In this groundbreaking study, D. R. M. Irving reconnects the Philippines to current musicological discourse on the early modern Hispanic world. For some two and a half centuries, the Philippine Islands were firmly interlinked to Latin America and Spain through transoceanic relationships of politics, religion, trade, and culture. The city of Manila, founded in 1571, represented a vital intercultural nexus and a significant conduit for the regional diffusion of Western music. Within its ethnically diverse society, imported and local musics played a crucial role in the establishment of ecclesiastical hierarchies in the Philippines and in propelling the work of Roman Catholic missionaries in neighboring territories. Manila's religious institutions resounded with sumptuous vocal and instrumental performances, while an annual calendar of festivities brought together many musical traditions of the indigenous and immigrant populations in complex forms of artistic interaction and opposition.Multiple styles and genres coexisted according to strict regulations enforced by state and ecclesiastical authorities, and Irving uses the metaphors of European counterpoint and enharmony to critique musical practices within the colonial milieu. He argues that the introduction and institutionalization of counterpoint acted as a powerful agent of colonialism throughout the Philippine Archipelago, and that contrapuntal structures were reflected in the social and cultural reorganization of Filipino communities under Spanish rule. He also contends that the active appropriation of music and dance by the indigenous population constituted a significant contribution to the process of hispanization. Sustained "enharmonic engagement" between Filipinos and Spaniards led to the synthesis of hybrid, syncretic genres and the emergence of performance styles that could contest and subvert hegemony. Throwing new light on a virtually unknown area of music history, this book contributes to current understanding of the globalization of music, and repositions the Philippines at the frontiers of research into early modern intercultural exchange.

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From the fifteenth century to the beginning of the nineteenth century, devotional music played a fundamental role in the Iberian world. Songs in the vernacular, usually referred to by the generic name of 'villancico', but including forms as varied as madrigals, ensaladas, tonos, cantatas or even oratorios, were regularly performed at many religious feasts in major churches, royal and private chapels, convents and in monasteries. These compositions appear to have progressively fulfilled or supplemented the role occupied by the Latin motet in other countries and, as they were often composed anew for each celebration, the surviving sources vastly outnumber those of Latin compositions; they can be counted in tens of thousands. The close relationship with secular genres, both musical, literary and performative, turned these compositions into a major vehicle for dissemination of vernacular styles throughout the Iberian world. This model of musical production was also cultivated in Portugal and rapidly exported to the Spanish and Portuguese colonies in America and Asia. In many cases, the villancico repertory represents the oldest surviving source of music produced in these regions, thus affording it a primary role in the construction of national identities. The sixteen essays in this volume explore the development of devotional music in the Iberian world in this period, providing the first broad-based survey of this important genre.

This book focuses on the archaeological and historical research on the seaport heritage of galleon navigation in Asia-Pacific region. It reconstructs the Manila Galleons’ era of early maritime globalization, established and operated by Spanish navigators from the 16th to 19th centuries. The galleons sailed across the Pacific via the hub seaports and trade centers of Manila in the Philippines and Acapulco in Mexico, forming a prosperous sea route connecting eastern Asia and New Spain on the American continent for more than 250 years. This pioneering navigation of the pan-Pacific regions promoted early global maritime trade along the new Maritime Silk Road between the East and the West. Written by archaeologists and cultural historians from America, Mexico, Japan, the Philippines, Mainland China, Hong Kong and Taiwan, it presents the latest investigations and research on the galleon-affiliated seaports, including Acapulco and San Blas in Mexico, Guam, Manila in Philippines, Yuegang (Crescent Harbor), Xiamen (Amoy), Keelung and Macao in China, Nagasaki in Japan. This joint research sheds new light on the history of navigation and maritime trade between galleon-affiliated harbors; the origin, production, transport and trade of the galleon cargo; social cultural exchange along the new Maritime Silk Road in the pan-Pacific region; and the history of maritime globalization in last 500 years. It offers a new perspective on maritime archaeology and traces the different stages of the galleon trade and affiliated maritime history, including "Yuegang Outbound", "Manila Entrepotting" and "Bound for Acapulco", presenting a panoramagram of Spanish pan-Pacific trade and early maritime globalization.