Desh Raga for Sitar and Tabla with Western String Orchestra

Title of Work: "Desh" for Sitar, Tabla and String Orchestra Composer: Dr. Joe Peters

Solo Performers: M S Maniam (Tabla) and S Anbarasan (Sitar) Duration: 15 minutes
(Performed by the New Music Forum in SIngapore in 1987)

A second performance was done in 2006 by the Vietnam Symphony Orchestra in Hue City. Lazar Sebastian played the Indian violin. M. S. Maniam played tabla again.

See below for an audio recording of the work:
http://youtu.be/n8PnxdIgntw





This work is dedicated to Ustad Zia Ul Hassan who was my sitar teacher as well as teacher and mentor to the two performers: M. S. Maniam and S. Anbarasan. Ustad Zia resided in Singapore between 1972-1984 during which he performed widely. He died in India in 1986, but he left the strong musicality of the Vilayat Khan school of Indian music performance among many of his students. 

"Desh" is one of the 16 ragas under the Asawari Thata (North Indian Music) and is sometimes referred to as "Desi." The third and the sixth of its scale are omitted in ascent. In descent, these notes are included, but their approach has a specific routine from the note below, and which gives the raga its special aesthetic. Likewise, the approach to the tonic on descent is always preceded by the major seventh. However, it is also important to understand that these theoretical descriptions are done in terms of Western music, and would be an approximation to the real truth. Unfortunately, there is no other way of describing "Desh" to a lay Indian music audience, but one that may be steeped in the understanding of other musics.

This is a morning raga, mystic in character and pinned on heavy melodies. The work is in one movement and done in quasi concertino style. The Contra Basses and Cellos open the work in the Western tonality of D minor and establishes the alap. It is then developed by the sitarist accompanied by muted strings, simulating the characteristic drone in Indian music, that usually accompanies an opening alap. A short interlude follows introducing the tabla, after which the sitar and tabla, and the orchestra, take turns to lead each other into a developmental middle section that has a lively melody moving between 2/4 and 6/8 meters. There is no change in key as in Indian music, pitch changes require a change of instrument. Rather it is thematic changes than matter. 

The middle section ends with a tutti for orchestra and here there is a pitch change to A major in the style of Western music. At the end of this tutti, Maniam performs his characteristic tabla style with some sequences (e.g., glissandi on the tabla) for which he is well known. 

(The sitarist may join in the improvisation, if the musicians feel that is appropriate — in true style of an Indian music performance.) 

If such East-West scores are used more regularly by Western orchestras then a true culture of East-West musical concepts and skills can be shared and developed into a new performance practice.

After the cadenza there is a re-capitulation of the alap — this time with a solo violin (leader of the orchestra) playing, while the sitarist improvises around the raga. The violinist is also encouraged to improvise in tandem with the sitarist. In this recording this did not happen. Likewise the sitarist, in this recording, did not do any extended improvisation. 

The score was read as it was written. The original intention was to make this the very heart of the East-West dialogue. 

The finale follows and it is again in a dialogue form between the tabla, sitar and orchestra. The tempo is presto and the music is vigorous and forward moving. The ending Coda is in full tutti and it is based on a basic ending formula used in many ragas, including Desh.

The raga-tala formula which is the tag name for the Indian musical system, has been used in may East-West compositions. There is enormous room for growth of musical expression by conducting musical dialogue though deep learning of musical systems. The tendency today seems to be to take frills from such diverse musical systems and add them to very simple Western based music. There is no objection to this, but concerted work in this direction can only lead to the total levelling down of musical expression in the world. 

This work was written as a culmination of my early work on the study of East-West musical phenomenon. I was exposed to a number of such formulae at the University of the Philippines where I studied for a Masters in Music (1978-1981). From 1982, my friends and I formed the Folk Jazz Ensemble which explored fusion between Indian and Western musical systems. Oh particular importance to me was how we could make such dialogue equitable. Our discovery was that we could make the soundscape change with dialogue on the elements of timbre, form, rhythm and to some extent aesthetics. But we could not perform equitably in the area of pitch. It required deep and long bi-musical training, in this case.

These men in the Folk Jazz Ensemble were exceptional people, talented to the core and friendly to the end of the earth. They were Alex Abisheganaden (guitar), Zia Ul Hassan (sitar), MS Maniam (tabla), and Joe Peters (Double Bass). When Zia returned to India in 1984, his students S. Anbarasan took his place. Jibby Jacob (violin) joined us in the 90s. Victor Savage (vocal) is the latest member of the group. You can see some clips of this group in the video.

Ustad Zia for whose memory I wrote this work was an enigma. His story will take another blog in the neat future. His contributions to the foundation of Indian music studies in Singapore was immense and unknown because his cause in life was music and he kept that private and very personal. 

He came from the Viliat Khan school of sitar music and styles. Desh Raga was one his favourites and I followed his trend of musical thought on this Raga for some years. 

My quest is to understand musical trajectories and how such trajectories affect growth, change, and the rise and decline of musical systems and cultures. All branches of music are important for such a study. My unusual musical career began very young and was totally applied and investigative from the age of twelve. So this subject of musical fusion and musical trajectories was a magnet for me. The 1980s was a decade of fusion exposure for me with the various ASEAN projects I was involved in, the international discourse on this subject, and the Folk Jazz Ensemble as a personal laboratory.

Finally, I must confess that  Desh Raga for Sitar, Table and Western String Orchestra was written to test the Western trained orchestral musicians in a dialogue with Indian trained musicians to see if they could "pitch migrate" as well as the Indian musician. Sadly, I must say that they have failed and badly. It is not their fault. It is the conservatories that have failed them. The challenge for the 21st century for  any music conservatory to develop and succeed in a pedagogy that can create skilled bi-musicality or even tri-musicality in their wards.

Both performances (in Singapore and Vietnam) showed that the Western musician is intransigent to the principles that he/she was taught, particularly the conductors, and so the Indian musics make the compromise and adapt. The hard fact is that the Indian musician is trained much better for pitch flexibility and therefore has something to offer to Western conservatories in terms of bi-musicality or even tri-musicality principles.

The video that accompanies this article is for the purpose of listening to the music. The full conductor's score is in this article (as you can see). If you want to perform this work, let me know and I will send you the parts. 

The audio in the video is the recording done in 1987 in Singapore of the New Music Forum Orchestra conducted by Lim Yau. However, I do not have pictures or video of that concert. So the pictures and videos that are in this version are those of the performance in Vietnam in 2006. They are there for information and are not in sync with the audio. There are also video scenes of the performers in both concerts. In Vietnam, because Anbarasan was not able to go, Lazer Sebastian, a local Indian music guru, played the violin.

A Tribute to the late Mr. K.P. Bhaskar

This was a man who had an unspoken vision for relevance and sustainability of the traditional arts in Singapore. And in doing this he saw the richness of the bestowed cultural heritage of Singapore, linking us directly to the great centres of civilization and culture spanning Asia and the world. Nobody in the right frame of mind and at the incubating juncture of Singapore itself would ever dare to breathe out aloud such a vision. Words alone would not be that magic wand to making real such a vision. He like Brother McNally who founded Lasalle College for the Arts and my teacher Professor Jose Maceda at the University of the Philippines, all gone now, but they have left a beacon light for others to carry on.

Mr. Bhaskar was a good friend to me. We came from the same community but we are poles apart. He never once referred to any difference between us. It is the way of the pioneering Singaporean – one who came from a foreign land and saw great potential for this island to play a rightful role bridging so many gaps in modern times - cultures, languages, points of view and priorities.

He liked to talk and we did talk much at unplanned meetings, sometimes at concerts, while waiting at rehearsal sites and even at supermarkets. His engaging ways makes any age difference diluted. In fact I can say I have learned much from him on this front because now the gap between my current students and myself is much more that it ever was between Mr. Bhaskar and me.

Like Bro. McNally and Prof. Maceda, he laid the foundation for others. Mr. Bhaskar founded not one, but two successful and inter-related arts institutions: The Bhaskar’s Arts Academy and the Nrityalaya Aesthetics Association, blending beautifully the two interrelated components of Indian music and dance arts.

He was a great believer in education - always ready to participate in anything that would help the progress of new knowledge. This is where I will tell you of his special help to me when I designed a new timeline music annotation laboratory at the Singapore Management University where I taught the Music East and West elective between 2000-2007. I needed challenging local traditional repertoire for my students to apply the musical deconstruction technique they were taught. He staged a special performance of Kuchipudi and Kathakali, which he pioneered in Singapore. He patiently followed all the laboratory operations including a live commentary over an in-ear wireless system to my students. All this was new and foreign to him. Yes he went out of his way to do what was required. The result surprised me when the students came up with their very well done deconstruction presentations on the music – music totally new to them. Three examples are shown below as well as a short video showing the excerpts of the opening and end of the performance and some concluding comments he made.

That fledgling effort has now grown into a major teaching exercise I am doing in the Mekong Basin known as Timeline Music Education - with dedicated software and AV-IT systems configurations - developing graduate students in the art and science of musical deconstruction across cultures and systems. I owe Mr. Bhaskar much for his trust in what I was then trying to think my way through.

May you rest in peace Mr. Bhaskar and sing and dance beautifully forever in the presence of God.

Kim Rockell on Rondalla

Kim Rockell and Joe Peters

Joe Peters and his TREMOLO WALL

Kim Rockell delivering his paper in Tagum, Mindanao, Philippines during the 3rd International Rondalla Festival

Kim Rockell is a PhD student at the University of Cantebury in Christchurch, New Zealand. His dissertation is on rondalla in the Australian diaspora. With a grant from the New Zealand Foundataion,  Kim was able to do research trips to Singapore, Taiwan and the Philippines. An excerpt of his report in NZASIA Newsletter is quoted here for the benefit of rondalla musicians in the Asian region.

Kim Rockell writes:

Fieldwork commenced in December, 2010 with a trip to Singapore. Here it was possible to observe the operation of the “quadrant” concept of Singaporean multiculturalism, and the position of migrant workers from regional, developing countries within this model. The researcher was also prompted to reflect on the geographical position of Singapore within the expansive, Malay world. In terms of the arts, it became clear that the Singaporean government is currently committed to developing arts and arts education. This is, in part, in response to the perceived criticism of a lack of creative thinking in Singapore-educated population.

The highlight of time spent in Singapore was meeting ethnomusicologist Dr Joseph Peters. Dr Peters not only developed the first rondalla in Singapore, but also the first brass band. His current rondalla, which is based at the University of Singapore and predominantly made up of students from mainland China, performed at the 2011 International Rondalla Festival. In addition to his important work on rondalla, which he is currently developing into a kind of pan-Asian tremolo orchestra for the performance of Western music, Dr Peters is now mainly concerned with the preservation of Southeast Asian sound systems. These musical systems, which he refers to as “sonic orders”, are under attack from the dominance of Western tonal systems. Peters has developed a system for measuring global, sonic emissions. He estimates that in most parts of the world today more than ninety percent of musical, sonic emissions are based on a western system. Just as introduced species can cause environmental damage and threaten local wildlife, instruments introduced from Europe such as the piano and guitar, have destroyed much of the fragile, Asia-Pacific, musical landscape. Paradoxically, the piano may also hold the key to aiding preservation. Peters drew the researcher’s attention to the recently developed “fluid-piano” which can be re-tuned, even during performance, to a variety of intervals and scale systems.

Dr Peter’s current work with rondalla is centred on improving instrument quality and he has developed several new proto-types. The tremolo orchestra he is developing will also include seats for pipa, sitar and gambus representing the Chinese, Indian and Malay worlds respectively.

During the researcher’s time in Singapore, Dr Peters was extremely generous with his time. The researcher was able to conduct interviews, photograph Dr Peter’s instrument collection and attend a rondalla rehearsal at the University of Singapore. At Dr Peter’s invitation, the researcher also attended the 2010 National Chinese Music Competition at the Singapore Conference Hall. 

GESANG - The Man and His Music

GESANG and His Music

In 1995 while I was in Solo for an ASEAN Composer’s Forum, I met Gesang through the good fellowship of my dear friend DR. Rahayu Suppaangah, another legend from the same little town of Solo. I wanted to meet Gesang because I saw in him some of the same qualities and aspirations as our own Zubir Said, who came from Padang, many miles to the north in Sumatra. I had many conversations with Zubir Said in the 1980’s while I was on a Cultural Foundation project to document some of his music.

The world was not talking much about Gesang then, although his famous song “Bengawan Solo” had encircled the world, and received so many interpretations, that the original style langgam in which it was written, had all but been forgotten. There were burning questions in me as a musicologist, and great curiosity as a composer, to ask him, similar questions I had asked Zubir Said, who both came to fascinate so many of us, placing an indelible imprint on the East-West confluence of music in the mid-20^th Century.

I thought I would meet an old man, in retirement mode, who was bemused by yet another academic trying to understand something that was best left alone. Instead, I met a robust man in his mid-70s, soft-spoken, casual and extremely polite, like a true Soloanese, and who had an active performing and teaching schedule, which I thought was much more than my fulltime one.

With a sparkle in his eye he also told me that he had just re-married – as if it was the most casual thing on earth – and proceeded to ask questions about me, which I knew was to place me in a list of others, who had come on similar missions. His humble home was as traditional as it could get in Solo, a blend of nature and humanity literally, and all the walls spoke of what others spoke of him – photographs, citations, and unique souvenirs, given to him in appreciation, from many parts of the world. The link with Japan was particularly strong.

Jokingly, he told me that his surroundings were good for his music compositions. What he could not understand was the world’s obsession with just that one song he wrote – Bengawan Solo. I was suddenly reminded of Freddie Aguilar in the Philippines, whom I also know, and who thrived on just one song “Anak”, after which his creative life seemed to have thinned off. Yet, there was a marked difference in the wealth between these two.

After much prodding, Gesang reluctantly revealed that it was difficult to get royalties from Bengawn Solo, and many of his other equally famous compositions like “Sapu Tangan” and Jambatan Merah”. He was aware that there was no infrastructure to ensure this. What sadden him more, was that many others were claiming to have composed these songs. Like Zubir Said, he just wanted to be a peaceful and happy musician, and not be bothered by these worldly things. They were complicated, and sounded dangerous, especially when legal jargon was thrown around.

Lately, the Indonesian government did set up a body to deal with these copyright and royalty issues. He obtained some compensation, but it was a pittance. It is the rest of the world that needs to make up for the injustice done to Gesang, and all others like him!

It was a joy talking to him. I learnt that the original “Bengawan Solo” was in the langgam jawa style of Central Java. It was not mundane popular music, as I and many others thought it was. Langgam has no time measure. It is based on pantun (poetic quartrains), and the musical accompaniment is colotomic, as in gemelan music. Langgam Bengawan Solo is the gentle flow of the Solo River, and the deep thoughts of love and gratitude that the people of Solo have for their life-sustaining river.

Gesang always paused in our conversation to remind me that he was not an academic, and that he did not study music formally. This was exactly what Zubir Said also did in our conversations. Both men made me reflect, not on their “inadequacies” but on mine, as well as, the entire discipline of ethnomusicology. From him I gleened an understanding of the other kroncong forms (stanbul, morescu, togu and other derivatives).

And, he still claimed he was not a musicologist! One understands in conversation with men like Gesang and Zubir Said, how they are aware of musical topography, geography, and history, in a deeply imbibed manner, that makes them able to produce works that define new musical forms that endure, and yet they are humble and defensive.

Gesang is a national hero. He was buried with full military honors on Friday 22 May. On Monday 24th May, the ASEAN Korea Traditional Orchestra (AKTO) performed, for the delegates at the 2^nd UNESCO World Conference of Arts Education at Seoul, and in it’s repertoire was Bengawan Solo, sung by one of Solo’s establised langgam jawa singers, Surti Respati. This arrangement by Soloanese composer, Franciscus Purwa Askanta, is a difficult and challenging one to the orchestra and conductor as the art of langgam has to be imbibed. My good friend, Dr. Supanggah was there in Seoul to supervise the performance of this work.

The legacy of Gesang is alive just like that of Zubir Said, and will pose a challenge to those of us trying to work through the East-West confluence in music.

To watch a performance of Bengawan Solo by AKTO: http://www.youtube.com/watch?v=oxRf7SIyqoY&feature=related

Music of the Great Depression

Brother, Can you Spare me a Dime? Vinyl Record: New World Record - Recorded Anthology of American Music, Inc. NW 270, LP, 33 1/3 Mono.

I have a huge vinyl record collection, and a few days ago, I came across this very rare album in my collection - American Songs during the Great Depression. By any standards, this was a mammoth production by New World Records, made possible through a grant from the Rockefeller Foundation. The production drew from many sources - CBS, RCA, MCA, Twentieth Century Fox, Folkways, Library of Congress and even Robert Altshuler, a private collector. It is an album that has pathos and humor all rolled into an absorbing commentary, not just about the depression, but also about the important juncture song-writing in USA reached during the Depression years.

Song-writing in America, as we know it, grew out of it's stratified social settings in pre-twentieth century communities. By the early twentieth, century song-writing fed into the business machines of New York, Chicago and many other major cities. Music performance and recordings were money spinners, typified best by Tin Pan Alley, the musicals of Broadway and the large movie studios. In the ten years of the Great Depression, creativity and song production reached it's height, although purchasing power was at its lowest. What a paradox! Just imagine, George Gershwin did much of his best work during this period!

The very first track of this recording, "Brother. Can you spare me a dime?" (1932), is the defining song, not just for the production, but the Depression itself - speaking directly and plainly, in Tin Pan Ally ragtime style, about the effect of the cash-drought at ground zero. Written by Jay Gorney ("Stand Up" and "Cheer" musicals), and with lyrics by E.Y Harburgh ("Wizard of Oz", "Finian's Rainbow", "April in Paris" and more), it became an international hit with Bring Crosby and the Lennie Hayton Orchestra. Other "tongue-in-the-cheek' songs in this album include the anonymous "Unemployment Stomp", the "NRA Blues" by Bill Cox (surprisingly not a protest song, but a song of praise for the agency that sought to create more jobs), and "All In Down and Out Blues" by David Macon - a hilly-billy contribution to the niggling cash problem - "I've got no silver/I've got no gold/ I am almost naked/ and it done turn cold".

In the same vein, is the song "I Ain't Got No Home in This World Anymore" written and performed by Woody Guthrie. In true wandering minstrel style he sings, in a very prophetic way, of the sorry state of ordinary Americans in the Great Dust Bowl: " Rich Man took my home/ and drove me from my door/ And I ain't got no home/ in this world any more". There was no Fanny Mae or Freddy Mac then - to help, needles to say, to bail out!!

Shirley Temple too (she must have been five at that time) has a band (the old term for tracks) called "On the Good Ship Lollypop" by Sidney Clare and Richard Whiting. Apparently, going to any of her movies back then was a great relief from the woes of the day because her songs, and demeanor, invoked innocence and hope - the other side of Wall! Perhaps, she should re-appear on the screens today! On the flip-side of Shirley Temple, is the song "The Death of Mother Jones", anonymously written on the life and contributions of Mary Jones, a historic figure in early American unionism in mid-nineteenth century. And so this song goes: "May the miners all work together/ To carry out her plan/ And bring back better conditions/ For every laboring man". Would Obama be a re-incarnation of her?

One of the most definitive songs in this album is from the movie Moulin Rouge: "The Boulevard of Broken Dreams". written by Al Dubin and Harry Warren, who are acknowledged as one of the best song-writing teams of the thirties (Tiptoe through the Tulips", Lullaby of Broadway", "Jeepers Creepers" and more). The song was first performed by Deane Janis and the Hal Kemp Orchestra. Bye the way, this Moulin Rouge is not the same as what appeared in the 1950's (about Toulouse-Loutrec) and which we know more about today. "Boulevard of Broken Dreams" had a life of it's own, out performing the original movie, and recorded by many illustrious singers and bands including Benny Goodman and Helen Ward.

Another definitive song, by the same team (Dubin and Warren), but this time in an anecdotal way, is the "The Gold Diggers' Song" on Band 8. The story goes that when the song was in rehearsal, the Depression broke out, and the show had to be cancelled - for the same familiar reasons: foreclosures and unemployment. In true "Upturning the Downturn" style, the show organisers re-named it as a show about the Depression. So much for creativity!

George Gershwin's song "Love Walked in", with lyrics, as usual, by his brother Ira, appears on Band 5. Gershwin is really the odd man out as he was not a product of Tin Pan Alley. However, his style, and sense of timing of his compositions (producing most of his great work from 1929 till he died in 1938) just made him one of the most emblematic composers of the Depression. "Porgy and Bess" written in 1935 is, perhaps, a binding definition of being black during the Depression. Surprisingly, none of the songs in this musical appears in this album. Nevertheless, "Love Walked In" is on par with other songs like "Embraceable You" and "Can't Take That Away from Me" - it gave Americans, and others around the world too, a feeling of fantasy and release.

The last song in the album is "The White Cliffs of Dover" - a song that brings back images of World War Two. The Depression ended with America's entry into the war - how ironic! If this could only have been a parallel for USA today, with the recession and the two wars it is fighting. Written by Nat Burton and Walter Kent, and based on the the poem (and subsequent film) of the same name by Akice Duer Miller, the song touched an emphatic chord in Americans - they held in high esteem, England's steadfast stand against the the bombing by Nazi Germany - Churchill versus Hiltler to Obama verses Osama. History does repeat itself.

The Music of Mount Mayon in the Philippines

The piano score is available at this site, which is open for one month from 23 January 2016:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHd1rdH6VjGUmVmT-X_4GpeNh12mv6a9DlQaTXSSaQu5pq35ctWKDrNVugjJmyOJMVQ68-M9tjieiT_XwRV2E4Mj2FTxOcOXilVNOR9WswEibUAUm7_jyV_85aLD1cPwYI-_Uny0FjUW4/s1600-h/Mayon+Fantasia.jpg

I first saw Mount Mayon in 1978 while I was on a working school vacation from the conservatory at the University of the Philippines. It is about 12 hours by bus from Manila, southwards – an overnight journey. Despite the darkness during the journey, I had an inkling that the Bicol region (the southern most part of Luzon island) where Mt. Mayon is situated, and all the towns that ring it’s base (Iriga, Naga, Daraga, Legaspi), were quite different from the cacophony of Metro-Manila. I was right – and I kept going back to Bicol these last 30 years, and I always checked on Mayon each time.

    One of my other affinities with Bicol are, that they eat chilies in their food, and their language has many “Malay” words. I am used to making long trips, when I am away from Singapore, just to get hot food! You can easily impress the local folk if you eat the                      

chilies of their trees, or tell them that kannan(right) angin(air) dua(two), lima(five) and much more, are also in a language I speak - Malay. If you eat their chilies, then be prepared for a full bowl, placed in front of you, when you dine with them! Bicol chilies are hot – very hot!

    Food in Bicol is just different from that in the Tagalog regions. If you are there, make sure you try pinangat – a dish made of elephant-ear gabi leaves (from a tuber like plant), stuffed with chilies and spiced meat or fish, and stewed in coconut milk. Make sure you try this in authentic restaurants or a family home, as they are poisonous if not prepared well.

    The first job I had to do when I arrived at Legaspi (which is a gateway to Mayon), was to get a picture of the most perfect cone that Mayon was touted to be. My college-mates back at the International Center, where I lived, would always ask for proof, before anyone rambles about their adventures – a fair deal for any international dialogue!! It took me a whole day, sourcing out, haggling (I spoke enough Tagalog to get around) and finally, making a trek to an adjacent hill - more than twice the height of our Bukit Timah hill - to take some photographs. I am not a professional photographer, but the picture I took of Mt Mayon in 1978 (see above) is a treasured possession now – because Mayon is no more a perfect cone!

    If you are in Legaspi, you cannot get out of the looming and dominating shadow of this fabulous volcano. It is always spewing white steam, as a constant reminder to all, that life can change anytime. Although the bulk of the people in Bicol are Catholics, they still retain the ancient mysticism that Mayon comes with – and of which they are very proud inheritors. Musicians, poets, painters and writers have all languished about Mayon – some even without visiting the mountain!!

    One of the reasons why I had to see Mayon was because I came across the colossal Mayon Piano Concerto written by the late Francisco Buencamino Sr. He is a grand uncle of the famous Filipino concert pianist, Cecile Licad. She has performed this work. It is a three-movement work that captures the barrio (village) life around this beautiful, yet threatening volcano. Coming from Singapore in the 1970s, where we were aspiring to write such works, this musical score made a marked impression on me.

    Subsequently, Buencamino wrote a piano fantasy based on this concerto, and which is in the Filipino piano repertory today. If you would like to hear the work go to this site – the pianist is Ms Ingrid Sala Santamaria: https://www.youtube.com/watch?v=asGufcp08bQ

(If any pianist in Singapore wants to try this work, you cn visit this page: https://www.youtube.com/watch?v=asGufcp08bQ)

    Mayon is steeped in legend – in fact, there are three such legends. However, all the legends are based on the central character, Daragon Magayon, in a brew of “romeo and juliet-ish”, ramayan-ish and even mahabarata-ish stories. Bicolanos are good story-tellers. In one of the Spanish-mestizo towns, Bacon, in Sorsogon, further south from Mayon, where I played in the church orchestra that Christmas in 1978, and since then many times again, there was an old farmer who told me a story that weaved parts of the story of Haiwatha into the Mayon legend.

    This is the Mayon legend, I prefer telling, one that seems to be told most among the towns, many of which are named as rivals in the tragic story:

a. Since ancient times, Bicol was a peaceful and flat agricultural land, known for handsome men and beautiful women – and it still is. The maidens we called “daragas” and there were strict codes for courting and marriage. Daragang Magayon, the heroine in this story, was the daughter of Tiong Makusog, the king of Bicol, ruling from Daraga. Both, father and daughter brought peace and love to the region, and the king dotted on his beautiful daughter. Magayon was most sought after by many young men.

b. One powerful, but not so suitable contender was, Paratuga, the ruler of neighbouring Iriga. He was bent on marrying Magayon. He made three attempts to please, and then threaten Makusog into handing his daughter over. Each time he also brought expensive gifts – pearls, gold, precious stones and carvings. Mukusog finally agreed to the proposal. In the meantime, Magayon, unknown to her father, was in love with a Tagalog lad, Panganoran (many other names have been used for this character), who lived on the other side of the river – some stories state this was Naga. It was taboo for Tagalogs and Bicolanos to marry at that time.

c. This part of the story always puzzles me, because the Tagalog people actually live many hundreds of miles away to the north, in the Manila region – remember, it took me 12 hours by bus to get from there to Mayon!! Anyway, the Bicolanos and Tagalogs have been habitual rivals, and it does give some pungency to the tragedy. Panagoran had apparently saved Magayon from drowning in the river some years before, and they kept up secret meetings ever since. Magayon confessed this to her father who accepted her folly but told her she must marry the king of Iriga, because he had agreed to the marriage. Otherwise there would be war. Magayon kept pestering her father saying that she loved Panaganoran, and that she would prefer to die than marry Paratuga. Her father’s heart melted. Paratuga was angered and furious. He kidnapped the father to force the marriage. Magayon had to agree to marry Paratuga to save her father.

d. The news of the coming marriage spread like wild wife – and believe me, this is real even today - in the form of gossip (which goes by the local term of “tis-mis” - pronounced “chis-miss”). When Panagoran heard this, he gathered his trusted friends, and a bloody battle occurred at the wedding site. He killed Paratuga.

e. The drama at this point is always vivid as each story-teller, instead of telling the expected happy ending, has to craft the explanation of the coming tragedy. Seeing the victorious Panagoran, Magayon ran to him, thinking all was forgiven and forgotten. As he took her in his arms with love and forgiveness, a stray arrow pierced Magayon’s heart from the back. And then, while she was dying in his arms, someone stabbed Panagoran in the back. This twist has been the crucial point for the legend becoming a moral lesson,

f. The saddened father buried the lovers together at the spot where they died. Soon, the grave mound began to grow, to the astonishment of all Bicolanos, and it became the perfect cone-shaped volcano that Mayon was.

    Today, when the people of Bicol see the omni-present smoke ring around the top of the mountain (see image above), they teasingly say that the lovers are kissing – this makes them happy. When storms come, and there are huge torrents of water flowing down the slopes of Mayon, the poeple say Magayon is crying – and there silence in the towns and barrios. Mothers narrate the Mayon legend at this time.

When Mayon erupts, as it is about to do any day now, they take refuge (although some stubbornly wait till the last minute). It is Paratuga and his army coming back to take revenge, and re-coop the gifts he gave to Magayon’s father. All the boulders, the lava and the ash that Mayon spews, is symbolically seen as the gifts which he gave Magayon, and which he is now re-collecting.

    I was there earlier this year, and Mayon looked angry – I could not get to see the damaged peak as thick fog covered it. It is still a perfect cone, but only from one of it’s sides. I never got to see that because that side is difficult to access. I wonder if that will be blown off this time. I will let you know.

ADDED TODAY - 12 June 2023: Mayon has begun to erupt in a manner which has not been seen before. People are being evacuated. 

The Sonic Environment - An Introduction

The Sonic Environment is a "new" musical term which explains how we understand music as a mass of fundamentally differentiated  musical systems as our music listening options within any defined territory.that are fundamentally different from each other, and yet they use the same sonic routes to find listeners - Radio, Television, Recordings, Performances and (recently) the Internet. The term "sonic environment" was used by some musicians before, and those will be covered later, in a separate section when we look at previous work in this area. This blog will explain the Sonic Environment as a measurable entity on issues of relevance that relate to music within defined territories. Singapore is the basic model for studies in the initial articles. But generally the tools and theories could be applied to any defined territory. 

      The Sonic Environment is a mass of audio-scapes (music products associated with the intonational systems and musical elements that describe musical systems and their identifiable musical cultures. These audio-scapes are emitting from sonic emitters (radio, television, recordings, performances and internet sources). Each defined territory (continent, country, state, city, county, town, principality, village, home, etc.) can be identified through measurable sonic orders and their in-loading or on-loading trajectories. 

In this blog we ask questions: 

Do we have a way of understanding this complex interplay of musical systems within each sonic environment?

How does one trajectory dominate another, or how trajectories fuse to form new musical systems, or how trajectories stay independent? 

Can we follow such trajectories and understand them as musical systems through their repertoire? 

Is music listening a skill? And if it is, can we measure such skill in growth or as a consumer's index according to music chain behaviour?

Can we create and develop relevant and graded music curricula based on timescale measures of sonic emitters within any defined territory?

Specifically, this blog will also expand on the following:

1.  TMAL-P (Timeline Music Annotation Library/Laboratory - Pedagogy: A server-based one-stop music laboratory for doing music analysis/explanations that facilitates merging text, voice, graphics, and animations, directly to the sound timeline. 

2. HGMP (Heuristic Group Music Pedagogy): A special method for small group teaching and learning that integrates varying skills and learning speeds. It was and is being applied to TREMOLO STRINGS.

3. Random and Related Reports and Studies on Music Topics of general interest.