The Philippine Music and Culture Summit (PMCS) 2024, themed “Gasa sa Kinaiyahan ug Kabilin” (Gifts of Nature and Heritage), successfully concluded its three-day event from May 15 to 17, 2024, at the Claire Isabel McGill Luce Auditorium, Silliman University (SU). This significant event was spearheaded by Silliman University in partnership with the National Commission for Culture and the Arts (NCCA), Silliman University Culture and Arts Council, and the provincial government of Negros Oriental.
The summit aimed to explore the intersections of music and culture in fostering unity and promoting positive societal change. It featured a rich array of panels, performances, and workshops that highlighted contemporary musical practices, cultural diversity, aesthetics, and educational methodologies. The opening ceremony on May 15 was led by the welcome address of the chair of the advisory board, UCAC, Dr. Elizabeth Susan Vista-Suarez, the message of NCCA commissioner Arvin Manuel Villalon, and the message of support from Dumaguete City mayor Hon. Felipe Antonio Remollo and FENOR president Ms. Judith Alpuerto, and the statement of purpose of SU Culture and Arts Council director Dr. Diomar Abrio.
PMCS 2024 successfully identified and discussed various methods by which music and culture can serve as mediums for building bridges across communities and fostering positive changes in society through the keynote presentations of the National Artist for Music, Maestro Ryan Cayabyab’s “State of Music in the Current Philippine Creative Industries,” and the National Artist for Dance, Ms. Alice Reyes’ “The Role of Music in Dance Theater and Festivals.”
During the three-day summit, PMCS discussed three panels that emphasized diverse musical expressions and their multi-faceted dimensions. The first panel discussion, Philippine Musicological Research and Choral Music, moderated by Ian Rosales Casocot and Mayumi Mari V. Maghuyop, explored two topics. Philippine Musicological Research: Perspectives and Viewpoints delved into different research papers, including “Preservation of Indigenous Music of Visayas” by Teresa “Tusa” Montes of the University of the Philippines (UP) College of Music; “Safeguarding Philippine Indigenous Music of the Northern Philippines” by Arvin Manuel Villalon of NCCA; “Preservation and Safeguarding Philippine Indigenous Music of Mindanao” by Dr. Helen S. Tejero, director for R & D, IMCC, with Mindaya H. Sarip, Jallaludin “Arjay” M. Casnor, and Mohammad Noor Ali Saumay; “Transculturation, Decoloniality, and Subversive Complicity in Philippine Music Studies” by Dr. Sandy I. Chua of the UST (University of Santo Tomas) Music Department; and “Technology and Music Creativity: A View from a Musicologist” by Dr. Jose S. Buenconsejo of the UP College of Music. Choral Music: Training, Leadership, and Organizational Chemistry discussed “Preparation, Performance, and Adjudication” by Dr. Joel M. Navarro of St. Paul University—Manila; “TIMPLA: Developing Musicianship in Choral Ensemble” by Dr. Elizabeth Susan Vista-Suarez of SU; and “Homogeneity in Choral Sound” by Dr. Edgardo Manguiat of UP Singing Ambassadors.
The second panel explored various methods in music creation, “Contemporary Trends and Currents in Philippine Music,” moderated by Joyce D. Zerda, Ronelyn Vailoces-No, Miguel Braganza, and Lutgardo L. Labas. Contemporary Experimental Innovations in Music Creation discussed “Orchestral and Digital Music” by Jem Robert B. Talaroc of Asian Composers League Philippines; “Film Music” by Maria Teresa L. Barrozo of Film Music Composer; “Playwriting for Musical Theater” by Earnest Hope L. Tinambacan of YATTA/NCCA; “Music for Dance Theater” by Odoni Pestelos of Kasing Sining; “Composing for Musical Theater” by Jude Edgard Balsamo of Centro Escolar University; “Experimenting with Upcycled Instruments” by Nicky S. Dumapit of Environmental Artist; and “Improv Performance” by 3rd CLUSTER-PMCS Resource Speakers and Maranao Kulintang Ensemble. Philippine Rondalla talked about “Craftsmanship of the Rondalla Instruments” by Jay D. Sarita of DepEd Dipolog and “Current Developments on the Philippine Rondalla” by Dr. Ramon P. Santos, National Artist in Music.
Mainstream Pop Music covered “Shaping the New Generation’s Musical Landscape: A Journey Through the Philippine Music Industry” by Noel Cabangon; “The Journey of OPM Artists in Staying Relevant Over Time” by Moy Ortiz, artistic director from The Company; and “Contemporizing Waraynon Traditional and Pop Music” by Waray musical artists Lucien Lataba and Paolo R. Ay-ay. In the field of Vocal Music, several papers were presented, including “Harmony in Voice: Nurturing Vocal Health in Optimal Performance” by Katrina Marie T. Saga, a certified McCloskey voice technician; “Challenges of Philippine Opera Today” by Karla Patricia T. Gutierrez of the Philippine Opera Company; and “Exploring the Rich History and Versatility of the Countertenor Voice and its Influences in the Philippine Choral Scene by Ily Mathew Maniano of Male Ensemble Philippines.
The third panel “Forecasting the Future of Philippine Music,” moderated by Lutgardo L. Labad and Mayumi Mari V. Maghuyop, enfolded in the future of music in terms of education, its function, and competition. “The Future of Music Education: The MATATAG Curriculum” by Dr. Joy T. Guadalupe of UP College of Music; “Concept of Music as a Function of Socio-Cultural Context” by Dr. Felipe M. De Leon Jr. of Asian Social Institute; and “The Future of the Art of Performance: NAMCYA: When Competitions Make the Nation” by Dr. Renato Lucas, president of NAMCYA, are the papers presented to discuss the hereafter of Philippine music in the context of our society and its dynamics.
Spanning multi-faceted and complex issues in music, the break-up groups that addressed and evaluated concerns consisted of five topics, including “Problems and Issues on Musical Performances and Solutions,” “Problems and Issues on Music Education and Solutions,” “Problems and Issues Faced by Indigenous Musicians and Solutions,” “Problems and Issues on Musical Creation and Solutions,” and “What do you think should be the direction of Philippine Music Today?” PMCS 2024 concluded with the messages from National Artist for Music Dr. Ramon P. Santos, Karla Patricia T. Gutierrez, and NCCA Commissioner for the Arts Arvin Manuel Villalon. A bounty of cultural heritage performances were showcased at the Provincial Capitol Grounds.
For details on this press release, contact Mr. Rene S. Napeñas, Head, Public Affairs and Information Office, through [email protected] or 0945 788 5698. Visit www.ncca.gov.ph and the Facebook page @NCCAOfficial.
