Patronage and Capitalism in the Musical Associations of Late Nineteenth-Century Colonial Manila

  • Arwin Quiñones Tan University of the Philippines College of Music
Keywords: alternative modernity, capitalism, musical association, patronage

Abstract

The rapid economic growth in the colony beginning in the mid-nineteenth century gave rise to a modernity that transformed the musical mode of production in Manila. A new market comprised of the culturally-supportive elite and middle-class population patronised musical productions. In addition, musicians and other artists formed unions to create an institutionalised representation of themselves corresponding to the larger socio-political and economic forces in the network of production, creating new relations necessary in the existing social formation. Exchanges between the various players of the musical mode of production required matching forces to avoid exploitation, particularly of labour. This article examines three of the more prominent musical associations in the late nineteenth century—Liceo Artístico-Literario, Sociedad de Conciertos Unión Artístico-Musical, and Sociedad Musical Filipina de Santa Cecilia—investigating how they advanced music and education and promoted the arts, regulated the practice of music making, responded to the market demand for commoditised music labour, and accelerated modernity in Philippine music during the last decades of Spanish colonial rule. Their patronage represented the continuing feudal and new capitalist systems of managing musical productions and remunerating musical labour, providing a possibility for indigena (island-born native) musicians to accumulate cultural capital and afford them social mobility in the colonial system. Membership in these associations became symbols of prestige, which helped establish social networks among Filipino musicians.

Author Biography

Arwin Quiñones Tan, University of the Philippines College of Music

Arwin Q. Tan is assistant professor of Musicology at the University of the Philippines College of Music in Diliman, Quezon City. He is the editor of ‘Saysay Himig: A sourcebook on Philippine music history, 1880-1941’, and curator of its accompanying 3-CD recordings ‘Saysay Himig: An anthology of transcultural Filipino music, 1880-1941’. He was consultant and contributor to the second edition of the ‘Music Volume (VII)’ of the ‘Cultural Center of the Philippines Encyclopedia of Philippine Arts.’ He has written articles and reviews for the ‘Humanities Diliman’, ‘Musika Jornal’,‘Saliksik e-Journal’, ‘Perspectives in the Arts and Humanities’ and ‘Asian Studies’. Tan also performs as conductor of the four-time‚ Ani ng Dangal awardee, Novo Concertante Manila, currently ranked 3rd in the top 1000 mixed choirs of the world by ‘Interkultur’, Germany. He has been accorded the ‘International Publication Award’ in 2015 by the University of the Philippines (UP), the UP Artist I Award for the period 2013-2015, and UP Artist II Award for the period 2016-2018.

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Published
2019-12-18
How to Cite
Tan, A. (2019). Patronage and Capitalism in the Musical Associations of Late Nineteenth-Century Colonial Manila. Malaysian Journal of Music, 8, 122-135. Retrieved from http://ejournal.upsi.edu.my/index.php/MJM/article/view/2720