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The 1st 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

From UGNAYAN to UDLOT-UDLOT : The Music of Jose Maceda Musical Ideas in New Music in Southeast Asia

Arsenio Nicolas, Ph.D. College of Music

Mahasarakham University Mahasarakham, Thailand

Abstract After the performance of Jose Maceda’s Ugnayan, a music composition for 20 radio stations, broadcasted over 33 radio stations in Metro Manila, on January 1, 1974, Maceda explored the musical ideas of music-making for thousands of participants in a new composition. Udlot-Udlot (Hesitations, 1975) is a music piece for an open-air ritual for hundreds or thousands of performers. The more people participating, the wider the spread of the sound. 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 --- one a descending slide, and the other a descending melody of 5 tones. 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. This paper describes and illustrates the production and performances of Udlot-Udlot, a seminal piece by Jose Maceda, recalling the first performance for 800 players in 1975, the 1976 performance for 1,200 players which I produced, the 2010 performance at the Banpaku, Senri Expo Park in Osaka, Japan and the 2009 performance of my composition Kalutang-Tongatong at the University of the Philippines.

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Outline: I. Introduction : -The Structure of Jose Maceda’s Udlot-Udlot -Description of the Music II. List with notes of performances of Udlot-Udlot (1975-2010) III. References Udlot- Udlot : Bibliography Jose Maceda : Selected Writings on New Music and Music Composition IV. Appendix Jose Maceda : Complete list of musical works V. Figures Figure 1. Music score of Udlot-Udlot (June, 1975), in Jose Maceda’s handwriting. Scanned copy. (In Maceda 1989:110-111; see also Belleza and Maceda 1977). Figure 2. Music score of Udlot-Udlot, revised by Nicolas (July 2015), adapted and transcribed by Hiroshi Nakagawa (May, 2010), based on the original 1975 score. VI. Pictures 1. Premier performance of Udlot-Udlot at the University of the Philippines,1975. 2. Udlot-Udlot at the Banpaku (Senri Expo Park), Suita City, Osaka, Japan, May-October, 2010. 3. Kalutang-Tongatong at the University of the Philippines Palma Hall Lobby, February 11, 2009.

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I. INTRODUCTION : 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 and composer, Yuji Takahashi, and published in Japan.1 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 I made all document the possible interpretations of the original ideas of Maceda. 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 which I produced, a stick beating on the bamboo stamping tube substituted for bamboo buzzers, 1 Maceda 1989 : 210-11; See also Belleza and Maceda 1977.

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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.2 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 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; 2 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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-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. 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

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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"

     owa                              k

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

II. LIST WITH NOTES OF PERFORMANCES OF UDLOT-UDLOT (1975-2011) In the following list of performances of Udlot-Udlot, though incomplet, I describe the performance of each, drawing as well from published articles, personal notes and emails. 1975 University of the Philippines Administration Building (800 players) (premiere performance). The setting of this performance is the UP Administration building, which in 1975, had a different design. The building’s two wings are connected to each other by a wide lobby on the raised second level and a connecting bridge on the third level. Fronting the building is a large square with the University Oblation at the center, a full statue of a nude man with outstreched arms, symbolic the ideals of academic excellence and academic freedom. In front of this statue was a lagoon. A U-shaped driveway surrounded this lagoon and statue. The back of the building was a sprawling gardens with a lagoon. In the ground lay-out designed by the painter Roberto Chabet from the UP College of Fine Arts, the mixed groups were assigned to sit in ten squares along the driveway. The chorus was assigned to stand on the second level lobby; and the drone section, playing wooden sticks on the connecting bridge on the third level. Thus, the huge open atrium of the building where the drone sticks and chorus were placed provided an open chamber from where it projected sounds to mix with the stamping tubes, buzzers and flutes in the open arena. To ensure that motorized vehicles did not interfere with the performance, traffic was diverted to the side streets. 1975 Festival and Conference of the Third Asian Composer's League. Cultural Center of the Philippines. Manila. 12-18 October. This performance was commissioned by the Cultural Center of the Philippines and was presented in conjunction with the Third Asian Composers Conference Festival at the CCP parking lot along Roxas Blvd. in Manila. The performance followed a ground lay-out again designed by the painter Roberto Chabet. The mixed sounds were produced by placing 10 groups arranged in 10 squares within a circle 16 meters in diameter. Within each circle, a vocal group was placed, arranged in two columns facing each other. The group playing the drone part, with wooden sonorous sticks walked clockwise around the circle. 1976a Calauag, Quezon (Calauag Central College : 1200 players) (Second week, February, on the occasion of the College Foundation Day).

na                    na              na                na                na

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

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In this performance, I trained the 1,200 students of the high school department of the College for three months from December, 1975 to February, 1976. Calauag, Quezon is my hometown, and it is about 300 kilometers southeast of Manila on the island of Luzon. This was attended by Professor Maceda himself, and two other friends. On the afternoon of the performance, the town plaza was closed to vehicular traffic to create an atmosphere of serenity, zenitude and contemplation. At an appointed time in the afternoon, some 30 sections of all four years of the high school were dispered to all the farthest boundaries of the town proper and from there, walked towards the town plaza (central square), playing the basic rhythm (R1) with their instruments. The groups arrived at the town plaza one by one and occupied assigned spaces on the wide cemented square with a stage. When all had converged, the actual performance started. The layout of the performance can be described as follows. Some 10 groups (about 400 players) played the drone part with kalutang sticks, who walked around in a circle surrounding the mixed groups in the center. Fifteen groups of about 600 players, seated on the floor, played the mixed group with bamboo stamping tubes, sticks to beat on the bamboo tubes, and bamboo flutes. All these instruments were made by the students themselves. The third group of about 200 singers stood on the stage, which I conducted. The performance was recorded by Prof. Maceda on analog tape using a Nagra full track tape recorder, now stored at the archives of the University of the Philippines Center for Ethnomusicology (in 1970s and 80s, this was then called the UP College of Music, Department of Music Research). Later in the evening, a dinner was held in my house, after which a musical soiree with my mother singing Tagalog kundiman songs, accompanied by Professor Maceda on the piano. 1976b Calauag, Quezon : Music for Lenten Procession April 1976 (about 50 players) As a continuation of this project, I trained some 50 students of the St. Peter’s High School of my hometown, Calauag, Quezon to play musical sticks. Playing varying rhythms, they joined the Good Friday procession during the Catholic Lenten Holy Week. Ten to fifteen students played wooden and bamboo sticks, walking behind each carriage carrying the holy images in the procession. The clicking of wooden sticks emanated in the background as devotees prayed the rosary aloud, with the singing of the Tagalog pasyon, recounting the crucifixion story. 1980 Berlin performance of Udlot-Udlot3 1984 Jose Maceda's "Udlot-Udlot". Jakarta Institute of the Arts. Jakarta, Indonesia. Students of the Jakarta Institute of the Arts performed this piece in the Theater arena. 1991 Tetuangan, production of an experimental new music composition. National University of Malaysia. Bangi, Selangor, Malaysia. 3 - https://www.youtube.com/watch?v=HvMLvHeM0mo&list=PL5BFA8A75E604F85D&index=7 - https://www.youtube.com/watch?v=UOENxtenBbg&index=8&list=PL5BFA8A75E604F85D - https://www.youtube.com/watch?v=dyw2OvwuvyI&index=9&list=PL5BFA8A75E604F85D - https://www.youtube.com/watch?v=kmat-VAzIvY&list=PL5BFA8A75E604F85D&index=10

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This project involved some 50 students from the National University of Malaysia in Bangi during a university convocation. The mixed group played bamboo stamping tubes and bamboo flutes, while the drone part was played using wooden sticks. All players were seated on chairs placed at the center of the university hall. The title Tetuangan (Malay: buffalo horn) was given by Dr. Inon Shaharudin Abdul Rahman at National University of Malaysia (UKM, Bangi). The video tape recording is stored in the archives of the Universtiy library. 2002 A 15-minute improvisation event for 120 anthropology students at Cornell University, in Ithaca, New York, USA, using hand-clapping and voices, also held in smaller classes to demonstrate basic rhtymic patterns. 2009 Kalutang-Tongatong : February 11, 2009 Palma Hall Lobby, University of the Philippines, Quezon City, Philippines. To celebrate the 2009 University of the Philippines, College of Social Sciences and Philosophy Week, Dean Michael Tan invited me to organize a musical event. For this, I composed a music piece, Kalutang-Tongatong. The event was named as ‘Sulyap sa Gangsa, Kalutang, Tongatong -- a glimpse into Philippine music.’ We invited classes from the General Education program who were not music majors. The program started with playing the gangsa (flat gongs) with dancing by the UP ANIDO (Association of Cordillera Students at the University of the Philippines) with 6 gangsa players, and 6 dancers. The first piece, Tongatong, was played by students of Music Literature 9 classes with thirty students from the UP College of Music, class of Ms. Patricia Brillantes. Each student played tongatong (bamboo stamping tubes), dongadong (bamboo quill tubes), balingbing (bamboo buzzer) and bamboo pipes (saggeypo). The second piece, Kalutang, is a piece with improvisations on slow rhythms on counts of 2s, 4s, 5s and 7s playing kalutang, pairs of rattan sticks, performed by about 70 students from two sections of Anthropology 10 classes under Mr. Edwin Valientes and Ms. Christine Ajoc, and students of SEA 30 (Introduction to Southeast Asia) from the UP Center for International Studies (UPCIS). No sound nor video recording was made, only photographs by Rej Cruz and Archie Tesoro. The music and the performance is best described in an editorial opinion column in the Philippine Daily Inquirer, by the anthropologist Professor Michael Tan, now Chancellor of the University of the Philippines. “There was very little publicity but because the performance was in the lobby, many students and faculty would pass by, and linger on. Some passersby asked if they could join in and we loaned them the extra ‘arnis’ sticks, happy that we were getting students to appreciate music in a more natural setting. This is, after all, a generation that thinks of ‘native’ music mainly as colorful CDs of ‘world music’ imported from the United States and Europe…. This is of course screened world music, chosen more along the tastes of Westerners, and acoustically sanitized….Two or three people decide they want to jam and start something with whatever they have on hand, and if there’s nothing, the bamboo is available everywhere. A piece of cut bamboo, without any modification, would give you a tongatong. Cut it to form something like the quill of a pen and you have a dongadong.

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‘Kalutang’ was intended to be fairly sedate, starting with slow beats that would accelerate, but Arsenio quipped after the performance that the students tended to race off. It’s probably a reflection of our times: Slow rhythms make people feel uneasy” (Tan 2009). 1991a Udlot-Udlot : Ninna-ji Temple, Kyoto, Japan : 800 performers This was held at Ninna-ji temple, in Kyoto on May 5, 1991, organized by the Kyoto Contemporary Music Forum)4, and by one of the important members, Dr. Shin Nakagawa. Maceda himself guided the performance. There were about 800 performers, with Hiroshi Nakagawa and his group participating.5 In 1994, the Ninna-ji Temple was inscribed as a UNESCO World Heritage Site, one of the ancient historic sites of ancient Kyoto.6 1991b Documentary on José Maceda, Japanese TV 1991 : Five Videos (in Japanese)7 2003 Jose Maceda, San Francisco, "Udlot-Udlot". Yerba Buena Gardens, April, 2003.8 2010 Udlot-Udlot at Banpaku Park, Suita City, Osaka, Japan These 10 videos on YouTube and the website of pictures9 document the rehearsals and performance of Udlot-Udlot at Banpaku Park, Suita City, Osaka, Japan from May 15 to October 23, 2010. Hiroshi Nakagawa, a specialist on Indian classical music and a music producer, initiated the project when he was requested by the Senri Foundation of the National Museum of Ethnology in Osaka to organize a musical event.10 He proposed the performance of Udlot-Udlot, recalling that he participated in its performance at Ninna-ji temple in Kyoto in 1991. He then formed a committee composed of Shin Sakuma, Takuro Iwabuchi and Takeshi Kojima. Mr. Shin Sakuma is an accomplished dancer who studied Javanese dance in Jogyakarta. On February 24, 2009, Mr. Hiroshi Nakagawa sent me an email, upon the suggestion by Dr. Shin Nakagawa (Director, Urban Research Plaza, Osaka City University in Osaka) requesting that we meet with Mr. Shin Sakuma at the National Museum of Ethnology, to talk about the forthcoming performance in October. I then joined several rehearsals at the basement of the

4 -http://commons2008.web.fc2.com/forum.html 5 email from Hiroshi Nakagawa, dated July 1, 2015; Koichi Suwa 2014 6 -http://www.ninnaji.or.jp/multilingual_info.html. 7 (1/5) https://www.youtube.com/watch?v=HBXXq9cGDCI&list=RDHBXXq9cGDCI#t=2 (2/5) https://www.youtube.com/watch?v=EDkS66asIS4&index=2&list=RDHBXXq9cGDCI (3/5) https://www.youtube.com/watch?v=Gq51p1rBKN0&list=RDHBXXq9cGDCI&index=3 (4/5) https://www.youtube.com/watch?v=f36mnu4WizE&index=4&list=RDHBXXq9cGDCI (5/5) https://www.youtube.com/watch?v=9XJfdPWwWF4&list=RDHBXXq9cGDCI&index=5 8 - https://www.youtube.com/watch?v=V3gvVrEG03U&index=21&list=PLeSKdzVKFTTbZnzbfppD0hb-0bE_04ZJQ 9 (1000人で音楽をする日。http://www.1000ongaku.com/) 10 (http://www.senri-f.or.jp/top_page.php)

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museum, and in one sento (bathhouse) that had been closed. The following videos document the various phases in the preparation, rehearsals and performance of Udlot-Udlot 2010. These illustrate the collective efforts, dedication and artistic passion which a community of musicians, their friends and colleagues have for this work – from its conceptualization, the use of new musical instruments and their manufacture, the various experimentations in techniques in playing, and finally, the concerted work that led to its succesful performance. May 15 – October 23, 2010 Minpaku (National Museum of Ethnology), Senri Expo Park, Suita City, Osaka, Japan This folder contains all the videos uploaded by several participants of this performance.11 May 15, 2010 : Minpaku, Senri Expo Park, Osaka 2010.5.15 アルセニオ氏から「ウドロ・ウドロ」に関するアドバイス Arsenio Nicolas explaining some possible interpretations in the performance of Udlot-Udlot including dancing and movement, with Hiroshi Nakagawa and the performers. Most of the rehearsals and the making of musical instruments were held at the basement of the National Musuem of Ethnology (Minpaku).12 May 15, 2010 : Minpaku, Senri Expo Park, Osaka 2010.5.15「1000人で音楽をする日。ワークショップ vol.1」（後半） A 7-minute performance-rehearsal with most parts of the 40-minute piece condensed.13 May 22, 2010 : Tenjin-Bashi Art-Cento Ten minutes from Udlot-Udlot. Gamelan Aid Project at Tenjin-Bashi Art-Cento, 22 May 2010. Performed by Gamelan Aid Project members.14 August 22, 2010 : Minpaku, Senri Expo Park, Osaka 2010.08.22 150人で音楽を練習する日。 〜『波』の練習 Rehearsals : Vocal Group with bamboo instruments : movement and playing.15 September 11, 2010 : Minpaku, Senri Expo Park, Osaka 2010.09.11 300人で音楽を練習する日。 〜『波』の練習 Improvisation with movement, by some 50 players divided into 2 groups led by Shin Sakuma.16 September 11, 2010 : Minpaku, Senri Expo Park, Osaka 2010.09.11 300人で音楽を練習する日。 〜音出し Rehearsals -- about 30 players play all instruments in varying mixes using all the rhythmic combinations, producing a wide array of mixed sounds…17

11 -https://www.youtube.com/watch?v=OBkZy5DAgSY&feature=youtu.be&list=PL5BFA8A75E604F85D 12 - https://www.youtube.com/watch?v=P6nrpRfqjac&index=32&list=PLeSKdzVKFTTbZnzbfppD0hb-0bE_04ZJQ 13 -https://www.youtube.com/watch?v=Lh03sQuPQwY&list=PLeSKdzVKFTTbZnzbfppD0hb-0bE_04ZJQ&index=36 14 -https://www.youtube.com/watch?v=B1GkHYHzGUk&list=PLeSKdzVKFTTbZnzbfppD0hb-0bE_04ZJQ&index=9 15 -https://www.youtube.com/watch?v=z4fQ0vTj95s&list=PLeSKdzVKFTTbZnzbfppD0hb-0bE_04ZJQ&index=35 16 -https://www.youtube.com/watch?v=iqaTkIU7LLc&index=33&list=PLeSKdzVKFTTbZnzbfppD0hb-0bE_04ZJQ 17 - https://www.youtube.com/watch?v=aJL0Ta1jsNQ&list=PLeSKdzVKFTTbZnzbfppD0hb-0bE_04ZJQ&index=29

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Sept. 11, 2010 : Minpaku, Senri Expo Park ,Osaka 2010.09.11 300人で音楽を練習する日。 〜『ウドロウドロ』通し稽古 Rehearsals with vocal parts, with tongatong and stick on tongatong.18 Two videos of the performance on Ocotber 23, 2010: October 23, 2010 Ten minutes from Jose Maceda "Udlot-Udlot" performed at Senri Expo Park, Japan. Film by Naoki Homma19 October 23, 2010 Ten minutes from Jose Maceda "Udlot-Udlot" performed at Senri Expo Park, Japan. Film by Naoki Homma20 About 500 participants in this performance, joined by some visitors in the park. 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.

18 -https://www.youtube.com/watch?v=s4WGv1jm534&index=34&list=PLeSKdzVKFTTbZnzbfppD0hb-0bE_04ZJQ 19 - https://www.youtube.com/watch?v=OBkZy5DAgSY&list=PLeSKdzVKFTTbZnzbfppD0hb-0bE_04ZJQ&index=5 20 - https://www.youtube.com/watch?v=lwxw5ACuHYU&list=PLeSKdzVKFTTbZnzbfppD0hb-0bE_04ZJQ&index=15

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III. REFERENCES Jose Maceda : Selected Writings on New Music and Music Composition 1956 Philippine music and contemporary aesthetics. Cultural Freedom in Asia.

Proceedings of a conference held at Rangoon, Burma on February 17-20, 1955 and convened by the Congress for Cultural Freedom. Tokyo and Rutland, Vermont: Tuttle, pp. 116-123.

1964 The Place of Asian Music in the Philippine Contemporary Society. Asian Studies, II:1, 71-75.

1966a The Place of Asian Music in Philippine contemporary Society. Revitalizing Music for Contemporary Living. Proceedings of the 2nd National Music Conference. Diliman, February 1-2, 1966. Manila: UNESCO National Commission of the Philippines, pp. 83-89. (same as published in 1964).

1966b The Musics of Asia. Report of a music conference held in Manila, April 12-16, 1966. The World of Music 8: 4/5, 79-80.

1971 Editor. The Musics of Asia. Papers read at an International Music Symposium held in Manila, April 12-16, 1966. Manila: National Music Commission of the Philippines.

1973 Music in the Philippines in the 19th century. In Musikkulturen Asiens und Afrikas im. 19. Jahrhunderts. Regensburg: Gustav Bosse, pp. 215-232. (Translated into Filipino by Arsenio Nicolas and published in Musika Jornal 3, 1979).

1974a What is Ugnayan? Philippines Quarterly, March, pp. 45-47. 1974b Music in Southeast Asia: Tradition, Nationalism, Innovation. Cultures 1-3: 75-94.

Paris: UNESCO. 1974c Drone and Melody in the Philippine Musical Instruments. Traditional Drama and

Music of Southeast Asia. Pp. 246-273. Kuala Lumpur: Kementerian Pelajaran Malaysia.

1976a Sources of Musical Thought in Southeast Asia. Final Report of the Third Asian Composer's League Conference-Festival. Held in Manila, October 12-18, 1976 (pp.63-66). Manila: National Music Council. (Translated into Filipino as “Kaisipang Pangmusika sa Timog-Silangang Asya” by Arsenio Nicolas and published in Musika Jornal 1, 1977).

1976b Elements for a new music in Southeast Asia. Paper read in the 4th Conference- Festival of the Asian Composer's League, held in Taipei, Nov. 25-Dec.2, 1979.

1977b Flat Gongs in the Philippines. Proceedings of the 30th International Congress of Human Sciences in Asia and North Africa. Mexico 1976.

1977a Bourdon en melodie in filippijnense musiek instrumenten. Muziek in de Filippijnen. The Hague: Municipal Museum, pp. 17-34.

1977b Kaisipang Pangmusika sa Timog-Silangang Asya. Translated from English (Maceda 1976a) by Arsenio Nicolas. Musika Jornal 1, 1977.

1978 A Primitive and a Modern Technology in Music. National Centre for Performing Arts Journal. Bombay. VII:2, 30-38.

1979 A Search for an Old and a New Music in Southeast Asia. Acta Musicologica 51, Fasc. 1, 160-168.

1980 Maschine, Bordun und Bevolkerung. Bausteine fur eine neue Musik in Asien. (Machine, drone, and the people. Building blocks for a new music in Asia.). Neue Zeitschrift fur Musik, Germany. CXLI : 5, 448-51.

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1981 Xenakis, l'architecture, la musique. In Regards sur Iannis Xenakis. Paris: Stock, 1981, pp. 335-339.

1982a La Technologie primitive et la technologie moderne en musique. Revue d'esthetique, nouvelle serie 4, 177-183.

1982b A Classicism in a Music of Southeast Asia. Paper read in the 6th National Conference, Musicological Society of Australia, University of Adelaide. May 17-21, 1972. 7pp.

1983a On Catherine Clement's "Le chromatisme et la seduction," in the music of Richard Wagner. A brief talk at the Goethe Institute, Manila. February 23, 1983.

1983b Contemporary Music in the Philippines and Southeast Asia. National Center for the Performing Arts Quarterly Journal 12:4, 31-35.

1986a A concept of time in a music of Southeast Asia. Ethnomusicology, 30:1, 11-53. 1986b Philippines. Report of a University Composer's Forum. Bulletin of the International

Music Council for Traditional Music. 67 (April), 22-25. 1989 Drone and Melody. Musical Thought in Southeast Asia ドローンとメロディー, 東南ア

ジアの音楽思想 Translated and edited by Yuji Takahashi. Shinjuku Shobo Co., Ltd. 1998 Gongs and Bamboo. A Panorama of Philippine Music Instruments. Tables, maps,

photo layout and glossary by Marialita Yraola. Quezon City: University of the Philippines.

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.

Dioquino, Corazon C. 1982 Musicology in the Philippines. Acta Musicologica 54, 1/2 (Jan. - Dec., 1982), pp.

124-147. 2009 Philippine bamboo instruments. Humanities Diliman 5, 1&2. Koichi Suwa. 2014/2015. Changes in social norms in Japanese society illustrated by two

contemporary music performances. In Conference Proceedings. The 7th East Asian Regional Conference in Alternative Geography. Osaka, Japan. July 23-25, 2014. Association for Urban Creativity, Osaka City University Urban Research Plaza and Department of Geography. P. 19; for article in Japanese, see: 越境する対話と学び (Conversation and Study by Crossing the Border). Shuta Kagawa and Masahiko Aoyama, eds. Tokyo : Shinyou-Sha, 2015, Chapter 13, pp. 273-290.

Nicolas, Arsenio. 2015a From “Atmospheres” to “Ugnayan” : The Music of Jose Maceda. Musical Ideas in

New Music in Southeast Asia. Paper read at the Mahasarakham University Research Conference 11. Mahasarakham, Thailand. August 17-21, 2015.

2015b Music, Rice, and Ritual Space : Bamboo, Wood and Gong Music in Java, Bali and Northern Luzon. SEAMEO-SPAFA Conference Proceedings. The Spiritual Dimensions Of Rice Culture In Southeast Asia. Srinakharinwirot University, Bangkok, Thailand. May 11-14, 2015. Pp. 49-64.

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2010 The Music of Jose Maceda. Lecture delivered at the Urban Research Plaza. Osaka City University, Osaka, Japan. June 9, 2010.

2009 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.

2009 The Music of Jose Maceda. Lecture delivered at the College of Music, Mahidol University, Salaya, Bangkok, Thailand. December 25, 2010.

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).

2000 Wind, water and fire: Sketches of Balinese Soundscapes. Southeast Asia Program Bulletin, Cornell University, Fall 2000, p. 17.

1994 Uta to tomo ni Ikiru (Music as life-giving). In Karashi ga Wakaru Asia Dokuhon : Philippines. (Readings on Asian Peoples: Philippines). Pp. 116-121. Tr. into Japanese by A. Takenobu. Ed. by M. Miyamoto and T. Terada. Tokyo: Kawadeshoboshinsha.

1993a Music and Temple Systems in Southeast Asia. In Transactions of the International Conference of Orientalists in Japan 38: 176-177. Tokyo: Toho Gakkai. (see also Acta Asiatica, vol. 38, April 1994)

1993b Kehidupan Muzik di Asia Tenggara: Sehubungan dengan Upacara, Agama dan Adat Setempat (Musical Life in Southeast Asia: Its Relations with Ritual, Religion and Adat). Fenomena 2, 144-156. Kuala Lumpur: Jabatan Pengajian Melayu, Universiti Malaya.

Tan, Michael. 2009 A different beat. Philippine Daily Inquirer. February 18, 2009.

http://opinion.inquirer.net/inquireropinion/columns/view/20090218-189736/A-different-beat (accessed July 2, 2015).

Websites: - The Chabet Archive: Covering Fifty Years of the Artist’s Materials > Roberto Chabet > Collaborations > 1975 Udlot-udlot http://www.aaa.org.hk/Collection/CollectionOnline/SpecialCollectionFolder/1332 Accessed 2015 07 01 -Performance of Udlot-Uldot at Banpaku, Suita City, Osaka, Japan. 1000人で音楽をする日。 http://www.1000ongaku.com/ -Website of mp3 files of Jose Maceda’s music http://mp3download.us.com/en/download/jose_maceda/ -https://www.facebook.com/pages/Jose-Maceda-Composer-Ethnomusicologist APPENDIX

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Jose Maceda : Complete List of Musical Works These works are listed according to general categories as defined by the composer; dates given are those of the première performance. See: http://www.composers21.com/compdocs/macedaj.htm. One work not listed on this website is added (V, 4). I – MUSIC FOR BAMBOOS, MIXED INSTRUMENTS AND VOICES 1. Ugma-ugma – Structures, 1963 Text by the composer. Mixed chorus, carabao horn, whistle, shō (mouth organ from Japan), kubing (jaw harp from the Philippines)/aroding (mouth harp from the Philippines), gambang (xylophone from Southeast Asia), gendèr (metallophone from Indonesia), kulintang (rack of gongs from the Philippines), suspended agung (gongs with stopped sounds from the Philippines), suspended gandingan (gongs with freely-vibrating sounds from the Philippines), rattle, tagutok (bamboo scraper from the Philippines), cowbells/other small bells, clapper, paiban (clappers from China), pakkung (buzzer from the Philippines), tongatong (stamping tubes from the Philippines), bamboo sticks. 2. Kubing, 1966 Text by the composer. 5 male voices, 7 kubing, 3 batiwtiw (bamboo zithers from the Philippines), 3 tagutok, 7 pakkung, 7 pairs of tongatong. 3. Pagsamba – Worship, 1968 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 ongiyong [whistle flutes from the Philippines], 100 balingbing [bamboo buzzers from the Philippines], 100 palakpak [bamboo clappers from the Philippines], 100 bangibang [yoke-shaped wooden bars from the Philippines; played with beaters]). 4. Udlot-udlot – Hesitations, 1975 Open-air ritual, text by the composer. Vocal group (100s of voices; moving around every 10 minutes), group of bangibang (100s of players; circling around with formal steps), instrumental group (flutes, tongatong, balingbing; 100s of players) (all sitting inside a circle), (also version as music-theatre work [VII (1)]). 5. Ading 1978 Text by the composer. 100 mixed voices, 100 players (100 batiwtiw, 100 tagutok, 100 pakkung, 100 bangibang), audience ad libitum. 6. Music for Indonesian Gongs, Metallophones, Bamboos, Flute, Contrabassoon, and Voices, 1997 Text by the composer. 8 female voices, 8 male voices, piccolo, contrabassoon, kethuk (gong from Indonesia) (+ kempul [set of knobbed gongs from Indonesia], gong suwukan [gong from Indonesia], 4 gendèr, 4 saron panerus [metallophones from Indonesia]), pakkung (+ whistle, tagutok, clapper, 2 sticks, 2 tongatong, shaker). II – MUSIC FOR SIX GONG FAMILIES 1. Agungan – A Play of Gongs, 1965 3 high suling (bamboo flutes from Southeast Asia)/other flute-type instruments, 4 kulintang, 6 gangsa (flat gongs from the Philippines; played with the hands), 6 gangsa (played with sticks), 5 small suspended agung of the Tiruray, 3 large suspended agung, 2 suspended gandingan, 4 sulibao (conical drums from the Philippines) (1 player)

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III – MUSIC FOR MOUTH HARPS 1. Aroding, 1983 Text from a song from Palawan. 7 male voices, 3 pispis (tiny flutes from the Philippines), 40 aroding (mouth harp) IV – MUSIC FOR CASSETTE RECORDERS AND RADIO STATIONS 1. Cassettes 100, 1971 100 tape recorders (100 operators) 2. Ugnayan – Atmospheres, 1974 20 radio stations V – MUSIC FOR EUROPEAN INSTRUMENTS, BAMBOOS, PERCUSSION, AND GONGS 1. Siasid, 1983 10 blown bamboo-tubes/10 trombones, 10 violins, 4 percussion (3 bamboo slit-drums, 3 tagutok, 3 pakkung, 3 conical drums of the Ibaloi/similar drums). 2. Suling-Suling, 1985 10 suling/10 flutes, 10 gangsa, 10 kudlung (two-string lute from the Philippines)/10 tagutok (bamboo slit-drum)/10 pakkung (bamboo buzzer) 3. Strata, 1988 5 flutes, 5 guitars, 5 cellos, 5 tam-tams, 10 balingbing/10 similar instruments (+ 10 bangibang/10 paiban/10 similar instruments). 4. Music for Gongs and Bamboo, 1997 hanging gongs and metallophones of Javanese gamelan, Philippine bamboo instruments, ryuteki (Japanese flute), contrabassoon and the children's chorus. (This work is not listed on this website but is found in another : http://www.aac.pref.aichi.jp/english/bunjyo/event/PReport-e/97/97-09en.html) VI – MUSIC FOR ORCHESTRAL OR EUROPEAN INSTRUMENTS 1. Dissemination, 1990 olimong (whistle flute from the Philippines)/similar instrument, 5 flutes, 5 oboes, 5 French horns, 5 violins, 3 cellos, 2 double basses, 2 gongs/2 tam-tams. 2. Distemperament, 1992 3 flutes, 3 oboes, 3 clarinets, 3 bass clarinets, 3 bassoons, 3 French horns, 3 trumpets, 3 trombones, 3 violins, 3 violas, 3 cellos, 3 double basses. 3. Music for Five Pianos, 1993 5 pianos 4. Two Pianos and Four Winds, 1996 clarinet, bassoon, French horn, trombone, 2 pianos. 5. Exchanges, Music for a Chamber Orchestra, 1997 small orchestra

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6. Colors without Rhythm, 1998 harp, piano, harpsichord, celesta, vibraphone, xylophone, marimba, percussion in 10 groups (10 total players), large orchestra. 7. Music for Two Pianos and Four Percussion Groups, 2000 2 pianos, percussion in 4 groups (4 total players). 8. Sujeichon – Korean Court Music for Four Pianos, 2002 4 pianos. 9. Banter and Profundity, 2003 (date of composition) small orchestra (19 players) VII – MUSIC AS THEATRE 1. Udlot-Udlot, 1997 music-theatre work, text by the composer, voice, 4 flutes (all + tongatong, balingbing), bangibang, (version of open-air ritual, 1975 [I (4)]) Acknowledgments With deepest thanks, I owe much gratitude to the following in the preparation of this paper. The Calauag Central College in Calauag, Quezon, Philippines; the University of the Philippines (Department of Anthropology, Archaeological Studies Program, College of Music, Center for International Studies); Dr. Inon Shaharudin Abdul Rahman at National University of Malaysia (Bangi, Selangor), now at Universiti Malaysia Sabah; special thanks to Mr. Hiroshi Nakagawa (Kobe) for the Japanese documents and translations into English; Dr. Shin Nakagawa at Osaka City University Urban Research Plaza; the Nippon Foundation Senior API Fellowship Program 2009-2010, enabling me to conduct research in Java, Bali, Malaysia, Thailand and Japan; the National Museum of Ethnology (Osaka) and Prof. Dr. Yoshitaka Terada who hosted my six-month fellowship, during which time the preparations and rehearsals for the October 2010 performance of Udlot-Udlot were held, and which I could not attend after the conclusion of my fellowship; and the College of Music Library, Mahasarakham University. My special thanks to my colleague, Marialita Tamanio-Yraola for reading the draft. The details in this article are derived from published sources, emails, personal notes and my own recollection of the events, and some details might have been inadvertently omitted or not mentioned.

Udlot-Udlot. Premiere performance at the University of the Philippines, Quezon City. June 1975. Performed by the 800 students of the University of the Philippines High School.

top : Maceda conducting the chorus below: the layout of mixed instruments around the Oblation pond.

top: the chorus on the second level, the pairs of sticks on the third level; the mixed instruments on the ground with five placard bearers indicating time by the last five seconds. below : Maceda conductng the chorus on the second level, organized into two groups.

top : the mixed group with bamboo stamping tubes, buzzers and flutes. below : the pairs of sticks on the third level connecting passageway.

Udlot-Udlot : Performance and rehearsals at Banpaku, Senri Expo Park, Osaka, Japan. May – October, 2010 Performers : about 500, drawn from a network of musicians, friends of the organizers, and park visitors Organized by Hiroshi Nakagawa, Shin Sakuma, Takuro Iwabuchi, Takeshi Kojima and Shin Nakagawa

Performance at Banpaku, Senri Expo Park, October 23, 2010. top: tongatong; below: kalutang

Performance at Banpaku, Senri Expo Park, Suita City, Osaka. October 23, 2010. Top picture : Shin Nakagawa with kalutang sticks, third from left.

Rehearsals at National Museum of Ethnology. top: Hiroshi Nakagawa with saggeypo (extreme left); below: tongatong, saggeypo

Rehearsals at National Museum of Ethnology, Senri Expo Park,, Osaka – May-July, 2010. top: mothers and children playing tongatong; below, left: cutting wooden sticks; below, right: notation and notes for performers

Udlot-Udlot 2010 - Team of Organizers. Left to right : Takashi Kojima; Hiroshi Nakagawa; Shin Sakuma; Shinya Oda (Senri Foundation); Masaki Nishizawa (Senri Foundation).

Udlot-Uldot (Osaka 2010) : bamboo musical instruments

Kalutang-Tongatong, a musical event by Arsenio Nicolas - February 11, 2010 University of the Philippines Palma Hall Lobby. Performers : about 100 students from the College of Music, Department of Anthropology and the Center for International Studies. Photos : Archie Tesoro and Rej Cruz.

top: the performance at the lobby. below: kalutang (pairs of rattan sticks)

top : saggeypo (bamboo pipes), tongatong (bamboo tubes), balingbing (buzzers); below: tongatong

top, left: balingbing (bamboo buzzer); top, right: gangsa (bronze flat gong) below: Michael Tan with kalutang (2nd left); Victor Paz (center); Armand Mijares (right)

top: balingbing (bamboo buzzers); below: dancing to the music of gangsa (flat gongs)