| Summary: | 碩士 === 國立臺灣大學 === 音樂學研究所 === 104 === This thesis re-examines the renown Filipino ethnomusicologist/composer Jose Maceda’s (1917–2004) academic writings and musical compositions in views from the concepts of “strategic essentialism” and “Asia as method”.
While the existing literatures by Western writers such as Michael Tenzer, Christian Utz and Matt Marble all tend to concentrate on Maceda’s cultural practices within a pre-supposed binary oppositional frameworks, none of them has really mined into the colonial contexts of the Maceda’s Philippines. In contrast to their writings, this thesis argues Maceda did not only connect cultural entities who share similar colonial experiences in his research methods, several distinct turns are easily found in his cultural strategies between different historical periods. Most importantly, as reviewing the social context of the Philippines, it is evident that Maceda’s cultural practice is by no means a replication of any kinds of dominating cultural structures, but rather a way of empowerment and self-understanding, a “strategic essentialism” from a post-colonial concern.
Moreover, although most of the writers do pay attention to the changes in the compositional approaches during Maceda’s late years, they rarely relate Maceda’s compositional changes in relations to his research. Therefore, this thesis also provides a different viewpoint on Maceda’s late “East-Asian” turn by way of “Asia as method,” a concept derived from the writings of Yoshimi Takeuchi, Yuzo Mizoguchi and Kuan-Hsin Chen. By reassessing Maceda’s late ethnomusicology works and musical compositions, such an approach of “Asia as method”, does not only notice the productive food for thought beneath Maceda’s late practices, but also at the meanwhile suggests a possible cultural interpretation as an intention to reconcile the tension occurred during his late practices.
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