DR. JONAS BAES is a Faculty of the Composition and Theory Department at the U.P. College of Music, and a Composer, Ethnomusicologist, and Cultural Activist

Composer, ethnomusicologist, cultural activist studied with Jose Maceda and Ramon P. Santos at the University of the Philippines and with Mathias Spahlinger at the Staatliche Hochchule für Musik in Freiburg, Germany. He earned his doctorate in Philippine Studies at the University of the Philippines, with the dissertation: Modes of Appropriation in Philippine Indigenous Music: The Politics of the Production of Cultural Difference. His music compositions for traditional Asian instruments and vocal techniques, explores the aesthetization of philosophies and social theories and constantly searches for the involvement the participation of the audience; these major works have been performed in various international festivals and sound installations in Asia, the United States, Australia, and Europe. His writings about marginality and the sociology of music among indigenous peoples like the Iraya-Mangyan and the Dumagat are published in international peer-refereed academic journals. Baes has been invited as guest professor in the United States, Malaysia, Japan and in Germany. In 2008-2009 he was awarded an Asian Public Intellectuals Fellowship by the Nippon Foundation.



PhD: University of the Philippines [Philippine Studies] 2004; Special Lessons: Staatliche Hochschule fuer Music Freiburg im Br., Germany [Composition/Music Politics] 1992-1994;

Bachelor of Music: University of the Philippines [Composition] 1982

Memberships and Fellowhips:

Salzburg Global Seminar Fellowships
Asian Public Intellectuals Fellowships
Asian Composer's League
International Association for the Study of Popular Music;
Media Performance Research Circle-University of Wisconsin;
Asia-Pacific Society for Ethnomusicology Small Islands Research Initiative Founder:
The Manila Composers' Lab [2009] annual workshop of student composers from the Asia-Pacific Region


KOMPONISTEN DER GEGENWART [Edition Text + Kritik, Munich, Germany]
THE LIVING COMPOSER'S PROJECT http://www.composers21.com/compdocs/baesj.htm
ASIAN MUSIC IN THE 20TH CENTURY [Japan Federation of Composers, Tokyo, Japan] ResearchSEA http://www.researchsea.com/html/experts.php/eid/393/research/jonas_baes.html Awards:
FELLOWSHIP AWARD: THE SALZBURG GLOBAL SEMINAR: Session 479 "Instrumental Value: The Transformative Power of Music"/Schloss Leopoldskron, Salzburg, Austria, 1st to 6th April 2011

Administrative and Directorial Experiences:

Director/Founder, The Manila Composers' Lab Workshop for Young Composers from the Asia-Pacific Region, beginning in 2009

Chair, Composition and Theory Department, UP College of Music 2006-2010 Project Director, UGNAYAN 2010 Festival of Environmental Music February 1-3, 2010

Major Musical Compositions:

PATANGIS-BUWAYA (2003) for four wind instruments any culture and iron nail chimes, bamboo bird whistles or pairs of stones played by the audience

BANWA (1996-97) for four rasps, leader-chorus singers, instrumental ensemble from any culture and iron nail chimes, bamboo bird whistles, or pairs of stones played by the audience.

WALA (1997) for seven (to forty nine) men's voices from any culture

AGUYOY (2005) for seven percussionists and iron nail chimes, bamboo bird whistles or pairs of stones played by the audience

DALUY (1994) five soundscapes for five groups of performers and audience

InAYTA (2010) sound installation for vocalist/weeper, large tam-tam, and various wooden and bamboo percussion

BASBASAN (1983) for twenty bean-pod rattles and twenty men's voices encircling the audience

GANDHING-NI-NAPI [or "The Deception of Culture Industries"] Music for Solo Maguindanao Gandingan Gongs, 5 Large Tam-Tams, 5 Trombones, Audience Plugging Its Ears and Playing Pairs of Iron Bars] to be premiered at the University of the Philippines, July 2011 by an ensemble led by Swiss-German trombonist Dirk Amrein and to be conducted by Jürg Henneberger, and featuring Maguindanao gong player Kanapia Kalanduyan as soloist

DINANGGAAN [Spirits and Implosions in the Sound of Metal] Music for Large Tam-Tam, Flute, Alto Saxophone, and Audience [++100 iron-nail "peace" chimes], premiered in March 2011 in Manila by Ensemble Selisih from Freiburg, Germany

InAYTA ["pinatay" = summarily executed] "Sculptured weeping" for solo female voice [weeper], large tamtam, and various percussion [ bean-pod rattles, mung beans, tree branches, plastic water bottles, blown pipes and bottles, etc.] mounted in an exhibition; premiere at Creative Index: The Asian Public Intellectuals Fellowships 10th Anniversary; May 28-June 5, 2010, UP Vargas Museum.

NI SERA NUNCA (Musik für Lieschen) for trombone and piano; premiered by the Amrein-Henneberger Duo, Manila: July 2011 DREI BAGATELLEN for piano solo; premiered at the culminating concert of the MANILA COMPOSERS' LAB 2010; June 18, 2010/UP College of Music

N/REPA ["the mimesis of spirits"/narrative music for bamboo flute, flute, oboe, clarinet and 100 bamboo bird whistles distributed among the audience] Premiered at the Tokyo National University of the Arts, Tokyo, Japan; March 2009

RIPIENO [Kammermusik fur Englisches Horn, Bass Klarinet, Horn, 3 Schlagzeuger und Streicher 1-1-1-1-1], dedicated to Dieter Mack; Premiered at the Asian Music Festival in Seoul, Korea, April 2009

LISAN [leaving; the annihilation of the "dolby" surround"/ for film and live musicians: 40 voices and percussion and soloist/collaboration with filmmaker Jerrold Tarog] Premiered at the UP Film Center (Cine Adarna), November 26, 2007.

PA-ALULUNG [for solo string bass, solo cymbal, found objects, and about 100 iron nail chimes distributed among the audience] Premiered by bass player Allan von Schenkel, Delaware, USA; May 2007; Performances in Spain and Romania, 2008, and in various cities of the United States, 2009;

AGUYOY [interval music for bean-pods, leaves, and wood] Premiered by the Modern Ensemble Berlin at the Festival "Asien-Pazifik veraendert die Welt" Berlin, Germany/September 2007

BULAKLAKAN (for 16 children's voices, percussion and the audience) Premiered by the Mandaluyong Children's Choir in Manila, March 2004

PATANGIS-BUWAYA ["and the crocodile weeps / music for four blown instruments from any culture, in any combination; audience may join-in with pairs of stones or bamboo bird whistles] Versions of PATANGIS-BUWAYA: Version 9 for Harmonium, Alto Saxophone, Clarinet and Violoncello; Singapore New Music Ensemble: Singapore Art Museum, September 16, 2011 Version 8 for 2 Chinese mouth organs [sheng] and two clarinets; Hong Kong New Music Ensemble, Hong Kong, December 15, 2009 Version 7 for 2 Chinese transverse flutes [dizi], 1 oboe and 1 clarinet and 100 bamboo bird whistles played by the audience. Kuala Lumpur Contemporary Music Festival; Kuala Lumpur, Malaysia, November 28, 2009 back to top Version 6 for 1 Malay double reed instrument [serunai], 2 saxophones [sop/alt], 1 vocalist, and pairs of pebbles played by the audience; Asian Public Intellectuals Forum, Cultural Center, University of Malaya; Kuala Lumpur, Malaysia, October 2008 Version 5 for 1 Australian Didgeridoo, 1 bass recorder, 1 bass clarinet, 1 bass trombone. National Gallery of Art; Canberra, Australia, October 2008 Version 4 for four Vietnamese flutes [tiew]; Ho Chi Minh Contemporary Music Festival, Ho Chi Minh City, Vietnam, September 2007 Version 3 for four [Hungarian] flutes, performed at the "Homage a Bartok" Festival in Budapest, Hungary, sponsored by the Magyar Radio Bartok Channel, May 24, 2006 Version 2: for four large bamboo flutes

SULING, performed at the Yogyakarta Contemporary Music Festival in Indonesia, September 2005 Version 1(for four sub-contra bass recorders) Performed at the Asian Music Festival in Tokyo, Japan. September 2003

SALAYSAY (Music for woman's voice, 3 percussionists, and audience). Performed at the Asian Contemporary Music Concert, Abelardo Hall, UP College of Music; October 3, 2002

BANWA ["Imagined Community" <after B. Anderson> for four rasps/scrapers, solo voice, traditional music ensemble, and audience] Versions of BANWA: Version 5 for 4 wooden scrapers, solo voice, women's voices, gandingan-a-kayu, shell horn, Brazilian cuica, and 100 iron-nail chimes distributed among the audience [Escaler Hall, The Ateneo de Manila University/10th Anniversary Celebration of the Asian Public Intellectuals Fellowships, May 30, 2010]. Version 4 for 4 bamboo scrapers, solo voice, gandingan gongs, jazz saxophone, chorus of voices, and 100 iron-nail "peace" chimes distributed among the audience [Cultural center of the Philippines and the University Theater, Centennial Concert of the UP College of Music, November 2008] Version 3 for 4 bamboo scrapers, solo voice, various Vietnamese instruments and 100 pairs of pebbles distributed among the audience. Ho Chi Minh Contemporary Music Festival, Ho Chi Minh City, Vietnam, September 2007 Version 2 for 4 bamboo scrapers, 1 'bamui' caller, 1 'sarunai' oboe, 1 'khaen' mouth organ, and 100 iron nail chimes distributed among the audience) Performed at the concert, Parallel Streams: An Asian Composer's League Exchange Concert Abelardo Hall, UP College of Music; November, 2001. Version 1 for four bamboo scrapers played by 4 Maguindanao musicians also playing kulintang a tamlang instruments and about 100 bird whistles distributed among the audience. Premiered in Bangkok, Thailand during the 3rd ASEAN Composer's Forum on Traditional Music, December 1997

DALUY [Interval Music in 5 parts for 5 percussionists and audience] Versions of DALUY: Version 3 for solo Kalingga performer and audience; Asia-Pacific Festival of the Asian Composer's League, Wellington, New Zealand, February 2007 Version 2 for five Kalingga Musicians, performed at the "Tawag ng Bantula!" Bamboo Music Festival, Manila, Sepetember 2005 Version 1: Performed at the Pacific Soudstreams Festival, UP Diliman; September 2000. Recorded in 1999 by the AUIT Chamber Vocal Ensemble. Version 1: Various performances at indignation rallies in 1995/1996 Test-runs in Freiburg, Germany in 1994

BALAWANG-PAIKUTAN (Music for 5 dancers, 5 animators, 16 voices, and audience) Performed during A Concert of Lenten Ritual Music Pundaquit, Zambales. April 1999 WALA ("Nothingness" for seven or hundreds of men's voices) Performances: Goethe Institut Contemporary Music Festival and Young Composers' Competition, Bandung, Indonesia: October 2, 2011; the February Arts Month Concert Series, UP Lagoon, February 1999. Premiered in Ubon Ratchathani, Thailand during the 3rd ASEAN Composer's Forum of Traditional Music, December 1997.

IBO-IBON ("Birdwoman") for 4 animator/callers, audience passing around iron nails chimes, and a melody represented by a dancer. Premiere April 1996 at Pundaquit, Zambales. Repeat: Asian Composer's Festival, Tunugan, in Manila, January 1997.

HUNTAHANG-BAYAN ("People's conversations") for 4-7 animators and audience; performed in a small room where participants converse on social issues by means of leader-chorus singing. Premiere: Baguio City, Philippines 1996; Freiburg, Germany: 1992/93.

BANAL-PASAKIT ("Holy Sacrifice" for 10 men's and 10 women's voices, a capella: to plea for mercy for a dying nephew, Jonathan G. Baes) Performed at the Contemporary Music Festival of the Asian Composer's League, Manila, Philippines, April 1988

YAYEYUNAN ('Melody" for 5 women's voices, 16 bamboo rasps, and 4 bamboo zithers). Score presented as an exhibit and music performed at the Contemporary Art Museum of the Cultural Center of the Philippines, June 5-July 5, 1987

BASBASAN ("to bless" for 20 bean-pod rattles and 20 men's voices) Performed at an "indignation" concert protesting the death of Benigno Aquino and celebrating the 67th Anniversary of the University of the Philippines College of Music. September 1983.

KALIPAY/CHALIPAY ("Celebration" for 100 bamboo instruments and 100 voices of trail calls, and audience plugging their ears) Performed at the Graduation Recital at the University of the Philippines College of Music, January 1982

PANTAWAG (Music for Calling People for Bamboo Scrapers, Palm Leaves, and "Forest Voices") Performed while in procession around the University of the Philippines Campus in September 1981 SIGAW ('internal,' inaudible cries of injustice) for ten men's voices and gongs; Performed at the First University Composer's Forum, University of the Philippines, December 1981

B. Research Papers, Publications and Lectures

“Patangis Buwaya: A Philosophy of Praxis for a New Music Composition in Southeast Asia. Music and Performing Arts International Festival Journal, Burapha University (Thailand) Faculty of Music and the Arts Vol 2 /No. 1 (2013-14)

“When there is no more music..or...Dumagat internal refugees in the Philippines and issues of ‘cultural objecthood’ Wacana Seni Journal of Arts Discourse v. 11/ No. 2: 179-200 (2012)

Malaysian Composers, Geopolitical Spaces, and Cultural Difference Perfect Beat Vol. 12/No. 1 (2011)

Mangyan Internal Refugees from Mindoro Island and Spaces of Low-intensity Conflict in the Philippines.” Shima. The International Journal of Research into Island Cultures” Vol. 1/Nr. 1 (2007)

To the Memory of an Angel: Philippine Indigenous Music and the Politics of Cultural Appropriation” Graduate Journal of Asia-Pacific Studies Vol. 2/No. 1 (2004)

Marayaw and the Changing Context of Power among the Iraya of Mindoro, Philippines. International Review of the Aesthetics and Sociology of Music. Vol. 19/No. 2 (1988)

Ya-Ye-Yo-Na-I-Yu-Nan: Swaying in the Vocal Music of the Iraya of Mindoro, Philippines. Ethnomusicology Vol. 31/No.2 (1987)

Baes, Jonas [2011] "The AGENG Trilogy: New Music as Advocacy in Southeast Asia" Lecture at the 2011 Contemporary Music Festival and Young Composers' Competition, sponsored by the Goethe Institut; Bandung, Indonesia: October 5, 2011 Baes, Jonas [2011]

"PATANGIS-BUWAYA: Research and a Philosophy of Praxis for New Music Composition in Southeast Asia" Paper read at the conference, "The Impact of Music in Southeast Asia"; University of the Philippines, September 2, 2011 Baes, Jonas [2011] "Malaysian Composers, Geopolitical Spaces, and the Institution of Cultural Difference" Perfect Beat V12/N1 [January 2011] Baes, Jonas [2010].

PATANGIS-BUWAYA: Towards a "New" Oral Tradition in Southeast Asia. Composition Seminar conducted at the National University of Singapore and the LaSalle College of Singapore, October 28-29, 2010. Baes, Jonas [2009]

"BANWA: Asian Composers and the Spaces of Modernity." Osaka: Asian Public Intellectuals Workshop 2008; November 26, 2008, Osaka, Japan Baes, Jonas [2009] Weeping Crocodiles and Imagined Communities out from the Philippines: Power, Naturalness and the Agency of Musical Performance" Public lecture at the Kuala Lumpur Contemporary Music Festival, November 28, 2009. Baes, Jonas [2009] "On the orders of terror: Notes on Sound, Music and the Philippine Horror Film." Musika Journal 6 Baes, Jonas [2009] "Bamboo Music and Composition in the Philippines: Disquietudes on the Ascendancy of a Cultural Object" in Humanities Diliman 7 Baes, Jonas [2009] Music Composition and Social Dynamics from the Philippines:

BANWA and PATANGIS-BUWAYA. Japan Music Life Lecture, Tokyo, Japan; April 2009 Baes, Jonas [2009] N/REPA [the mimesis of spirits]: Philippine Global Reality and the Paradox of Giving. Pre-Concert Lecture, Tokyo National University of the Arts, March 25, 2009 Baes, Jonas [2008] "Malaysian Composers, Cyber Space and the Politics of Difference" Public Lecture, University of the Philippines Musik-kolokiya, November 2008 Baes, Jonas [2007] "Mangyan Internal Refugees from Mindoro Island and Spaces of Low-intensity Conflict in the Philippines." In Shima. The International Journal of Research into Island Cultures" Vol. 1/Nr. 1 {Revised from a paper for the 2006 Colloquium, "Island Cultures in Transition: an interdisciplinary colloquium on island cultures in the Asia Pacific region' at the University of Hong Kong 22nd Nov-24th Nov. 2006]. Baes, Jonas. (2005d) "When there is no more music: Dumagat internal refugees in the Philippines and issues of cultural objecthood" Paper read at the 10th anniversary conference of the Southeast Asian Studies Regional Exchange Program (SEASREP), Chiang Mai, Thailand; December 2005. Baes, Jonas (2005c) "Bamboo music and composition in the Philippines: Disquietudes on the ascendancy of a cultural object" Paper read at the First National Conference on Bamboo Music, sponsored by the National Commission for Culture and the Arts, and the Musicological Society of the Philippines, Manila, Philippines; September 2005 Baes, Jonas (2005b) "Between [the loss] of tradition and [the emergence of a] trend: Philippine indigenous music and the politics of documentation" Paper read at the Consultative Meeting "Between Tradition and trend: Documenting Southeast Asian Music," SEMEO-SPAFA. Mahidol University, Thailand. July 2005 Baes, Jonas (2005a) "From Ading to Nothingness: Questions on Maceda's Music and Imagination of Philippine Society." in FoArm 5 [autonomy].Paper read at conference "Ugma-ugma," commemorating the first death anniversary of national artist Jose Maceda. University of the Philippines and the National Commission for Culture and the Arts, May 2005. Baes, Jonas (2004c). "Indigenous instruments in the Philippine recording industry: reification in an evolving/non-evolving soundscape of cultural difference" in Traditional Music in the Globalization Context. Hanoi: The Vietnamese Institute of Musicology. Baes, Jonas (2004b) MODES OF APPROPRIATION IN PHILIPPINE INDIGENOUS MUSIC: THE POLITICS OF THE PRODUCTION OF CULTURAL DIFFERENCE PhD Dissertation, University of the Philippines Baes, Jonas (2004a) "To the Memory of an Angel: Philippine Indigenous Music and the Politics of Cultural Appropriation" in Graduate Journal of Asia-Pacific Studies Vol. 2/No. 1 back to top Baes, Jonas and Eve Klein (2002) " Land Rights, Marginalization and Ethnomusicology in the Philippines: A discussion of the Politics behind Nostalgia in a Denuded Rainforest" in Perfect Beat: The Pacific Journal of Research into Contemporary Music and Popular Culture. (Macquarie University, Sydney, Australia) Vol 6/ No. 1 Baes, Jonas (2002) " That's Ethnomusicology-or-Could my Study of Songs help Indigenous Philippine Peoples in Disputes over Ancestral Domain?" in Perfect Beat Vol. 5/ No. 4 Baes, Jonas (2002) Nostalgia in a Denuded Rainforest: Iraya-Mangyan Music from Mindoro, Philippines. A Compact Disc with Ethnographic Notes produced under the sponsorship of the National Commission for Culture and the Arts (NCCA) and the "Tunugan" Foundation Baes, Jonas (2002) "Composers in the Philippines: Counterstreams in a Post-Colonial Epoch" in Asian Composers in the 20th Century. Tokyo: The Japan Federation of Composers. Baes, Jonas (2002) "Indigenous Philippine Music and Issues of Ancestral Domain". Lecture delivered at the Center for Southeast Asian Studies, University of Wisconsin-Madison. March 18, 2002 Baes, Jonas (2002) "Towards a Political Economy of the 'Real': Music Piracy and the Philippine Cultural Imaginary" Paper read at the Conference on "Media Practice and Performance across Cultures" March 14-17, 2002, University of Wisconsin-Madison. Also available online at http://polyglot.lss.wic.edu/mpi/conference/conference.html Baes, Jonas (2002) "Towards a Theory of Structuration in Philippine Oral Traditions: 7-Syllable Texts and the Performance of Three Vocal Genres in the Philippines" paper read at the 7th International Conference of the Asia-Pacific Society for Ethnomusicology. Manila, February 17-23, 2002 Baes, Jonas (2001) "The Cultural Politics of Music Research in Southern Philippines: The Dynamics of Intercultural Communication when a Researcher is an Insider and an Outsider" in Journal of Intercultural Studies (Routlege Journals, London) Vol. 22/ No.2 Baes, Jonas (2001) "Landscapes and Soundscapes: Marginality and Power in the Performance of Traditional Music in a Changing Philippine Society" in Essays in Musicology Seoul, Korea: Hanyang University Baes, Jonas (2000) "Who Owns the Airwaves? or Music, Ethnicity, and Power in Philippine Television" paper read at the International Conference on "Local Agency and Local Identity in Television: Comparative Perspectives on Media Content and Reception in Asia" Univesiti Sains Malaysia, Penang, Malaysia May 2000 Baes, Jonas (2000) " Peripheral Identities: Popularizing Indigenous Music in Mainstream Philippine Society" in T. Mitchell (ed) Changing Sounds: New Directions and Configurations in Popular Music Sydney: University of Technology, Sydney Baes, Jonas (1999) "Broadcasting Ethnicity? On the Paradoxical Nexus between Musician and Broadcaster in Philippine Radio" paper read at the "1st Asia-Pacific international Conference on Broadcasting Traditional Music" Solo and Bali, Indonesia, September 1999 Baes, Jonas and Amapola Baes (1998) "East-West Synthesis or Cultural Hegemony in Philippine Popular Music?" in Perfect Beat Vol. 4/ No. 1; also read the Conference of the International Association for the Study of Popular Music, Kanazawa, Japan. July 1997 Baes, Jonas (1997) "Subing: An Iraya-Mangyan Trump from the Philippines" in Vierundzwandzigsteljahrschrift der Internationalen maultrommelvirtuosengenossenschaft 6: 106-112 Baes, Jonas (1995) "From the Igway to the Bulaklakan: The Structure of Transmission of Iraya-Mangyan Song from Mindoro, Philippines" in Dynamics of Asian Music: Tradition and its Modification. Osaka: National Museum of Ethnology. Baes, Jonas (1989) "Alangan Lullabies" in Echology 3:6 Baes, Jonas (1988) "Marayaw and the Changing Context of Power among the Iraya of Mindoro, Philippines" in The International Review of the Aesthetics and Sociology of Music 19 (2): 259-267 Baes, Jonas (1987) "Ya-Ye-Yo-Na-I-Yu-Nan: Swaying in Iraya Vocal Music from Mindoro, Philippines" in Ethnomusicology 31 (2): 229-239

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