Named one of BBC History Magazine's "Books of the Year" in 2010 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.

Investing in the Early Modern Built Environment represents the first attempt to delve into the period’s enhanced architectural investment—its successes, its failures, and the conflicts it provoked globally.

With chapters including Ovophilia in Renaissance Cuising, and Cackleberries and Henrfuit: A French Perspective, this is a treasure trove of articles on the place of the humble egg in cookery.

Marcelo Adonay (1848-1928) was a major Philippine composer and church musician. As maestro de capilla of the San Agustin church in Intramuros, Manila, he presided over the musical establishment of a powerful Augustinian Order that required the performance of elaborate instrumental and choral works. This pioneering work includes five major essays on Adonay's life, his milieu, an inventory of his extant and missing works, and musical and formal analyses of his magnum opus, Pequeña Misa Solemne sobre Motivos de la Missa Regia de Canto Gregoriano.