JONAS BAES, Ph.D.
Associate Professor 4
Chair, Composition and Theory Department
College of Music, University of the Philippines
Diliman, Quezon City 1101
E-mail: jonas.baes@up.edu.ph
Telefax: College of Music, (+63-2) 929-6963
Residence Phone: (+63-2) 436-2688
Cellular Phone: 0927-4314510
GAWAD CHANCELLOR PARA SA PINAKAMAHUSAY NA MANANALIKSIK [HALL OF FAME] 2003
Education:
PhD: University of the Philippines [Philippine Studies]; Special Studies:
Staatliche Hochschule fuer Music Freiburg im Br., Germany [Composition/Music
Politics]; Bachelor of Music: University of the Philippines [Composition]
Memberships:
International Association for the Study of Popular Music; Media Performance
Research Circle-University of Wisconsin; Asian Composer’s League; Asia-pacific
Society for Ethnomusicology
Citations: KOMPONISTEN DER GEGENWART; THE LIVING COMPOSER’S PROJECT;
ASIAN MUSIC IN THE 20TH CENTURY; WIKI ON MUSIC PIRACY [COLUMBIA UNIVERSITY]
A. Research
Baes, J “Mangyan internal refugees from Mindoro Island and spaces of
low-intensity conflict in the Philippines.” In Shima. The International
Journal of Research into Island Cultures” Vol. 1/Nr. 1 {Revised from
a paper for the 2006 Colloquium, “Island Cultures in Transition: an
interdisciplinary colloquium on island cultures in the Asia Pacific region'
at the University of Hong Kong 22nd Nov-24th Nov. 2006].
Baes, Jonas. (2005d) “When there is no more music: Dumagat internal refugees in the Philippines and issues of cultural objecthood” Paper read at the 10th anniversary conference of the Southeast Asian Studies Regional Exchange Program (SEASREP), Chiang Mai, Thailand; December 2005.
Baes, Jonas (2005c) “Bamboo music and composition in the Philippines: Disquietudes on the ascendancy of a cultural object” Paper read at the First National Conference on Bamboo Music, sponsored by the National Commission for Culture and the Arts, and the Musicological Society of the Philippines, Manila, Philippines; September 2005
Baes, Jonas (2005b) “Between [the loss] of tradition and [the emergence of a] trend: Philippine indigenous music and the politics of documentation” Paper read at the Consultative Meeting “Between Tradition and trend: Documenting Southeast Asian Music,” SEMEO-SPAFA. Mahidol University, Thailand. July 2005
Baes, Jonas (2005a) “From Ading to Nothingness: Questions on Maceda’s Music and Imagination of Philippine Society.” Paper read at conference “Ugma-ugma,” commemorating the first death anniversary of national artist Jose Maceda. University of the Philippines and the National Commission for Culture and the Arts, May 2005.
Baes, Jonas (2004c). “Indigenous instruments in the Philippine recording industry: reification in an evolving/non-evolving soundscape of cultural difference” in Traditional Music in the Globalization Context. Hanoi: The Vietnamese Institute of Musicology.
Baes, Jonas (2004b) MODES OF APPROPRIATION IN PHILIPPINE INDIGENOUS MUSIC: THE POLITICS OF THE PRODUCTION OF CULTURAL DIFFERENCE PhD Dissertation, University of the Philippines
Baes, Jonas (2004a) “To the Memeory of an Angel: Philippine Indigenous Music and the Politics of Cultural Appropriation” in Graduate Journal of Asia-Pacific Studies Vol. 2/No. 1
Baes, Jonas and Eve Klein (2002) " Land Rights, Marginalisation and Ethnomusicology in the Philippines: A discussion of the Politics behind Nostalgia in a Denuded Rainforest" in Perfect Beat: The Pacific Journal of Research into Contemporary Music and Popular Culture. (Macquarie University, Sydney, Australia) Vol 6/ No. 1
Baes, Jonas (2002) " That's Ethnomusicology-or-Could my Study of Songs help Indigenous Philippine Peoples in Disputes over Ancestral Domain?" in Perfect Beat Vol. 5/ No. 4
Baes, Jonas (2002) Nostalgia in a Denuded Rainforest: Iraya-Mangyan Music from Mindoro, Philippines. A Compact Disc with Ethnographic Notes produced under the sponsorship of the National Commission for Culture and the Arts (NCCA) and the "Tunugan" Foundation
Baes, Jonas (2002) "Composers in the Philippines: Counterstreams in a Post-Colonial Epoch" in Asian Composers in the 20th Century. Tokyo: The Japan Federation of Composers.
Baes, Jonas (2002) "Indigenous Philippine Music and Issues of Ancestral Domain". Lecture delivered at the Center for Southeast Asian Studies, University of Wisconsin-Madison. March 18, 2002
Baes, Jonas (2002) "Towards a Political Economy of the 'Real': Music Piracy and the Philippine Cultural Imaginary" Paper read at the Conference on "Media Practice and Performance Across Cultures" March 14-17, 2002, University of Wisconsin-Madison. Also available online at http://polyglot.lss.wic.edu/mpi/conference/conference.html
Baes, Jonas (2002) "Towards a Theory of Structuration in Philippine Oral Traditions: 7-Syllable Texts and the Performance of Three Vocal Genres in the Philippines" paper read at the 7th International Conference of the Asia-Pacific Society for Ethnomusicology. Manila, February 17-23, 2002
Baes, Jonas (2001) "The Cultural Politics of Music Research in Southern Philippines: The Dynamics of Intercultural Communication when a Researcher is an Insider and an Outsider" in Journal of Intercultural Studies (Carfax, London) Vol. 22/ No.2
Baes, Jonas (2001) "Landscapes and Soundscapes: Marginality and Power in the Performance of Traditional Music in a Changing Philippine Society" in Essays in Musicology Seoul, Korea: Hanyang University
Baes, Jonas (2000) " Who Owns the Airwaves? or Music, Ethnicity, and Power in Philippine Television" paper read at the International Conference on "Local Agency and Local Identity in Television: Comparative Perspectives on Media Content and Reception in Asia" Univesiti Sains Malaysia, Penang, Malaysia May 2000
Baes, Jonas (2000) " Peripheral Identities: Popularising Indigenous Music in Mainstream Philippine Society" in T. Mitchell (ed) Changing Sounds: New Directions and Configurations in Popular Music Sydney: University of Technology, Sydney
Baes, Jonas (1999) "Broadcasting Ethnicity? On the Paradoxical Nexus between Musician and Broadcaster in Philippine Radio" paper read at the "1st Asia-Pacific nternational Conference on Broadcasting Traditional Music" Solo and Bali, Indonesia, September 1999
Baes, Jonas and Amapola Baes (1998) "East-West Synthesis or Cultural Hegemony in Philippine Popular Music?" in Perfect Beat Vol. 4/ No. 1; also read the Conference of the International Association for the Study of Popular Music, Kanazawa, Japan. July 1997
Baes, Jonas (1997) "Subing: An Iraya-Mangyan Trump from the Philippines" in Vierundzwandzigsteljahrschrift der Internationalen aultrommelvirtuosengenossenschaft 6: 106-112
Baes, Jonas (1995) "From the Igway to the Bulaklakan: The Structure of Transmission of Iraya-Mangyan Song from Mindoro, Philippines" in Dynamics of Asian Music: Tradition and its Modification. Osaka: National Museum of Ethnology.
Baes, Jonas (1989) "Alangan Lullabies" in Echology 3:6
Baes, Jonas (1988) "Marayaw and the Changing Context of Power among the Iraya of Mindoro, Philippines" in The International Review of the Aesthetics and Sociology of Music 19 (2): 259-267
Baes, Jonas (1987) "Ya-Ye-Yo-Na-I-Yu-Nan:
Swaying in Iraya Vocal Music from Mindoro, Philippines" in Ethnomusicology
31 (2): 229-239
B.
List of Other Writings
Baes, Jonas. (2002) "Jose Maceda geb. 1917" in W. W. Sparrer (ed.)
Komponisten der Gegenwart. 23.
Nachlieferung, April 2002. Munich: Edition Text und Kritik (published in German)
Baes, Jonas (2003) "Ramon P. Santos, geb. 1941" in W.W. Sparrer
(ed) Komponisten der Gegenwart
Munich: Edition Text und Kritik
Baes, Jonas (2001) "Baudrillard and the 'Annihilation' of the Audience"
in www.killdevilhill.com
Baes, Jonas (1999) "Southeast Asian Musical Traditions in the Philippines"
in www.ncca.gov.ph
Baes, Jonas (1999) "Westernized Musical Traditions in the Philippines"
in www.ncca.gov.ph
Baes, Jonas (1999) "Popular Music in the Philippines" in www.ncca.gov.ph
Major Musical Compositions
LISAN [leaving/ a soundfilm production] Premiered at the
UP Film Center (Cine Adarna), November 26, 2007.
PA-ALULUNG [for solo string bass, solo cymbal, found objects, and about 100 iron nail chimes distributed among the audience] to be premiered 2007 by bass player Allan von Schenkel
AGUYOY [interval music for bean-pods, leaves, and wood] Premiered in March 2006 at the University of the Philippines; World premiere, “Asien-Paszifik veraendert die Welt” Berlin, Germany/September 2007
BULAKLAKAN (for 16 children’s voices, percussion and the audience) Premiered by the Mandaluyong Children’s Choir in Manila, March 2004
PATANGIS-BUWAYA Version 3 for four [Hungarian] flutes, performed at the Hommaga Bartok in Budapest, Huingary, sponsored by the Magyar Radio Bartok Channel, May 24, 2006 Version 2: for four large bamboo flutes SULING, performed at the Yogyakarta Contemp[orary Music Festival in Indonesia, September 2005 Version 1(for four sub-contra bass recorders) Performed at the Asian Music Festival in Tokyo, Japan. September 2003
SALAYSAY (Music for woman's voice, 3 percussionists, and audience). Performed at the Asian Contemporary Music Concert, Abelardo Hall, UP College of Music; October 3, 2002
BANWA ("Imagined Community" <after B. Anderson> Version 3 for 4 bamboo scrapers, solo voice, various Chinese instruments [sheng, suona, pipa, gong, etc], and 100 pairs of pebbles distributed among the audience. Version 2 for 4 bamboo scrapers, 1 'bamui' caller, 1 'sarunai' oboe, 1 'khaen' mouth organ, and 100 iron nail chimes distributed among the audience) Performed at the concert, Parallel Streams: An Asian Composer's League Exchange Concert Abelardo Hall, UP College of Music; November, 2001. Version 1 for four bamboo scrapers played by 4 Maguindanao musicians also playing kulintang a tamlang instruments and about 100 bird whistles distributed among the audience. Premiered in Bangkok, Thailand during the 3rd ASEAN Composer's Forum on Traditional Music, December 1997
DALUY (Interval Music in 5 parts for 5 percussionists and audience) Version 2 for five Kalingga Musicians, performed at the “Tawag ng Bantula!” Bamboo Music Festival, Manila, Sepetember 2005 Version 1: Performed at the Pacific Soudstreams Festival, UP Diliman; September 2000. Recorded in 1999 by the AUIT Chamber Vocal Ensemble.
BALAWANG-PAIKUTAN (Music for 5 dancers, 5 animators, 16 voices, and audience) Performed during A Concert of Lenten Ritual Music Pundaquit, Zambales. April 1999
WALA ("Nothingness" for seven or hundreds of men's voices) Performed at the February Arts Month Concert Series, UP Lagoon, February 1999. Premiered in Ubon Ratchathani, Thailand during the 3rd ASEAN Composer's Forum of Traditional Music, December 1997.
IBO-IBON (“Birdwoman”) for 4 animator/callers, audience passing around iron nail chimes, and a melody represented by a dancer. Premiere April 1996 at Pundaquit, Zambales. Repeat: Asian Composer’s Festival, Tunugan, in Manila, January 1997.
HUNTAHANG-BAYAN (“People’s conversations”) for 4-7 animators and audience; performed in a small room where participants converse on social issues by means of leader-chorus singing. Premiere: Baguio City, Philippines 1996; Freiburg, Germany: 1992/93.
BANAL-PASAKIT ("Holy Sacrifice" for 10 men's and 10 women's voices, a capella: to plea for mercy for a dying nephew, Jonathan G. Baes) Performed at the Contemporary Music Festival of the Asian Composer's League, Manila, Philippines, April 1988
YAYEYUNAN ('Melody" for 5 women's voices, 16 bamboo rasps, and 4 bamboo zithers). Score presented as an exhibit and music performed at the Contemporary Art Museum of the Cultural Center of the Philippines, June 5-July 5, 1987
BASBASAN ("to bless" for 20 bean-pod rattles and 20 men's voices) Performed at an "indignation" concert protesting the death of Benigno Aquino and celebrating the 67th Anniversary of the University of the Philippines College of Music. September 1983.
CHALIPAY ("Celebration" for 100 bamboo instruments and 100 voices of trail calls, and audience plugging their ears) Performed at the Graduation Recital at the University of the Philippines College of Music, January 1982
PANTAWAG (Music for Calling People for Bamboo Scrapers, Palm Leaves, and "Forest Voices") Performed while in procession around the University of the Philippines Campus in September 1981
SIGAW
(‘internal,’ inaudible cries of injustice) for ten men's voices
and gongs; Performed at the First University Composer's Forum, University
of the Philippines, December 1981
Recent performances of Major Compositions
2007 November 26 LISAN for live musicians (10 percussionists, 16 voices, 5 animator-percussionists), audience palying pairs of pebbles, and film; University of the Philippines Film Center (Cine Adarna)
2007 September 28 BANWA
for four rasps, traditional musicians, and pairs of pebble played by the audience
(version for Vietnamese traditional musicians) Contemporary Music festival
“The avant-garde and globalization) Ho Chi Minh Conservatory of Music,
Ho Chi Minh, Vietnam
2007 September 27 PATANGIS-BUWAYA for four blown instruments (version for
Vietnamese flutes) Contemporary Music festival “The avant-garde and
globalization) Ho Chi Minh Conservatory of Music, Ho Chi Minh, Vietnam
2007 September 16 AGUYOY for seven instruments (wood block, bean-pod rattles, rasps, branches) performed with the audience’ eyes closed. Modern Art Ensemble-Berlin. Asien-Paszifik Wochenfest, Berlin, Germany (Asien-Paszifik veraendert die Welt)
2007 May 16: PA-ALULUNG for solo string bass, bowed cymbal, other found objects and +/- 100 iron nail chimes played by the audience. Basso-Moderno Duo, Washington DC., Delaware, USA; 23 other performances, including Spain etc.
2007 February 9: DALUY
Interval Music for percussionist and the public [version 3 for soloist and
audience] Asia-Pacific Festival in New Zealand, sponsored by the Asian Composer’s
League (ACL), and the Composer’s Association of New Zealand (CANZ)
2006 May 24: PATANGIS-BUWAYA for four sub-contra bass recorders [version on
Hungarian Flutes] Hommage a Bartok festival sponsored by the Bartok Channel
of the Hungarian radio. Budapest, Hungary
2005 October: BANAL-PASAKIT for twenty voices deployed among the audience. Asian Composer’s League festival, Bangkok, Thailand
2005 September: PATANGIS-BUWAYA for four sub-contra bass recorders [version for large Balinese bamboo “suling” flutes]. Yogyakarta Contemporary Music Festival, Yogyakarta, Indonesia
2005 September: DALUY interval music for five percussionists and the public [version 2 for Kalingga musicians/performed by the Pasiking group led by Bennicio Sokkong]
2005 May 5: SALAYSAY for woman’s voice, three percussionists, and an “ambient” audience [based on the philosophies of Jean Baudrillard] performed at “Ugma-ugma” on the first death anniversary of Jose Maceda
