Basbasan by jonas baes biography

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(b. 1961, Los Baños, Laguna).

Filipino composer of interdisciplinary works that have been performed in Asia, Europe and North America; he is also active as a musicologist.

Prof. Baes studied composition with Ramón Pagayon Santos at the University of the Philippines Diliman in Quezon City from 1977–82, where he earned his BMus in composition. He also studied musicology there with José Maceda from 1982–85. He later studied composition and musical politics with Mathias Spahlinger at the Hochschule für Musik Freiburg in Freiburg im Breisgau from 1992–94. He finished his PhD in Philippine Studies at the University of the Philippines Diliman in 2004 with his dissertation Modes of Appropriation in Philippine Indigenous Music: The Politics of the Production of 'Cultural Difference'.

Among his honours are the CCP-LFC Composition Prize (1980, for Awit ng Ibon) and three awards from the chancellor, which earned him the Hall of Fame Award for best research at the University of the Philippines, entitled Gawad Chancellor para sa Pinakamahusay na Mananaliksik (2001–03). He later received the Nippon Foundation Senior Fellowship for Asian Public Intellectuals (2008–09), as well as the UP Artist Award (regularly since 2013) and the

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New music composers

1. NEW MUSIC COMPOSERS

2. NEW MUSIC COMPOSERS  Incorporating traditional music forms as well as indigenous rhythms and instruments in their compositions.

3. JOSE MACEDA (1917 – 2004) National Artist for Music • Music studies; • Academy of Music in Manila. • Paris to study with Alfred Cortot. • USA with E. Robert Schmitz and • Earned a Doctorate Degree in Ethnomusicology from UCLA. • January 17, 1917 in Manila.

4. Maceda’s musical style: – 1953, changed when he encountered the music of the indigenous tribes of Mindoro. – Understanding and preservation of Filipino traditional music. – Collection of recorded music taken from the remote mountain villages and far-flung inland communities. – Compositional approach Western style. – Combined sounds of the environment with ethnic instruments.

5. • Compositions were usually for large groups of musicians. • Among his works are: – Ugma-Ugma (1963), a work for voice and ethnic instruments – Agungan (1975), a piece for six gong families – Pagsamba (1968), a musical ritual for a circular auditorium using several ethnic percussion instruments – Cassettes 100 (1971), a composition for 100 cassette tape recorders; and – Ugnayan (1974), an ethnic piece played at the same time over several radio stations.