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Naming the Artist, Composing the Phi...

Matherne, Neal D.

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Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award./
Author:	Matherne, Neal D.
Description:	217 p.
Notes:	Source: Dissertation Abstracts International, Volume: 75-11(E), Section: A.
Contained By:	Dissertation Abstracts International75-11A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3630724
ISBN:	9781321088076

Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award.
Matherne, Neal D.

Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award. - 217 p.

Source: Dissertation Abstracts International, Volume: 75-11(E), Section: A.

Thesis (Ph.D.)--University of California, Riverside, 2014.

This item must not be sold to any third party vendors.

This work is a critical analysis of art, memory and prestige in the early twentieth- and late twenty-first-century Philippines. I am concerned with the creation of the Philippine nation by various acts of commemoration and recognition (awards, exhibits, and concerts) through which artists are valorized, immortalized and celebrated. I answer three broad questions: (1) how do patron-client and kinship systems determine the national recognition of artists in the post-colonial world? (2) how is music used in the nation-building project? and (3) how is national mythology created and contested through the commemoration of individual artists in the Philippines? I approach Philippine area studies through discussions of the past in ethnomusicology, borrowing theory from memory studies and methodology from historical anthropology while expanding both fields with a consideration of expressive culture. To describe this interaction between state and artist, I focus on the National Artist Award (NAA), the highest honor bestowed upon an artist by the Philippine government. I begin by recounting an aberration of the nominating process: the 2009 National Artist Award controversy. Then-President Gloria Macapagal Arroyo deleted a name from the prestigious NAA nominee list and added artists with suspiciously close ties to her administration. Then, I analyze the 2010 re-performance of National Artist for Music Jose Maceda's Ugnayan, a multi-spatial composition for 20 radio stations. This work was originally performed in 1974 with the explicit support of then-First Lady Imelda Marcos. Finally, I describe a 2012 exhibit featuring the materials of National Artist for Music Felipe De Leon Padilla Sr. I sort through clashing characterizations of De Leon of as a "crisis composer" who served the Philippines at times of foreign and domestic peril. Reading against the grain of these public acts of commemoration and recognition, I provide an account from the "ground up" and consider how the public construction of national artists renders the Philippines into a unified conceptual whole.

ISBN: 9781321088076Subjects--Topical Terms:

516178
Music.

Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award.
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245 1 0 $a Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award.
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500 $a Source: Dissertation Abstracts International, Volume: 75-11(E), Section: A.
500 $a Adviser: Deborah Wong.
502 $a Thesis (Ph.D.)--University of California, Riverside, 2014.
506 $a This item must not be sold to any third party vendors.
520 $a This work is a critical analysis of art, memory and prestige in the early twentieth- and late twenty-first-century Philippines. I am concerned with the creation of the Philippine nation by various acts of commemoration and recognition (awards, exhibits, and concerts) through which artists are valorized, immortalized and celebrated. I answer three broad questions: (1) how do patron-client and kinship systems determine the national recognition of artists in the post-colonial world? (2) how is music used in the nation-building project? and (3) how is national mythology created and contested through the commemoration of individual artists in the Philippines? I approach Philippine area studies through discussions of the past in ethnomusicology, borrowing theory from memory studies and methodology from historical anthropology while expanding both fields with a consideration of expressive culture. To describe this interaction between state and artist, I focus on the National Artist Award (NAA), the highest honor bestowed upon an artist by the Philippine government. I begin by recounting an aberration of the nominating process: the 2009 National Artist Award controversy. Then-President Gloria Macapagal Arroyo deleted a name from the prestigious NAA nominee list and added artists with suspiciously close ties to her administration. Then, I analyze the 2010 re-performance of National Artist for Music Jose Maceda's Ugnayan, a multi-spatial composition for 20 radio stations. This work was originally performed in 1974 with the explicit support of then-First Lady Imelda Marcos. Finally, I describe a 2012 exhibit featuring the materials of National Artist for Music Felipe De Leon Padilla Sr. I sort through clashing characterizations of De Leon of as a "crisis composer" who served the Philippines at times of foreign and domestic peril. Reading against the grain of these public acts of commemoration and recognition, I provide an account from the "ground up" and consider how the public construction of national artists renders the Philippines into a unified conceptual whole.
590 $a School code: 0032.
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