José

Maceda
José Montserrat
Maceda (31 January
1917 – 5 May 2004) was
a Filipino
ethnomusicologist and
composer. He was
named a National Artist
of the Philippines for
Music in 1998.
LIFE
LIFE OF JOSE MACEDA
Maceda was born in Manila, Philippines, he
studied piano, composition and musicaL analysis at École
Normale de Musique de Paris in France. After returning to the
Philippines, he became a professional pianist, and later studied
musicology at Columbia University,
and anthropology at Northwestern University.
LIFE OF JOSE MACEDA
Starting in 1952, he conducted fieldwork on the ethnic Music of the

Philippines. From about 1954, he was involved in the research and

composition of musique concrète. In 1958, he worked at a recording

studio in Paris which specialized in musique concrète. During this

period, he met Pierre Boulez, Karlheinz Stockhausen and Iannis Xenakis.

LIFE OF JOSE MACEDA
In 1963, Maceda earned a doctorate in ethnomusicology from

the UCLA. He began pursuing a compositional career more

vigorously. At the same time, he held concerts in Manila until 1969,

in which he performed and conducted. This series of concerts

introduced Boulez, Xenakis and Edgard Varèse to the Filipino public.

 MUSIC &
COMPOSITIONS
MUSIC
As an ethnomusicologist, Maceda investigated various forms
of music in Southeast Asia, producing numerous papers and even composing his
own pieces for Southeast Asian instruments. His notable works include:
• Pagsamba for 116 instruments, 100 mixed and 25 male voices (1968);
• Cassette 100 for 100 cassette players (1971);
• Ugnayan for 20 radio stations (1974);
• Udlot-Udlot for several hundred to several thousand people (1975);
• Suling-Suling for 10 flutes, 10 bamboo buzzers and 10 flat gongs (1985).
MUSIC
In 1977, Maceda aimed to study Philippine folk songs which
he describes as having more focus on rhythm rather than
time measure. From the 1990s, he also composed for
Western orchestra and piano. The examples are:
• Distemperament for orchestra (1992);
•Colors without Rhythm for orchestra (1999);
•Sujeichon for 4 pianos (2002).
UGNAYAN (1974)
 MUSICAL
CONTRIBUTIONS
Musical Contributions
• As a pioneer in the field of experimental music in the Philippines,
Maceda experimented with non-traditional sounds and structures,
often incorporating indigenous Filipino instruments and folk music
elements into his compositions.
• Furthermore, he conducted extensive research on Philippine
traditional music and indigenous musical practices. He explored the
music of various indigenous tribes and incorporated elements of
their music into his compositions, contributing to the preservation
and promotion of Filipino musical heritage.
CONCLUSION
Overall, Jose Maceda has made significant
contributions to the fields of music composition and
cultural preservation in the Philippines and beyond,
leaving behind a legacy that continues to inspire
musicians and researchers.
 THANK YOU!
PRESENTED BY: CASSANDRA LOISE DE VILLA & ELAINE
GRACE AGARADO