (Tzadik: TZ 7067, 2001)
Strata; Sujeichon – Korean Court Music for Four Pianos; Music for Two Pianos and Four Percussion Groups. Chris Brown, Belle Bulwinkle, Charity Chan, Kanoko Nishi, pianos; Steed Cowart/The Mills Performing Group; Ramón P. Santos/UP Contemporary Music Players (Tzadik: TZ 8043, 2007)
Music for Five Pianos; Two Pianos and Four Winds. (ALM Records: ALCD 54)
(Last updated on January 20, 2009)
