A4 Montales Backtoback

TUGTOG-GUNAN:
Expanding the Potential of Music as a Catalyst for Urban

Revitalization of Urban Community through Creative Practice Theory
TUGTOG-GUNAN:
Revitalization of Urban Community through Creative Practice
Theory
De La Salle – College of St. Benilde School of Design
and Arts Architecture Program
Johann Sebastian D. Montales
11531436
A Research Submitted to
DLS-CSB Faculty of the Architecture Program
In Partial Fulfillment of the Requirements for the Degree of
Bachelor of Science in Architecture
ARCH. JOSHUA CUNANAN
ARCDES MENTOR
3RD Term Academic Year 2018-2019
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ACKNOWLEDGEMENTS
I offer my deepest recognition to:
My mentors on Benilde Architecture, who shared their time for consultations

and knowledge to me in circumstance that I’m in need of help and validation.
My family and my friends in the Architecture program for their assistance on my

research. My generous friends Allen Capua, Nevin Limsiy, Luis Toledo, Gabriel
Francisco, Maron Tuldanes, Christian Vincoy, and James Edralin for helping
me all the time and giving me motivation in continuing this project.
The creative individuals that serves as my respondents that validates and

strengthen this research. My bandmates, fellow musicians, professional and
aspiring artists, singers and composers.
And lastly, our Creator above.
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ABSTRACT
The study responds to the investigation of the relationship between architecture

and the urban community through establishing a city music complex. This is
achieved through recapturing a sense of community in an age where the forms
of entertainment and cultural boundaries have been changed by the
advancement of the digital media.
The research seeks to produce a space and a place for musicians and public
mass to expand their potentials and increase their musical knowledge. It will
consist of programs and activities that will provide an entertainment venue
featuring the conservatory students, local artist, independent musician, creative
individuals, tourism bodies, and public mass.
The product of this proposal is a cultural city node which will redefine the
meaning of an event plaza as an urban intervention. It also has a desire to
revitalize the heritage district of Manila City from the hub of activity it once was.
Keywords: Music, Music complex, Urban revitalization, Creative Practice
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Table of Contents
ACKNOWLEDGEMENTS
ABSTRACT
1. Chapter 1: Introduction ............................................................................ 16
1.1. Background of the Study .................................................................. 16
1.2. Statement of the Problem ................................................................ 18
1.3. Research Questions......................................................................... 19
1.4. Research Goal ................................................................................. 19
1.5. Research Objectives ........................................................................ 19
1.6. Significance of the Study .................................................................. 20
1.7. Rationale .......................................................................................... 20
1.8. Scope and Limitations ...................................................................... 20
1.9. Assumptions..................................................................................... 21
2. Chapter 2: Review of Related Literature ................................................. 24
2.1. The Diversity of Philippine Music Culture ......................................... 24
A. Himig Collection, On Philippine History and Culture ........................ 24
Himig Collection, On Philippine History and Culture (De Leon, Felipe

Mendoza. 2007) .......................................................................................... 28
B. Philippine Music Education .............................................................. 28
C. Independent Music and Digital Technology in the Philippines ......... 29
2.2. The Creative Industry of Music......................................................... 30
A. Assessing the Needs of the Filipino Creative Economy Workforce .. 30
B. Professionalizing the Music Industry in the Philippines: Enhancement

of the Industry Skills Through A Music Business Management Program .... 31
C. A Policy Brief in Philippine Creative Industries ................................. 31
D. The Philippine Creative Economy Toward a Baseline & Programme

33
E. UNESCO Creative Cities Programme .............................................. 34
F. The Music Cities Manual .................................................................. 35
2.3. Music, Performance and Architecture .............................................. 36
A. Live Architecture: The Design of Portable Buildings for Live Music

Performance Site and Sound ...................................................................... 36
B. Live Performance in Digital Times: An Overview ............................. 38
C. Site and Sound................................................................................. 38
D. Event-Cities 4 ................................................................................... 41
2.4. Review of Related Case Studies ...................................................... 42
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A. A Case Study of Casa San Miguel, Zambales Philippines ............... 42
B. A Case Study of Music Museum, San Juan City .............................. 43
C. A Case Study of CCP Theater, Pasay City ...................................... 45
D. A Case Study of Oslo Opera House, Oslo Norway .......................... 46
E. A Case Study of Nashville Music City Centre .................................. 47
F. A Case Study of UNESCO Creative Cities of Music ........................ 48
2.5. Design Theories, Principles, and Strategies .................................... 50
A. Creative Practice Theory .................................................................. 50
B. Ecological Perceptual Theory .......................................................... 52
C. Sense of Place Theory ..................................................................... 53
D. Theory of Inclusivity ......................................................................... 54
E. Tactical Urbanism ............................................................................ 56
2.6. Laws, Guidelines, and Policies ........................................................ 57
A. Public Parks, Open and Green Spaces A Planning and Development

Guide 57
B. Republic Act No. 7160 ..................................................................... 58
C. Presidential Decree No. 1096 .......................................................... 58
D. CLUP Guidebook Model Zoning Ordinance ..................................... 58
3. Chapter 3: Development of Dialectics, Frameworks and Methodology ... 60
3.1. Theoretical Framework .................................................................... 60
3.2. Conceptual Framework .................................................................... 60
3.3. Methodological Framework .............................................................. 60
3.4. Development of Dialectics ................................................................ 61
3.5. Declaration of Thesis Statement ...................................................... 61
3.6. Strategies, Procedures, Methodologies ........................................... 61
4. Chapter 4: Study Proper.......................................................................... 69
4.1. Site Criteria ...................................................................................... 69
4.2. Site Selection ................................................................................... 69
4.3. Site Analysis .................................................................................... 70
A. Macro Site Analysis.......................................................................... 70
B. Meso-Macro Site Analysis ................................................................ 70
C. Micro Site Analysis ........................................................................... 71
4.4. S.W.O.T. Analysis ............................................................................ 75
4.5. Theoretical Application Process ....................................................... 75
4.6. Study Model ..................................................................................... 76
4.7. Programs and Activities Distribution................................................. 79
Bibliography.................................................................................................... 80
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List of Figures
FIGURE 2. 1 Cities of Music (UNESCO Cities of Music Network. 2018) ........ 35
FIGURE 2. 2 ZAHA HADID OPERA HOUSE GUANGZHOU, CHINA (Site and
Sound (Newhouse, V. (2012) ......................................................................... 39
FIGURE 2. 3 NEW WORLD CENTER FLORIDA, MIAMI (Site and Sound
(Newhouse, V. (2012)..................................................................................... 39
FIGURE 2. 4 DANISH RADIO CONCERT HALL COPENHAGEN, DENMARK
(Site and Sound (Newhouse, V. (2012) .......................................................... 40
FIGURE 2. 5 WILLY THEATER DALLAS, TEXAS (Site and Sound (Newhouse,
V. (2012)......................................................................................................... 40
FIGURE 2. 6 CULTURAL CENTER IN BURDEAUZ, CENON (Tschumi, B.
(2010). Event-cities 4: Concept-form. ............................................................. 41
FIGURE 2. 7 LE ROSEY CONCERT HALL, SWITZERLAND (Tschumi, B.
(2010). Event-cities 4: Concept-form. ............................................................. 42
FIGURE 2. 8 CASA SAN MIGUEL, ZAMBALES ............................................ 42
FIGURE 2. 9 MUSIC MUSEUM, SAN JUAN .................................................. 43
FIGURE 2. 10 CCP THEATER, CCP COMPLEX PASAY CITY ..................... 45
FIGURE 2. 11 OSLO OPERA HOUSE, NORWAY ........................................ 46
FIGURE 2. 12 MUSIC CITY CENTER, NASHVILLE ...................................... 47
FIGURE 2. 13 UNESCO CREATIVE CITIES OF MUSIC ............................... 48
FIGURE 2. 14 CREATIVE PRACTICE THEORY (BOURDIEU, PIERRE)...... 50
FIGURE 2. 15 MULTIPLE MUSIC CREATIVES (Burnard 2012) .................... 52
FIGURE 2. 16 TACTICAL URBANISM (Gelbard, Sarah. 2015) ..................... 56
FIGURE 4. 1 MACRO SITE ANALYSIS ......................................................... 70

FIGURE 4. 2 MESO-MACRO SITE ANALYSIS ............................................. 70
FIGURE 4. 3 SITE BOUNDARIES ................................................................. 71
FIGURE 4. 4 CURRENT SITE CONDITION .................................................. 71
FIGURE 4. 5 WATER BODY ......................................................................... 71
FIGURE 4. 6 FLOOD HAZARD MAP ............................................................. 72
FIGURE 4. 7 TRAFFIC CIRCULATION 1....................................................... 72
FIGURE 4. 8 TRAFFIC CIRCULATION 2....................................................... 72
FIGURE 4. 9 PEDESTRIAN CIRCULATION .................................................. 73
FIGURE 4. 10 CHOKE POINTS AND NOISE ................................................ 73
FIGURE 4. 11 OPEN SPACES ...................................................................... 73
FIGURE 4. 12 CULTURAL AND INSTITUTIONS ........................................... 74
FIGURE 4. 13 COMMERCIAL ZONES .......................................................... 74
FIGURE 4. 14 TERMINALS AND STOPS ...................................................... 74
FIGURE 4. 15 SITE BOUNDARY ................................................................... 76
FIGURE 4. 16 BASIC VOLUME ON SITE ...................................................... 76
FIGURE 4. 17 INCREMENTAL SETBACKS .................................................. 76
FIGURE 4. 18 CONNECTIONS AND PASSAGES ........................................ 77
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FIGURE 4. 19 VISUAL CUES AND NOISE FILTER ...................................... 77

FIGURE 4. 20 INITIAL ZONING ..................................................................... 77
FIGURE 4. 21 ECOLOGICAL PERCEPTION ................................................ 78
FIGURE 4. 22 SENSE OF PLACE ................................................................. 78
FIGURE 4. 23 TACTICAL URBANISM ........................................................... 78
FIGURE 4. 24 INCLUSIVITY .......................................................................... 79
FIGURE 4. 25 DYNAMIC PROGRAMS AND ACTIVITIES ............................ 79
List of Tables
TABLE 2. 1 Scope of the Philippine Creative Industries, based from the

Philippine Cultural Statistics Framework (Bilang Filipinas: A Primer on
Philippine Cultural Statistics, 2017) ................................................................ 30
TABLE 2. 2 Creative Economy Sectors (The Creative Economy: How People
Create Money from Ideas, John Hawkins. 2018)............................................ 32
TABLE 2. 3 PUBLIC PARKS, OPEN AND GREENS SPACES: CIVIC SPACES
TABLE ............................................................................................................ 58
TABLE 3. 1 THEORETICAL FRAMEWORK .................................................. 60

TABLE 3. 2 CONCEPTUAL FRAMEWORK ................................................... 60
TABLE 3. 3 METHODOLOGICAL FRAMEWORK.......................................... 60
TABLE 3. 4 SURVEY QUESTION 1 ............................................................... 62
TABLE 3. 10 SURVEY QUESTION 7 ............................................................. 64
TABLE 3. 11 SURVEY QUESTION 8 ............................................................. 64
TABLE 4. 1 SITE CRITERIA .......................................................................... 69

TABLE 4. 2 SITE SELECTION ....................................................................... 69
TABLE 4. 3 SITE SELECTION BREAKDOWN .............................................. 69
TABLE 4. 4 THEORETICAL APPLICATION PROCESS ................................ 75
TABLE 4. 5 PROGRAMS AND ACTIVITIES DISTRIBUTION ........................ 79
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CHAPTER 1
INTRODUCTION
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1. Chapter 1: Introduction
It is argued that arts and entertainment are now playing an increasingly vital
role in the cultural regeneration of cities and its constructing city image, much
more so than the traditional invocation of local community and heritage
(Hannigan, 2003:354).
A more critical take refers to the 'events syndrome' and the creation of 'urban
playgrounds' for those with the resource capacity to enjoy them, while those at
the margins of the society are unable to effectively participate and enjoy what
is on offer (Badcock, 2002).
An important issue here is the 'hard branding' of global arts and entertainment-
led urban regeneration as a means to attract tourism, seen as the 'cultural
component of globalization'(Evans, 2003:417-19).
1.1. Background of the Study
The Philippines, an archipelago of 7,100 islands, is made up of 77 provinces

grouped into 16 regions. The main groups include Luzon, the Visayan islands,
and the Mindanao islands. Based on religion, the population may be grouped
into three broad categories: Christian groups, indigenous religion groups, and
Muslim groups. The Christian groups are the largest and are concentrated in
the lowlands of Luzon and the Visayan islands. Indigenous religion groups are
found in upland northern Luzon, Mindanao and Palawan. Muslim groups are
concentrated in Mindanao, the Sulu islands and southern Palawan.
Although, geographically, the Philippines belongs to the East, its music has
been heavily influenced by the West owing to 333 years of Spanish rule and 45
years of American domination. Music in the highland and lowland hamlets
where indigenous culture continues to thrive has strong Asian elements.
Spanish and American influences are highly evident in the music of the urban
areas. In discussing Philippine music, three main divisions are apparent:
(1) AN OLD ASIAN INFLUENCED MUSIC REFERRED TO AS THE

INDIGENOUS
The indigenous traditions are practiced by about 10% of the population. Eight
percent of this minority comprises some 50 language groups of people who live
in the mountains of northern Luzon and the islands of Mindanao, Sulu, Palawan,
and Mindoro in southern and western Philippines. The remaining 2% of these
groups are the Muslims from Mindanao and Sulu.
While there is no written information about the music in the Philippines before
the arrival of Magellan in 1521, subsequent reports made by friars, civil servants
and travelers include descriptions of instrumental and vocal music–sometimes
mentioned in passing, other times in greater detail. From these documents,
various kinds of interments made of bronze, bamboo, or wood are cited. These
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include gongs of various kinds of size and shapes, drums, flutes of different
types, zithers, lutes, clappers, and buzzers. Vocal genres include epics relating
genealogies and exploits of heroes and gods; work songs related to planting,
harvesting, fishing; ritual songs to drive away evil spirits or to invoke blessings
from the good spirits; songs to celebrate festive occasions particularly marriage,
birth, victory at war, or the settling of tribal disputes; mourning songs for the
dead; courting songs; and children’s game songs. It is this type of music that is
still practiced today by the indigenous groups.
(2) A RELIGIOUS AND SECULAR MUSIC INFLUENCED BY SPANISH AND

EUROPEAN FORMS
With the coming of the Spaniards the Filipino’s music underwent a

transformation with the influx of western influences, particularly the Spanish-
European culture prevalent during the 17th to the 19th centuries. The
Hispanization during the succeeding three centuries after 1521 was tied up with
religious conversion. It effected a change in the people’s musical thinking and
what emerged was a hybrid expression tinged with Hispanic flavor. It produced
a religious music connected to and outside the Catholic liturgy and a European-
inspired secular music adapted by the Filipinos and reflected in their folk songs
and instrumental music.
(3) AN AMERICAN/EUROPEAN INSPIRED CLASSICAL, SEMI-CLASSICAL,

AND POPULAR MUSIC
The American regime lasted from 1898 to 1946 during which time Philippine
music underwent another process of transformation.
In the newly established public-school system, music was included in the

curriculum at the elementary and later at the high school levels. Music
conservatories and colleges were established at the tertiary level. Graduates
from these institutions included the first generation of Filipino composers whose
works were written in western idioms and forms. Their works and those of the
succeeding generations of Filipino composers represent the classical art music
tradition which continues to flourish today.
Side by side with this classical art music tradition was a lighter type of music.
This semi-classical repertoire includes stylized folk songs, theater music, and
instrumental music. The sarswela tradition produced a large body of music
consisting of songs patterned after opera arias of the day as well as short
instrumental overtures and interludes.
The strong band tradition in the Philippines, which began during the previous
Spanish period and which continues to this day, produced outstanding
musicians, composers and performers. Another popular instrumental ensemble
was the rondalla which superseded an earlier type of ensemble called
the cumparsa. The latter was an adaptation of similar instrumental groups,
the murza of Mexico and the estudiantina of Spain.
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American lifestyle and pop culture gave rise to music created by Filipinos using
western pop forms. Referred to as Pinoy pop it includes a wide range of forms:
folk songs, dance tunes, ballads, Broadway type songs, rock’ n’ roll, disco, jazz,
and rap.
These three main streams of Philippine music– indigenous, Spanish influenced

religious and secular music, American/European influenced classical, semi-
classical, and popular music comprise what we refer to today as Philippine
music.
Philippine Music a Historical Overview (Canave-Dioquino, Corazon. 2015)
1.2. Statement of the Problem
Digital technology plays a big role in shaping the Filipinos perception and
reception of music. It has changed what music can become for artists and
listeners alike, closing a gap between art and audience that before was
immeasurable.
The coverage and exposure that digital media provides for both local and
foreign music events could be gauged by the space and attention that they give
to the music industry. With the surge of international music acts entering the
Philippines. From concerts to album promotions, and online media, it greatly
affects the exposure given to the Philippine music.
SUBPROBLEMS:
CULTURAL
There’s nothing more culturally devastating than having traditions slowly fade
from practice into the darker corners of memory. Music, specially its forms
deeply rooted in specific events, and experiences belongs to those traditions.
The reality in some culture is that, the younger generation no longer practices
these traditions or even knows how to do or perform them.
ECONOMIC
As music consumption has become digitized, the old business models primarily
in the recording industry has become obsolete as the sound recording no longer
embedded on CDs but instead has become files popularly known as mp3.
Music consumers no longer buy but instead opt for shared files or rip from web
sites where they could download and convert this in the appropriate file which
their respective media player recognize.
INSTITUTIONAL
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Affordability when it comes to enrollment on continuing music education on

conservatory schools became an issue for those who have potential in the
music industry.
SOCIAL
The inundation and commercialization of music, and disparate

performer/audience relationships endanger music as an art.
The lack of music appreciation in society has direct effects on the relationship
between the public and the musician. The involvement between performer and
audience is one which has evolved over time.
1.3. Research Questions
• What role can or should architecture play in the sociology of music?

• How can the idea of fostering community among the audience and the
performer be addressed in architectural form?
• How could the issues in Philippine music industry’s economy be solved
through a platform?
• What spatial experiences can be created, and expressed which enhance
the education, and awareness of today’s music listener, performer and
composer?
1.4. Research Goal
The desire of professionalizing the music industry in the Philippines, which calls
for the enhancement of the industry’s creative skills through designing public
Music Cultural Hub.
It also aspires to create a new civic space that attracts the public from all
directions and to provide a variety of outdoor programs and social spaces
related to music-making.
1.5. Research Objectives
CULTURAL
To foster cultural exchanges and collaborations with other UNESCO

Creative Cities of Music in order to build capacities and open pathways
for artist, composers, creatives, and indigenous musicians.
ECONOMIC
To develop a platform for creative professionals and start-up businesses,

providing private studios and an incubator, as well as spaces open to the
general public.
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INSTITUTIONAL
To partner with the universities and colleges of the Philippines prioritizing

music education to establish new professional pathways for musicians
and aspiring musicians through research and development of music
practice.
SOCIAL
To foster lifelong enjoyment for, and engagement with, music within the
entire community through a space in which shared experiences and
knowledge related to the development of the music industry is engaged.
1.6. Significance of the Study
The purpose of this research is to study and explore the potentials of music as
a tool for cultural, economic, and social development of an urban community.
• Philippine Music Industry

• Philippine Cultural Foundation Inc.
• National Commission for Culture and Arts
• City Government
• Tourism Bodies
• Music Professionals
• Licensing Authority
• Content Creators
• General Public.
1.7. Rationale
The creative economy is now an important part of global trade, with

advancements in technology shifting creative industry processes and
transactions to the digital realm.
In addition, having exposed to learning musical instrument plays a big role to

the researcher’s practice. Using architecture as a platform to promote music as
a part of life is one of the reasons why the proponent chose to explore the
potentials of this field.
1.8. Scope and Limitations
• This field of study falls under architectural design, thus focusing more on
inclusive research based on design and theory books.
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• The following programs and activities do not cater to a specific genre of

music but gives priority to the improvement of Filipino music.
• The author understands that this study requires ample amount of

knowledge of both arts and culture and has indulged in enough inputs in
the given duration.
1.9. Assumptions
• Considering music cultures as part of our daily life enables us to understand

our identity as a Filipino.
• Once we have a music center on every city, we will create employment and
proving grounds for our composers, musicians, and creatives.
• Aspiring musicians will grow in quantity and quality because they were able
to experience the development of our music culture.
• Bringing chamber music, symphony concerts, and opera to city center

could make music a daily occurrence and a way of living rather than a
luxurious pastime for a certain leisure class.
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CHAPTER 2
REVIEW OF RELATED LITERATURE
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2. Chapter 2: Review of Related Literature

2.1. The Diversity of Philippine Music Culture
A. Himig Collection, On Philippine History and Culture
“At the rate our people are bombarded with all sorts of Western pop and
commercial music through radio, television, jukeboxes, record players, and
movies – the day may not be too far away when we shall have committed our
own native music to the grave; harshly forgotten, abandoned, its beauty laid to
waste by an unknowing generation whose only fault is not having been given
the chance to cultivate a love of it…” (Padilla de Leon, Felipe. 2007)
Philippine music is rich beyond compare. Most Filipinos, however, do not know
this wealth, victims as they are of a broadcast media that propagate Western,
particularly American entertainment music, day in and day out. If ever music
written by Filipinos is given a chance to be heard, it is ninety percent of the
cheap pop variety copied or adapted from foreign hits.
Our young people hear almost nothing of the creative music of the people of
Luzon, Visayas, and Mindanao. The vast output of our serious composers, who
ironically are mostly Manila-based, is also unknown to them.
There is a pressing need to bring Philippine music closer to our people: strong
identification of our own music is one vital factor in bringing our people together
or unifying the nation.
Exposing Filipinos to their own musical traditions is properly the task of the
government, our music educators, musicologists, community leaders,
concerned media practitioners, performing groups, pro-Filipino radio and
television stations and recording companies, heritage centers and libraries, and
cultural organizations all over the country.
TRADITIONAL FILIPINO MUSIC
I. Music of Indigenous Southeast Asian Filipinos: Harmony with

The Creative Forces of Nature
This is the music of the indigenous, strongly animist, though

nominally Christian, non-Muslim peoples of the highlands of the
Cordillera (ex. Ifugao, Kalinga, Isneg, Ibaloi, Kankanay, Bontoc),
Mindoro (ex. Hanunoo, Buhid, Alangan), Mindanao (ex. T’boli,
Mansaka, Tiruray, Bagobo, Manobo, Subanun), and Palawan (ex.
Batak, Tagbanwa). Sometimes these people are called lumad. Their
music generically may be called by the same name. An example of
lumad music is that of the Kalinga tongngali (nose flute) or T’boli
hegelong (lute).
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Our indigenous peoples are the closest to nature. Life to them is an

indivisible whole. Art, myth, ritual, work, and activities of everyday life
are all integrated into one. Spirit and matter, God and nature, the
visible and invisible worlds are not a dichotomy but interpenetrate in
many ways. Of all Filipino subcultures, indigenous art is the most
integrated with everyday life, multifunctional and participatory.
II. Music of the Moros or Muslim Filipino Cultures: The Courtly

Elegance of Islamic Unity
Islamized Filipinos of Mindanao, Palawan, and Sulu, namely the

Magindanaw, Maranaw, Tausug, Sama, Badjaw, Yakan, Sangil,
Iranun, Jama Mapun, Palawani, Molbog, and so on. Their music may
collectively be referred to as Moro music (ex. kulintang music).
Most urban Filipinos are aware of the so-called OPM (Original Pilipino
Music), but very few among them know much about the true OPM
that continues to be created in the regions. This music is of the
highest artistic and technical excellence, such as the music of our
Muslim brethren in Mindanao and Sulu. In fact, two outstanding
practitioners of Moro music, Samaon Sulaiman of Maguindanao and
Uwang Ahadas of Basilan, have already been awarded by the
government the highest artistic recognition in the Philippines, the
National Living Treasures Award or Gawad sa Manlilikha ng Bayan
(which is equal to the National Artist Award).
III. Music of the Lowland Folk Villages: The Way of the Fiesta
The music of the so-called Hispanized lowland Christian, and village

peoples of Luzon, Visayas, Mindoro, and Palawan. Their culture is
essentially Southeast Asian, fused with a strong animistic core,
though with elements of Latin culture (Mexican, Italian or Hispanic).
The lowland folk are composed mostly of farmers, fishermen,

artisans, vendors and traders, and common folk. They have a deep
faith in God, whom they serve with utmost devotion. Their key
celebration is the fiesta, which revolves around the Sto. Niño, Virgin
Mary, Jesus Christ or a patron saint.
FILIPINO POPULAR MELODIES
IV. Music of Popular Sentiments: The Sanctity of the Home
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This is the music of lowland Christian Filipinos living in town centers

or poblacions. The beginning of what we may consider Western type
of music in the Philippines began in lowland Christian town centers,
probably around the late 18th century. Instead of being
extemporaneous and oral, music creation is now done on paper by
an individual author whose name appears on manuscripts or printed
music sheets. But with the oral tradition still a strong influence in
society, what is written on these musical scores is not sacrosanct,
and may be modified by another musician during the performance to
allow for individual creative expression. The music may be
individually authored but community opinion matters.
Thus, he does not simply perform for his listeners but performs with
them, expressing their common feelings through the music that they
all enjoy. A performer does not stand before them to simply impress
but to articulate for them the music in their hearts. Thus, the
performance will include very little of technical display and calling
attention to the performer’s musical prowess, unlike in the subculture
of the concert hall where virtuosity or technical brilliance can become
an end in itself.
MUSIC FOR LISTENING
V. Music of the Concert Hall: The Autonomy of Music
This is the music of highly individualized composers who are formally

trained in Western-style conservatories or colleges of music. This
music is also known as “serious or classical music” (ex. Nicanor
Abelardo’s Mutya ng Pasig, Francisco Santiago’s Taga-ilog
Symphony, Lucresia Kasilag’s Divertissement for Piano and
Orchestra).
Most Westernized Filipinos listen to concert music and are thus the
most individualistic. Self-reliance, self-promotion, and specialization
are highly encouraged, resulting in a weaker sense of community and
greater sense of privacy. Social interactions become more
competitive and adversarial. Relationships become more impersonal,
formal, and merely functional rather than holistic. Communication
tends to be verbal and explicit, particularly through writing. Reflective,
critical, analytic, linear, scientific, and dualistic thinking (left brain
thinking) are highly valued.
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VI. Music for Mass Entertainment: The Consumerist Lifestyle
This is the music of highly urbanized and industrialized towns and

cities. It is produced mainly for mass entertainment and it is what we
know as “pop” music. When we talk of the music industry in this
country, it refers mainly to this type of music (ex. Ryan Cayabyab’s
Kay Ganda ng Ating Musika, George Canseco’s Ngayon at
Kailanman, and many others called OPM by their producers).
Pop music needs no introduction. It was inculcated in us by the

American music industry through radio, television, movies, and other
electronic media. Its most energetic adherents are the highly
urbanized youth.Pop music’s origins are traced from the North
American culture of entertainment and cultivation of instant
pleasures. This music is variously called pop, mass media,
entertainment and commercial music. Pop culture is the culture of the
3Ms – Mickey Mouse, McDonald and Madonna.
MUSIC FOR SOCIAL AWARENESS AND HUMAN DIGNITY
VII. Music of Social Concern and Cultural Freedom: A Force for

Social Transformation
This is the music for social criticism and cultural liberation and is
variously termed alternative, protest, progressive or people’s music.
(ex. Joey Ayala’s Wala Nang Tao Sa Santa Filomena and Heber
Bartolome’s Tagulaylay).
The music of this genre has always been in the process of

experimentation, change, and growth, since the American period
when socialistic ideas began to emerge in Filipino society. It is being
actively shaped today by socially committed poet-musicians who are
consciously using songs as a force for social liberation, advocacy of
social justice, and in the struggle for human rights. It harnesses music
as an instrument of social criticism and change, taking up the issues
of injustice and oppression, neocolonialism, cultural erosion due to
globalization, plight of indigenous peoples, and other social causes.
VIII. Music for National Identity: Being Filipino
These are songs that celebrate or depict our struggles, hopes, and
aspirations toward a Filipino identity and sense of nationhood.
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The Filipino struggle for freedom identity and dignity has a long and
continuous history since the 16th century when Spanish colonization
began. The Filipinos were the very first Asian peoples to wage and win
a war in 1898 against Western colonialism in Asia. We were also the first
Constitutional Republic in Asia. A commitment to one’s country and pride
in being Filipino, though only discernible among a minority (thus, a
subculture), is as alive today as it was in the past, and this devotion has
always been well-served by the musical expressions of the nation,
particularly the kundiman, a song of devotion to a selfless and noble
cause. It is the kundiman that has always embodied the Filipinos’ intense
and lofty patriotism, as in the songs Bayan Ko, Jocelynang Baliwag, and
Sariling Bayan.
Himig Collection, On Philippine History and Culture (De Leon, Felipe

Mendoza. 2007)
B. Philippine Music Education
Education in Music, or the acquisition of musical knowledge, skills, and values,

is shaped by its purpose and context. In the Philippines, it may variably mean:
a) an avenue for the transmission of a culture or tradition; b) a curricular
component in basic education; and c) a prescribed sequence of study in
preparation for professional careers in music. (Borromeo, Mauricia. 2015)
ORAL TRANSMISSION
The principal aim in education among ethno-linguistic groups is to continue their

tradition. These groups keep alive Southeast Asian indigenous music, the
oldest type of Philippine Music. For example, the palook (use of stick beaters)
and topayya (use of the hands) styles of playing the gangsa (flat gongs) in the
Cordillera Highlands of Northern Luzon are learned by young Kalinga boys
through keen observation and imitation of a customary circle of tutors- family,
peers, or town elders. Able to practice only on bamboo instruments,
(traditionally, gong playing in the absence of ritual or social event is frowned
upon) actual playing on the gongs takes place at the social gatherings in which
music-making is a participatory and communal experience. As adults, they will
form a pool of musicians needed for non-stop strenuous gangsa playing during
celebrations that last for days.
MUSIC IN BASIC EDUCATION
The New Elementary School Curriculum (NESC) and the Secondary Education
Development Program (SEDP) which were prescribed and instituted in 1982,
and 1989 respectively by the then Department of Culture (DEC) and
Department of Education, Culture and Sports (DECS) constitute a continuum of
academic preparation for college. The inclusion of the subject of music is
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premised aesthetic (musical) and utilitarian (extra-musical) contributions to

general on its education and the national culture. Music instruction in both public
and private elementary schools are of the general music type (as distinct from
performance classes) commonly used in the United States. The overall aim is
to develop basic music literacy. The graded learning outcomes are based on
the elements of music- rhythm, melody, harmony, form timbre, texture dynamics
and using the conceptual and spiral approaches which are hallmarks of western
music education. The repertoire includes Spanish/European/American/
influenced Philippine Music and foreign songs. Accordingly, the skills of singing,
music reading, responding to the elements receive much attention. In some
schools, the general music classes are complemented by voluntary
participation in performance groups (Rhythm Band, Child Choir, Ethnic
Ensembles) organized outside of the regular class time.
SPECIALIZED TRAINING IN HIGHER EDUCATION
Various undergraduate music programs are available at the University of the

Philippines (UP), University of Sto. Tomas (UST), Philippine Women’s
University, Centro Escolar University, St. Scholastica’s College, Sta. Isabel
College, St. Paul College, the Asian Institute of Liturgical Music, all in Metro
Manila, and Silliman University (Dumaguete City), University of San Agustin
(Iloilo), University of the Immaculate Concepcion (Davao). Depending upon the
institution, certificates, diplomas, or degrees are earned in instrumental and
vocal performance, composition, conducting, music education, musicology,
Asian music, dance, music, theater, and church music. The content and
methodology of courses reflect a heavy orientation towards repertoire and
standards of Western music. Increased awareness of this imbalance has led to
the gradual inclusion of non-Western, Asian, and Philippine music in the
curricula over the past decades by the University of the Philippines and others.
The use of technology in music is a recent trend. Distance education, if used
judiciously, will usher in unexplored alternatives for certain aspects of music
training.
Philippine Music Education (Borromeo, Mauricia. 2015)
C. Independent Music and Digital Technology in the Philippines
Digital Technology plays a prominent role in facilitating independent practices.

Technology does not simply refer to objects (such as devices for sound
recording or computer) but should rather be regarded ‘in terms of “practice” –
including not only the various uses of machines but also, in a more general
sense, the organization of production and consumption’ (Theberge 1999,209).
As Theberge notes,
Technology is also an environment in which we experience and think

about music; it is a set of practices in which we engage in making and
listening to musical sounds; and it is an element in the discourses that
we use in sharing and evaluating our experiences, defining, in the
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process, what music is and can be. In this sense, the ensemble of
electronic devices that are used to make, distribute and experience
contemporary music are not simply a technical ‘means’ through which
we experience music. (Theberge 2001,3)
The popularity of social media in the Philippines is striking. According to the

information and measurement company Nielsen, 76 percent of Filipino Internet
users have visited social networking sites in 2011 (Blogwatch 2011). During the
time of my fieldwork, Facebook was the platform most prominently used by
bands, venues, labels, and individuals and constituted an important online field
site. (Schoop, Monika. 2017,15)
2.2. The Creative Industry of Music
A. Assessing the Needs of the Filipino Creative Economy Workforce
The Philippine creative industries have consistently shown promise in the past
few years with its consistent growth, as indicated by the modest increases in
the gross domestic product (GDP) generated by creative and cultural industries.
The contribution of the industry to GDP based on the World Intellectual Property
Organization (WIPO) 1999 figures was 3.84%; this rose to 4.82% in 2003 and
to 13.8% in 2006 (Forbes, 2010).
TABLE 2. 1 Scope of the Philippine Creative Industries, based from the

Philippine Cultural Statistics Framework (Bilang Filipinas: A Primer on
Philippine Cultural Statistics, 2017)
Estimates of the contribution of the creative industries to the Philippine gross
domestic product (GDP) have shown moderate growth throughout the years.
The Philippine government has signified its commitment in backing the creative
industries through the creation of programs by its government agencies to
ensure that its own culture and heritage will be preserved and for a sense of
national identity to be ingrained in the mind of every Filipino.
TRAINING AND EDUCATION

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With the growth of higher education, training for creative industries is now being
provided in universities and drama, music, and art colleges. Training programs
in the arts are often expensive, and talented artists are usually unwilling to take
the risk of personally investing in this. This attitude of the artists has prompted
governments to subsidize arts training, with the justification that it will eventually
yield higher-quality cultural and artistic output (Byrnes, 2009), based on the
principles of human capital theory.
B. Professionalizing the Music Industry in the Philippines:

Enhancement of the Industry Skills Through A Music Business
Management Program
As music consumption has become digitized, the old business models primarily
in the recording industry has become obsolete as the sound recording no longer
embedded on Compact Discs but instead has become files popularly known as
mp3. Apart from these changes, recorded music consumers especially in the
Philippines, no longer buy but instead opt for shared files or rip from web sites
where they could download and convert this in the appropriate file which their
respective media player recognize.
While technology has shaken the sound recording industry rendering record
companies in destitute, new sources of revenues are embraced so these
companies could regain their lost earnings. The sound recordings which used
to be their main product have more or less become promotional items.
Music file distribution through sharing, downloading, and streaming has brought
both major and indie labels on to the same level and opportunity where both
sound recording owners have the opportunities to make these recordings
available throughout the world via the internet. This resulted to the rise of Do It
Yourselfer (DIYers), the Do It Yourself (DIY) musical artists, some of whom has
also learned to seek financial support from their fans through a new approach
known as crowd sourcing.
So, in this digital age of music, new opportunities for musicians, composers,
and music entrepreneurs are exposed to. A new generation of music lovers
develop their means of discovering new songs, artists and bands that will satisfy
their need for musical entertainment.
C. A Policy Brief in Philippine Creative Industries
In the Philippines, there is no shortage of creative talent. For example, Filipino

performers have excelled in the global platforms of film, music, and stage. In
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Arangkada Philippines 2010: A Business Perspective, “Creative Industries” was

identified as one of the Seven Big Winner Sectors – economic sectors with high
growth potential that should be developed to achieve higher investments and to
generate more quality jobs.
To recognize the full potential of the Philippine creative economy and enhance
its competitive advantage in the world, government should work to overcome
the lack of understanding of the diverse creative industries in the country and
support their growth. This policy brief explores recommendations to transform
the potential of the Philippines to be an internationally known and competitive
creative economy into reality.
TABLE 2. 2 Creative Economy Sectors (The Creative Economy: How People

Create Money from Ideas, John Hawkins. 2018)
OPPORTUNITIES AND CHALLENGES
The Philippines has a rich and varied base of creative talent and traditions
in crafts, design, film, music, and performing arts. Given adequate support,
the creative industries can play a transformative role in the growth of the
economy through the creation of sustainable domestic markets and
international exports that drive revenue and provide better quality jobs for
Filipinos.
Filipino performers have long catered to international audiences on luxury

cruises and on West End and Broadway stages. Filipino advertising
professionals have earned global recognition for their skills and talents
through international awards such as the APAC Effie Awards, the Cannes
Lions International Festival, International Association of Business
Communicators (IABC) Gold Quill Awards, and the New York Festivals
International Advertising Awards.
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D. The Philippine Creative Economy Toward a Baseline &

Programme
In Section 1, this report provides a short overview of the strengths in The

Philippines; and it identifies ways to overcome the weaknesses, and to shape
opportunities for positioning the creative industries as a transformational sector:
- For the people – a diverse talent base which will become the next
generation of inventors and innovators, artists and makers, technologists
and designers.
- For businesses – where a rich mix of creative entrepreneurs working

across sectors such as design, software, music, film, crafts and the arts,
are better positioned to generate growth and to drive innovation and
creativity across the whole economy.
- For specific places – from cities with their own hubs of creative
businesses; to rural areas which are increasingly viable for creative
industries activity.
In Section 2, the report describes a key building block for a successful creative
economy - the development of a robust sector baseline from which detailed data
and intelligence can be gathered and through which the sector can be
effectively consulted and engaged. In turn, this will allow evidence-based policy
and investment decisions to be made and for partners to benchmark the sector
with other countries and to build an understanding of how the sector is
performing over time.
The Creative Industries provide important trade opportunities for The

Philippines – with scope to become major contributors to GDP as well as a
means to promote cultural distinctiveness, build confidence and foster wider
processes of civil engagement and innovation. Moreover, the rapid ongoing
development digital technologies will continue to open up new distribution
platform channels – domestically and for export. In turn, this introduces
opportunities for expanding the type of services offered, with potential
movement toward those niche, high value services currently dominated by
producers in North America, Europe and other parts of South-East Asia.
This could hold particularly true for The Philippines which has deeply rooted
traditions in music, performing arts, craft, design film. Yet while products
stemming from these traditions are numerous, The Philippines has not been
able to transform their products into sustainable domestic markets and exports
which can earn revenue, create jobs, and contribute substantially to the
economy.
SKILLS AND EDUCATION
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A fragmented approach to creative skills, management and

entrepreneurship. This starts at school – with little provision beyond
traditional arts practice. Some communities have a very active music and
performing arts offer, but it does not progress toward more
contemporary, cross-art-form or intercultural practice. There is also a
very limited approach to supporting creative entrepreneurship and
management in the tertiary and higher education sector, which reduces
the opportunities for creative business development. The creative skills
offer lacks structure and coordination, with inconsistent approaches to
accreditation. Where there is excellence – such as via certain schools
and universities, they are not connected as part of a holistic and
integrated approach to creative education and skills. There is also a real
lack of dedicated business support, networking and incubation for the
creative industries.
AUDIENCES
An under-developed local market / audience for cultural and creative

events, goods and services. For example, the practice of going to the
theatre or gallery, is not commonplace in The Philippines. The events
sector is growing – for relatively mainstream performances; plus, there
is a growing market for musical theatre. Audience development for local
content must be a priority agenda if large parts of the Creative Industries
are to grow. The festivals sector can play a catalyzing role here –
developing new audiences and introducing a diversity of cultural
experiences. In addition, the domestic market for local content (e.g. via
TV, cinema or online), and for products (e.g. in fashion, crafts and
design), is still emergent. The appetite for imported content, goods and
services outstrips demand for Filipino creativity, and copyright
infringement further undermines the local sector.
E. UNESCO Creative Cities Programme
Today, creativity is emerging as one of the most promising avenues for

changing how we see cities. Whether by revitalizing the local economy,
rethinking transport or housing policies, reclaiming urban spaces, or opening up
new horizons for young people, creativity is one of the driving forces behind
urban policies and initiatives. Cities worldwide are focusing their attention on
the cultural and creative industries as an inspiration for their future. This vision
is promoted by elected representatives and city policy-makers, who see it as a
strategic lever for innovation when it comes to tackling contemporary urban
issues, whether on an economic, social or environmental front. More
importantly, however, it is a vision shared by professionals and citizens, who
are taking action in their own neighborhoods and communities to build more
sustainable and more human cities.
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Culture and creativity play a key role in sustainable urban development. They
contribute to diversifying the economy and generating jobs but they also
enhance the quality of life of citizens by participating to a city's social fabric and
cultural diversity. Similarly, by boosting cultural participation and by
regenerating public spaces, creativity also becomes an enabler of inclusion and
well-being. Cities are at the heart of these development processes based on
the potential of culture and creativity. Today, more than half of the world’s
population live in urban areas and three quarters of economic activity is
concentrated here, including a large share of the creative economy. Drivers for
growth, innovation and inter-cultural dialogue, cities also polarize many
challenges. Urban development strategies must be periodically re-assessed
and re-designed, in light of the contemporary issues be they economic,
environmental, demographic or social.
FIGURE 2. 1 Cities of Music (UNESCO Cities of Music Network. 2018)
F. The Music Cities Manual
All cities and places abound with musical talent, from the streets to arenas.
Music pumps from speakers in shopping malls and metro stations, hospitals
and car parks. From choirs in churches to the call to prayer, from the
boardrooms of our multinational record labels to the basement of a pub, music
fosters creativity, dialogue, creates commerce and incubates talent. Music is a
common denominator across age, wealth, race, creed and class. A thriving
music scene is an incentive for companies to relocate or set up new offices.
Music is a driver of evening, night time and leisure economies and elevates
tourism.
However, few cities understand how to plan, manage and develop music for
economic, social and cultural gain. Only a handful have developed the
foundation in policy to sow the seeds of music across industry development,
tourism, sustainability, social inclusion and health and wellbeing. Music policy
in our cities is not structured to deliver outcomes to support good development.
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THE MUSIC CITIES METHOD THE 13 INDICATORS OF A THRIVING MUSIC

POLICY
1. Music Is Infrastructure Develop A Policy
2. Understand Your Environment Asset Map It
3. Music & Non‑Music People Unite Create A Coalition
4. Respect and Celebrate Your Past Use Your Heritage
5. Everyone Loves Music Use Yours for Tourism
6. Use Music to Achieve Sustainable Development
7. We All Need A Place to Develop Support Venues
8. Create an Entrepreneurial Environment for Business
9. Prioritize Music Education Across Young and Old Engagement Is Key
10. Support Your Evening & Night Time Economy We All Have One
11. Prioritize Affordability Humanize Your Buildings and Land
12. Recognize How Big We Are If We Work Together Be International
13. Music Is Central to Our Health and Wellbeing
OUR MUSIC CITIES METHOD DELIVERS GROWTH
All cities have talent. All cities are music cities. But not all cities create,
maintain and care about their music policy. Not all cities deploy our Music
Cities Method. This is what creates growth. This is what brings about
change. So, work with us to develop your Music Cities Method. Link it
with your sustainability policy; your smart cities policy; housing,
regeneration and growth; culture; districting and town center
improvement schemes; sprawl and land use. Music impacts everything
because it is everywhere. Understand this, and you are on the journey.
2.3. Music, Performance and Architecture
A. Live Architecture: The Design of Portable Buildings for Live

Music Performance Site and Sound
Popular music venues have significance as a distinct genre of buildings that has
multiple sources of inspiration and routes to realization. This is a building type
that is an essential component in the success of an immensely popular and
culturally significant phenomenon that describes so clearly (and with, of course,
so many apparent contradictions) what people think about their way of life and
place in society.
The buildings and spaces used for live popular music venues can be defined in
design terms as adopted, adapted and dedicated architectural environments.
Adopted buildings and spaces are those designed for other uses that are used
informally for music performance, adapted buildings and spaces are those that
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have been modified from previous uses, and dedicated buildings and spaces
are those that have been specially designed. Portable performance facilities are
primarily in the latter category; however, they are also frequently used to adapt
existing buildings.
Intentional venues are dedicated to a function in which music is the

principal activity or in which it plays an essential part, for example;
concert auditoriums, theatres, churches, music halls, clubs.
Unintentional venues are dedicated to other functions where music is

performed as a peripheral, though at times, highly significant event, for
example; bars, restaurants, shopping or commercial centers, sports
facilities, busking locations and a wide range of outdoor public events
that take advantage of urban and rural environments.
In both sets of definitions, musical performance, regardless of whether or not it

is in association with a building, transforms the space, internal or external, into
an identifiable ‘place’ whose boundary is limited by the aural and visual
experience of being there. The architecture of a venue can have a highly
significant effect on the character, power, and relevance of the performance,
adding layers of meaning and expression for both performer and audience. The
geographical place and the architectural environment in which music is
performed not only helps determine the character and success of the
performance, it also influences the style and form of the music itself.
LATE 18TH CENTURY
Popular music of the late eighteenth century was a peripatetic profession –

typically musicians went to the audience rather than the other way around.
Performances could take place in any location large enough to accommodate
the artist and audience, inside or outside, but the earliest dedicated venues
were small buildings for refreshment and relaxation.
DURING 19TH CENTURY
During the nineteenth century, drinking and eating houses set aside rooms for
entertainment that were used by customers and local acts. This is a tradition
that has been immensely important for all forms of popular music all over the
world. For example, in the USA, juke joints and honky-tonks were a crucial
component in the development of the enormously influential African-American
musical culture.
LATE 19TH CENTURY
With nineteenth century urbanization, the potential for audiences to assemble

in a given place for performance, led to the development of building types in
which popular music became a primary activity such as dance halls, concert
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rooms and most notably the music halls in Great Britain and Vaudeville in North
America. Larger venues like this were controlled in terms of what acts could
play there and the social group, race and economic class of the audience that
were admitted – even the activity of the audiences was controlled (for example,
prohibited from dancing or approaching the act on stage).
B. Live Performance in Digital Times: An Overview
We’re living in a context in which the ‘worlds’, and namely the world of
performing arts – be it from the point of view of institutions, artists or intellectuals
– are questioning themselves and are trying to understand and affirm their role
in the face of the tidal wave of (new) technologies and of the digital everything,
often in focus in the public debate, ‘penetrating’1 and influencing all the domains
of our societies and all aspects of life. Opportunities for discussion are
multiplying, new professional training opportunities arise, new practices
blossom inside cultural organizations, public institutions propose frameworks
and put in place supportive policies in the form of funding, agendas or digital
strategies at the national level or more widely.
It’s indeed crucial to engage with audiences, whose behaviors, relations and
cognitive processes have changed – and are still changing – due to contact with
digital technologies, the internet and the accessibility and circulation of a huge
volume of content on the Web. The new tools offer the cultural sector at large
privileged opportunities to reach out to its existing audiences, develop new
ones, develop new processes of awareness raising, transmission, artistic and
cultural education more adapted to contemporary audiences.
C. Site and Sound
ZAHA HADID OPERA HOUSE (GUANGZHOU, CHINA)
Zaha Hadid the Iraqi born architect designed the Opera House and in a
separate building is an all-purpose theater in Guangzhou. She took as a theme
for the building's boulders in the nearby is a Pearl River. The theater is futuristic
and it is all white while the Opera House is completely sheeted in black stone.
It is the first opera house where the horseshoe form is slightly asymmetrical and
the results are very successful.
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FIGURE 2. 2 ZAHA HADID OPERA HOUSE GUANGZHOU, CHINA (Site and

Sound (Newhouse, V. (2012)
NEW WORLD CENTER (MIAMI BEACH, FLORIDA)
Designed by Frank Gehry, the concert hall used a light-colored wood, the
multicolored upholstery on the seats and the slats of woods are used in certain
partitions.They project the videos of the concert taking place inside the wall cast
that is on the outside facade. People from outside the park enjoying the same
concept of performance happening on the inside.
FIGURE 2. 3 NEW WORLD CENTER FLORIDA, MIAMI (Site and Sound

(Newhouse, V. (2012)
DANISH RADIO CONCERT HALL (COPENHAGEN DENMARK)
The Jean Nouvel Danish Radio broadcasting building is very striking. Jean
Nouvel described his concert hall like a meteorite that had fallen from the sky.
He came up with a large building entirely covered in blue mesh. The painting
on the upper wall which surrounds the round concert hall makes it more elegant.
The interior is executed in very beautiful warm autumn colors.
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FIGURE 2. 4 DANISH RADIO CONCERT HALL COPENHAGEN, DENMARK

(Site and Sound (Newhouse, V. (2012)
WILLY THEATER (DALLAS, TEXAS)
Designed by the architects Rem Koolhaas and Prince Ramos said that it would
be a theatre for everything. What they did that is extremely innovative was to
take all of the support spaces that any theater needs and instead of surrounding
the staged house with them, they stacked them vertically in ten floors. Above
the ground floor is where the stage is. The stage and the seats are
reconfigurable electronically.
FIGURE 2. 5 WILLY THEATER DALLAS, TEXAS (Site and Sound (Newhouse,

V. (2012)
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D. Event-Cities 4
Located at a prominent location in Palmer Park on a site overlooking the

Garonne River, the new facility is inserted into a natural amphitheater near a
recently renovated administration building. The program called for three large
performance spaces: a 650-seat theater for traditional performances, a more
flexible large hall that can accommodate 1200 spectators for rock concert-styled
productions, and a smaller flexible space that can be used as a recording studio
or for solo recitals. The scheme by Bernard Tschumi, assisted by associate
Véronique Descharrières, arranges the large open volumes according to the
topography of the site, each slightly angled away from the other. The common
unifying element is a folded, perforated roof of red steel, which pleats and
creases to accommodate the performance volumes and circulation spaces.
In the interstitial spaces between the performance venues, circulation is

identified by dark glass-lined avenues that link areas of the project with a
common passage. The strategy of the double envelope, common to other
Tschumi designs for concert halls and performances spaces, architecturally
assists in insulating the performance volumes from outside noise and keeping
the park and its surroundings quiet and serene. At night, the perforated skin of
the building glows with light, serving as a beacon for the community and a
reminder of the Cenon’s cultural ambitions.
Dedicated to world music, particularly African music, programming for the new
performance venue will be eclectic, including everything from rock concerts to
intimate chamber music, satisfying a regional audience where more than 50
languages are spoken locally. The center has been awarded the prestigious
“Academy of Arts” title from the French government, a label that is the first to
be given on a national level.
FIGURE 2. 6 CULTURAL CENTER IN BURDEAUZ, CENON (Tschumi, B.

(2010). Event-cities 4: Concept-form.
CARNAL HALL (LA ROSEY)

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The Le Rosey Concert Hall was voted by the Architizer Jury as best among the
Hall/Theater category. Located in Rolle, Switzerland, the state-of-the-art
philharmonic hall responds to major sustainability goals with measures
including natural mechanical ventilation and use of recycled OSB compressed
wood.
FIGURE 2. 7 LE ROSEY CONCERT HALL, SWITZERLAND (Tschumi, B.

(2010). Event-cities 4: Concept-form.
Review of Related Case Studies
A. A Case Study of Casa San Miguel, Zambales Philippines
FIGURE 2. 8 CASA SAN MIGUEL, ZAMBALES

Casa San Miguel (CSM) is an art centre initiated by violinist Alfonso “Coke”
Bolipata in 1993. It is located in his family estate in San Antonio, Zambales.
Touring the United States as a violinist, Bolipata was invited to participate in a

community-driven music education programme in the US. During his sojourn,
this programme of teaching orchestral instruments and music to the youth in
provincial communities gave him the idea to replicate a similar model in his
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hometown in San Antonio, Zambales. In the early 1990s, this area was one of
the towns dependent on the American naval base in Subic and whose livelihood
were deeply affected by the closing of the base in 1992.CSM started with
Bolipata giving violin lessons under the foliage of the sprawling trees in his
family estate. Inviting some of the local youth, this initiative encouraged both
community work and personal development. Bolipata notes that CSM’s
programmes benefit young musicians and other scholars not only in Zambales
but those in nearby low-income provinces such as Pampanga and in cities like
Tondo in Metro Manila. Beneficiaries include gifted children of farmers,
carpenters, fisher folks, tricycle drivers and sari-sari store owners. After a few
years, Bolipata saw the potential of creating an art centre for the community,
despite the foreseen limitations of being located in a poverty-stricken town.
Starting as a training facility for young musicians, dancers, and visual artists,
CSM has now expanded to a cultural centre for the region with a regular season
of performances, including its summer programme known as the Pundaquit
Festival. Aside from training students, the facility also offers a residency
programme for visual artists, musicians, and writers who in turn participate as
teachers during the training programmes. One of the galleries maintained at the
space is dedicated to Don M. Salubayba, a Filipino visual artist who passed
away in 2014, was a resident at CSM who regularly taught the children in the
program. There is also a community museum and other exhibition areas that
house some of the artworks created by students.
Since Zambales lacks an industry for music, many of the trainees seek
opportunities in the city. Some are fortunate to be able to continue their studies
in music conservatories in Manila, while others end up playing for more
commercial ensembles.
B. A Case Study of Music Museum, San Juan City
FIGURE 2. 9 MUSIC MUSEUM, SAN JUAN
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The Music Museum Group began with the Music Museum in 1988. Kuh
Ledesma’s trailblazing concept of a full-entertainment theater that was also a
dining place was a dream come true for both performers and audiences alike.
The Music Museum concept was way ahead of its time. In the late 80’s, its
founder, Kuh Ledesma – the famous music diva – wanted to give local
audiences a taste of New York and Las Vegas in little doses, with some
historical flair thrown in. Kuh wanted a theater restaurant where people could
listen to music, watch theater, laugh, be carried away, and appreciate the wealth
of Filipino artistry that was world-class in quality.
On August 8, 1988, the Music Museum was born. It was a music-themed

restaurant with a theater gallery built around the stage. Guests could sip drinks
and eat cocktail food while being entertained by excellent performances. On the
walls were ensconced memorabilia from past stunning performances by the
country’s best artists. Nora Aunor’s “Tawag ng Tanghalan” trophy is enshrined
there. Randy Santiago’s jacket, Gary Valenciano’s first dancing shoes, the Apo
Hiking Society first entertainment contract, and Liza Macuja’s first ballet shoes
hang on the walls.It was the first theater of its kind in Manila – definitely ahead
of Planet Hollywood in making music memorabilia the decorative accents of the
place.
Since its birth, Music Museum has been the stage for countless Filipino talents
expressing or interpreting the vibrancy of Filipino pop culture. The Music
Museum has showcased treasures of performances from famous and
upcoming singers, talented musicians, the hottest stage acts, the best bands,
ensembles and stand-up comedians. It has launched the names and careers of
countless performers, featured foremost entertainers at their peak. It was an
active, high-spirited, convivial hub of music, art, entertainment and fun. It is an
institution in the entertainment industry.
But the Music Museum is no longer just The Music Museum. It has grown into
a more active hive of entertainment, leisure activities, shopping, dining, gaming
and more! In 2002 the Theater Mall – a cluster of shops, dining places, kiosks,
nooks and theaters – was added to Music Museum to give visitors more things
to see and do in the Greenhills area. The old Greenhills Theater was dressed
up and transformed into two new state of the art cinemas. The Promenade was
added up in 2005, with more cinemas, more shops, more dining places to give
everyone – no matter what age or gender – something pleasurable and
memorable to do in Greenhills. Teatrino, which joined the group in 2006 made
Greenhills an even more irresistible destination for entertainment and leisure
seekers.
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C. A Case Study of CCP Theater, Pasay City
FIGURE 2. 10 CCP THEATER, CCP COMPLEX PASAY CITY

The Cultural Center of the Philippines (CCP) is the premiere showcase of the
arts in the Philippines. Founded in 1969, the CCP has been producing and
presenting music, dance, theater, visual arts, literary, cinematic and design
events from the Philippines and all over the world for more than forty years. Its
nine resident companies, namely, Ballet Philippines, Philippine Ballet Theater,
Tanghalang Pilipino, Ramon Obusan Folkloric Group, the Bayanihan Philippine
National Folk-Dance Company, Philippine Philharmonic Orchestra, UST
Symphony Orchestra, Philippine Madrigal Singers and the National Music
Competition for Young Artists Foundation (NAMCYA) present a regular season
of productions, workshops and outreach performances.
PERFORMING ARTS DEPARTMENT
The Performing Arts Department (PAD) implements the Center’s artistic

program for dance, theater, production design and musical arts.
Coordinating Center for Musical Arts: performs and develops all

Philippine musical forms- from classical to folk and popular art music-
through creations, performances and research. It encourages and
promotes excellence in the musical arts through enriching the artistic
experience of Filipino audiences and by conducting training for Filipino
musical arts.
In 1973, Presidential Proclamation 1173, created the NAMCYA with a mandate

to discover and develop young Filipino talents in music. Hence, it has helped
raise a generation of Filipino musicians by providing a national venue for
musical expression and by promoting artistic excellence.
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The annual NAMCYA competition and festival is the nation’s broadcast-

reaching, single artistic event that involves thousands of participants from every
region of the country. NAMCYA has programmed its major activities in 3-year
cycles. The first two years are devoted to competitions in different musical
categories. On the third year, a National Music Festival features the major prize
winners in the last two years of competition.
The NAMCYA shall undertake annually to conduct annual competitions and/or

festivals in both vocal and instrumental music for young Filipino musicians for
the period from November 23 to 29 or every last week of November each year
declared as National Music Week for Young Artists in accordance with
Proclamation No. 25; conduct music workshops and seminars in the national
and regional levels for music teachers and students and help elevate the
standards of music by, commissioning Filipino composers to write instrumental
and vocal compositions for young performers and compiling and publishing
Philippine music and distributing them nationwide
D. A Case Study of Oslo Opera House, Oslo Norway
FIGURE 2. 11 OSLO OPERA HOUSE, NORWAY

The Norwegian nature is free for everyone to walk in, and The Oslo Opera
House, which opened in 2008, was built as an extension to this idea.
Usually, you are likely to be arrested if you walk on rooftops. This new building
in the very epicenter of the capital of Norway feels like the complete opposite of
the usual “Please don’t touch” culture tourists are often met with worldwide. The
subtle variations in the structure of the marble-embellished roof is signed by
Norwegian artists Kristian Blystad, Kalle Grude and Jorunn Sannes, and is truly
a beautiful surface meant to be stepped on.
This structure made for walking also offers an unexpectedly cool sit-down
experience. The innovative physique of the Opera House with its marble
covered roof will unveil surprisingly different angles of the city you have come
to visit.
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Throughout the year, The Oslo Opera House hosts a large variety of outdoor
plays, concerts and other events. As a bonus, the structure of the building has
given the waterfront back to citizens and visitors.
The Opera House has a huge inner space with spectacular designs, that is open
to the public. In order to create unusual surfaces, architects at Snøhetta worked
with artists. One of many examples of astonishing design by different artists is
the perforated cladding created by artist Olafur Eliasson.
E. A Case Study of Nashville Music City Centre
FIGURE 2. 12 MUSIC CITY CENTER, NASHVILLE

The Music City Center is Nashville's convention center located in the heart of
downtown. The 2.1 million square foot facility opened in 2013 and was built so
that Nashville could host large, city-wide conventions in the downtown area.
The mission of the Music City Center is to create significant economic benefit
for the citizens of the greater Nashville region by attracting local and national
events while focusing on community inclusion, sustainability and exceptional
customer service delivered by our talented team members.
In 2004, Metro Nashville released a study recommending the construction of

additional convention space in Nashville, either through expansion of the
existing Nashville Convention Center or development of a new downtown
convention center. The Music City Center Committee was formed to study both
possibilities, and in February 2006, presented a report demonstrating the best
option would be to build a new convention center - one large enough to
accommodate 75 percent of the nation's convention and visitor market.
The project gained momentum after Karl Dean was elected Mayor in September
2007. Dean announced early on that one of his priorities was seeing the
construction of a new downtown convention center come to fruition. The Music
City Center Coalition was formed by business leaders, grassroots community
activists, and many Nashville residents to support the project. In January 2010,
the Metropolitan Council of Nashville voted to approve construction of the Music
City Center and the official groundbreaking for the center was held on March
22, 2010. It was decided that the convention center would be built in the new
SoBro neighborhood, south of Broadway and right in the heart of downtown.
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F. A Case Study of UNESCO Creative Cities of Music
FIGURE 2. 13 UNESCO CREATIVE CITIES OF MUSIC
AS A CREATIVE CITY OF MUSIC, KANSAS CITY IS WORKING TO:
• Promote jazz heritage as a driver for sustainable development through

city-adopted policies for neighborhoods, with jazz music being the
principal component;
• Implement cultural district planning according to the universal values
carried by Local 627 African American jazz musicians union, to honor
and valorize the historic and existing culture of the 18th and Vine Historic
District, and local neighborhoods;
• Implement a Jazz Corridor, which identifies all aspects of Jazz for the
national and international creative consumer for entertainment,
education, historic preservation and businesses purposes;
• Build an economic development plan in the city’s urban core and cultural
tourism sites which will include a strong international component and
connect to countries with an interest in jazz and Black American Music;
and
• Engage other Creative Cities through musical collaborations including
the Voyage of the Drums Jazz Festival, aimed to foster inter-cultural
understanding, tolerance and mutual respect through music.
AS A CREATIVE CITY OF MUSIC, BOGOTÁ ENVISAGES:
• Sharing of experiences on the positive impact of music in facing social,

ethnic and economic inequalities, particularly in the field of music
education, public policies, economy of music and community
participation.
• Design and execution of joint research projects on the economic and
social impact of music, and its contribution to the city’s human
development.
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• Contribution to strengthening circulation possibilities for artists, students

and researchers in the Latin American and Caribbean region, due to the
city’s position as a geographical and cultural hub in the Americas,
promoting contact between agents of the cities’ music sectors through
exchange and residencies programs and virtual platforms.
AS A CREATIVE CITY OF MUSIC, KATOWICE ENVISAGES:
• Establishing the Music HUB, an incubator of local and emerging talents

and creative entrepreneurs, aiming to strengthen the capacities and
increase job opportunities in the music industry, especially targeting
youth, women, and people from disadvantaged groups; launching the
Baroque Factory, supported by public-private partnerships, aimed to
develop wider audiences;
• Supporting interdisciplinary research of the Sound Lab Innovation
Center, designed to improve and sustain the quality of urban life by
tackling practical public issues; setting up the Pop Music Development
Lab; an international educational platform based on a network of
residencies and students;
• Enhancing cooperation between Creative Cities of Music and Literature
through the Col-LAB-orate project, offering a series of workshops on
spoken word and slam poetry to young people from vulnerable groups;
and
• Involving other Creative Cities of Music to the forthcoming World Music
Expo aimed to showcase talented musicians of the Network, exchange
experiences and best practices, as well as to further extend the UCCN
especially to the global South.
AS A CREATIVE CITY OF MUSIC, HAMAMATSU ENVISAGES:
• Promote international exchange through global music events.

• Realize cross-cultural understanding and cultural diversity through
music.
• Nurture and exchange musical talent on an international level.
• Contribute as a “mecca” of sound design.
• Bring forth the fantasista, creators of new value.
THE MISSION OF ADELAIDE UNESCO CITY OF MUSIC IS:
• To enhance and promote collaboration, excellence, diversity and

sustainability in all aspects of music making in throughout the City of
Music, including urban and regional South Australia.
• To build international pathways for the City of Music throughout the
UNESCO Creative Cities Network and beyond.
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• To advocate locally and nationally on behalf of the City of Music and the
entire Music sector to fully integrate culture and creativity into policy and
sustainable development plans.
• To develop and facilitate connection and collaboration for Music with
Industry and all other creative sectors.
• To foster life-long love for and engagement with Music within our entire
community through education and participation.
AS A CREATIVE CITY OF MUSIC, BRAZZAVILLE ENVISAGES:
• Continuing to support several candidate cities to the UNESCO Creative

Cities Network;
• Creating an artistic residence to support the creative work of visually
impaired musicians at local level;
• Continuing to support numerous events and music festivals, such as the
popular and international Festival of traditional music « Feux de Brazza»
• Developing, through the city’s departmental and municipal Council, an
ambitious action plan built around the construction of infrastructure in
partnership with the government (Brazzaville Culture Office), the
production and promotion of musicians, the construction of a musical
library in partnership with the African Music Council, the creation of
residences for local and international artists, and the organization of
Brazzaville’s artist tours.
2.4. Design Theories, Principles, and Strategies
A. Creative Practice Theory
KEY CONCEPTS IN CREATIVE PRACTICE THEORY:
FIGURE 2. 14 CREATIVE PRACTICE THEORY (BOURDIEU, PIERRE)

Practice Theory – French sociologist Pierre Bourdieu (1930-2002) developed a
sociology of culture, as first presented in An Outline of a Theory of Practice
(Bourdieu and Nice 1977) and subsequently developed further and in more
detail (e.g., 1983, 1986, 1987, 1988, 1989, 1993).
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Some key concepts in Bourdieu’s `practice theory’ include: four forms of capital
(i.e., economic, social, cultural, and symbolic), and also, habitus, agents, and
the field.
“Creativity occurs when a person using the symbols of a given domain such as
music, engineering, business or mathematics has a new idea or sees a new
pattern, and when this novelty is selected by the appropriate field for inclusion
into the relevant domain.” (M. Csikszentmihalyi 1996: 28)
KEY CONCEPTS FROM BOURDIEU – FROM BOURDIEU’S `PRACTICE

THEORY’ (1977 -1993):
Practice Theory – Some key concepts in Bourdieu’s practice theory include: 4

types of capital (economic, social, cultural, and symbolic), habitus, agents, the
field, and `the field of works’.
1) Four types of Capital – Bourdieu initially recognized three types of

capital used by agents (namely economic, cultural and social capital), to
which he later added a fourth (symbolic capital – or, resources available
to the agent on the basis of honor, prestige or recognition) (Bourdieu
1986: 243).
2) Habitus – `a feel for the game’, a `practical sense’ that is gained

through experience (Bourdieu and Johnson 1993: 5).
3) Agents – Individuals in any field, whose agency is both enabled and

constrained by their individual position within the structure of that field.
(Bourdieu and Johnson 1993: 6)
4) The Field – Bourdieu examines various fields, including the arts, law,
politics, economy, education and culture, noting that these are
themselves a series of overlapping fields. (Bourdieu and Johnson 1993:
6) Compare with Csikszentmihalyi’s similar definition of `field’, below.
5) The Field of Works – for example, individual films, and creative works
about film (e.g., textbooks, courses, knowledge) – a concept which
compares with Csikszentmihalyi’s concept of `The Domain’ (i.e. the
knowledge).
Combining Bourdieu’s practice theory – and Csikszentmihalyi’s systems model

of creativity – In Musical Creativities in Practice (Burnard 2012) Burnard
combines Bourdieu’s practice theory and Csikszentmihalyi’s systems model of
creativity, with respect to musical creativities:
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FIGURE 2. 15 MULTIPLE MUSIC CREATIVES (Burnard 2012)
B. Ecological Perceptual Theory
The ecological theory of perception developed by James Gibson in the 1960s

and 70s is used to define the possible meanings that can be gleaned from a
musical performance.
The introduction sets up the reasons for using Gibson’s ecological theory to
explain musical meaning, by comparing it to philosophical approaches to
musical meaning and “information processing” approaches to music perception.
Gibson’s ecological model of perception assumes that structure is inherent in

the environment, not a construction within the mind. A musical sound is
determined by the physical properties of the producing instrument, such as
shape, mass, and density. These properties are communicated in the produced
sound, with which our auditory system resonates. Ecological theory claims that
this resonance informs us as to pitch, rhythm, and instrument identification, not
a complex decoding of the stimulus. Clarke mentions three factors that make
this claim “both more realistic and more interesting: the relationship between
perception and action; adaptation; and perceptual learning.” (p. 19).
In ecological theory, resonance is the active engagement of a person with its

environment, shown by actions spurred by perceptions. Turning towards a
sound, focusing on an object, these actions are caused by perceptions and help
sharpen the perceptions in an interactive loop. Adaptation in ecological theory
is not just changes in the perceiving organism. Instead, adaptation describes
the interactive changes in the perceiver and in the environment. Humans adapt
materials to make musical instruments, and then adapt themselves to play
these instruments or to listen to the music in different ways (concerts, iPods,
rituals, etc.) This adaptation is of the entire human race, or at least of human
cultures, but ecological theory also describes changes made to individuals
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through interactions with the environment. The development of musical

perceptions is considered a sensitization due to exploratory actions, such as
vocalization. These learning actions can be passive or directed.
C. Sense of Place Theory
Place is a where dimension formed by people’s relationship with physical

settings, individual and group activities, and meanings. ‘Place Attachment’,
‘Place Identity’ and ‘Sense of Place’ are some concepts that could describe the
quality of people’s relationships with a place. The concept of Sense of place is
used in studying human-place bonding, attachment and place meaning. Sense
of Place usually is defined as an overarching impression encompassing the
general ways in which people feel about places, senses it, and assign concepts
and values to it. Sense of place is highlighted in this article as one of the
prevailing concepts among place-based researches. Considering dimensions
of sense of place has always been beneficial for investigating public place
attachment and pro-environmental attitudes towards these places. The creation
or preservation of Sense of place is important in maintaining the quality of the
environment as well as the integrity of human life within it.
FACTORS INFLUENCING PLACE ATTACHMENT
Place attachment describes the emotion and feeling that people have for a
place. In this regard, reviewed literatures explained that place attachment is
affected by several factors as follows:
• Socio-demographic characteristics
• Environmental experiences including:
o People’s type of involvement with place
o Degree of familiarity with a place
o People’s expertise or knowledge about place: having expertise or
knowledge about environment and place causes people to look at
it differently.
• Culture; the phenomenon of culture is a key to understand the nature of
human interactions with built environments.
• Place satisfaction; One of the significant reasons that have an important
role in formation of place attachment is satisfaction with a place.
• Preference and attachment; Reviewed literature expose that there are
other factors beyond personal experience or cultural influences that
affect attachment. In this case, they argue that people’s preferences may
influence they develop an attachment for a place.
• Activity; as discussed earlier, activity is one of the major components of
place. Places are associated with people's works, actions or leisure
activities. Therefore, activities connect human to places but may or may
not influence people’s attachment.
• Place itself; Physical setting is one of the main elements of a place.
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D. Theory of Inclusivity
The built environment can contribute to a more equal, inclusive and cohesive
society if the places where we live, the facilities we use and our neighborhoods
and meeting places are designed to be accessible and inclusive.
GETTING AROUND
Getting around is about much more than accessible buses and trains. It is as
important to have well-designed and well-managed streets that don’t act as a
barrier to movement. Inclusive design means designing for transport that is
dignified, accessible, affordable, safe and easy to use.
It means:
o a chill-proof shelter
o a shelter with secure seating
o a shelter with a talking countdown system
o a shelter with an emergency phone
o a safe and comfortable place to wait
o a bus with a ramp
o a bus that is safe from crime at night
o a neighborhood that works for people regardless of their age.
Inclusive transport design creates a way for everyone to get around.
A PLACE FOR LEARNING
Centers for learning are important particularly for people who need a space in
which to study in comfort. Inclusive design means a library that is accessible,
helpful, stimulating and reflects the diversity of its community.
It means:
o a building to be proud of
o a library where you can’t hear a pin drop
o a library where you can linger and be warm
o a library where people far from home can connect up to their families
o a library where students are welcome – even on Sunday morning when
many need to study
o affordable facilities
o accessible shelves
o a diverse staff team that reflects the make-up of the community.
Well-designed libraries encourage enjoyment in lifelong learning for people of

all ages and backgrounds.
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A SPACE TO ENJOY
Well-maintained parks and green spaces help us to unwind and relax and are
good for our health, well-being and for sociability across communities. Inclusive
design means an open space that is safe, accessible, practical and a pleasure
to use.
It means:
o a park with vigilant and sensitive staff

o a park with clean and safe facilities
o a place with good lighting and clear signs
o a place with children and adults in mind
o a park with smooth flat paths for getting around and humps and bumps
to play and lounge on
o a park where people can exercise and be healthy
o a warm place to linger and talk
o a place that encourages mixing between different groups.
o Good space design creates an inclusive space to relax and play; a place
designed with everyone in mind.
A CENTER FOR CULTURE
Inclusive design means a cultural space that is accessible, inviting and exciting
to use.
It means:
o a place that is affordable

o a place that isn’t stuffy
o a place that you can use with dignity and free from anxiety
o a place where you aren’t talked down to
o a place where you can linger if you want to
o a place you can get home from safely
o a programme that stimulates your interest management that knows that
comfort is important management that uses up-to-date technology to
maximize participation.
Good cultural design creates an inclusive place of enjoyment – a true people’s

palace – and a place with a sense of belonging.
A PLACE TO LIVE
Inclusive design means a place to live that is adaptable, practical, secure and
somewhere you want to settle.
It means:
o a place that is affordable

o a place that has enough room
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o a place that is easy to adapt

o a place where wheelchairs and pushchairs have been thought about
o a place that is designed for day-to-day use
o a place built to last and not to waste resources
o a place that generates a sense of community
o a place where privacy is balanced with community vigilance
o a place with facilities close to hand.
Good housing design creates places that everyone could call home.
E. Tactical Urbanism
Pedestrian Plazas. Parklets. Pop-up Bike Lanes. Whether you live in a

community large or small, you’ve likely seen it for yourself. Cities around the
world are using flexible and short-term projects to advance long-term goals
related to street safety, public space, and more.
Tactical Urbanism is all about action. Also known as DIY Urbanism, Planning-
by-Doing, Urban Acupuncture, or Urban Prototyping, this approach refers to a
city, organizational, and/or citizen-led approach to neighborhood building using
short-term, low-cost, and scalable interventions to catalyze long-term change.
FIGURE 2. 16 TACTICAL URBANISM (Gelbard, Sarah. 2015)

While planning for ‘Set the Stage’, we noticed a significant difference in our
approach. Musical Underground usually set up shop in welcoming and public
spaces, like farmers markets and parks. Impromptu Playground tended towards
transforming inhospitable and unnoticed spaces, like parking spots and bus
stops. Returning to our underlying musical and architectural goals, we realized
we were both trying to bring attention to the potential of what normally goes
unnoticed — the musical talent in our city who don’t have a stage and the
interesting spaces that don’t get used.
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2.5. Laws, Guidelines, and Policies
A. Public Parks, Open and Green Spaces A Planning and

Development Guide
The provision of public open and green space is an essential component of

community life. Public open and green space supports a broad spectrum of
activities and interaction between people and nature, and sustains critical
environmental functions for the health of communities. Along with other
community services and infrastructure, public open and green spaces are
important public assets that contribute to livable, safe and sustainable
communities.
However, the Philippines is severely deficient in the supply of public parks, open
and green spaces which has not given the kind of attention that it deserves.
While there are laws relating to parks and public open and green space, these
are limited in requiring the provision of additional ones to increase the existing
supply.
Meanwhile, our unprecedented urban population growth and the changing

demographics are increasing the need for public open and green space to
support a wide range of activities.
PUBLIC OPEN SPACE
Land that is set aside for public recreation and leisure, or as parklands or for
similar purposes. It includes both passive and active open space. Examples of
these include Rizal Park Manila, Burnham Park in Baguio, Ninoy Aquino Wildlife
Park in Quezon City, Rainforest Park in Pasig City, People's Park in Davao, the
parks that are normally found within residential subdivisions, and foreshore
easements along beaches in coastal areas.
ACTIVE OPEN SPACE
• Land set aside for the primary purpose of formal outdoor sports by the
community, such as city-owned basketball courts and playgrounds, the
Marikina Sports Complex, Panaad Sports Complex in Bacolod City, and
other sports complexes found in the provincial capital cities which host
the annual Palarong Pilipino.
PASSIVE OPEN SPACE
• Open space that is set aside for parks, gardens, linear corridors,
conservation areas, nature reserves, public squares, and community
gardens that are made available for passive recreation, play and
unstructured physical activity. Example of these include town plazas, city
parks, easements along rivers and creeks, and Natural Forest Reserves.
LAND TYPES OF OPEN SPACE
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CIVIC SPACES
CATEGORIES/ EXAMPLES OF
DESCRIPTION PRIMARY USE POTENTIAL
SECONDARY USE
Land which has been Established primarily to -Al fresco dining
modified to support a provide for family and -Entertainment shows
range of formal and community activities, -Public expositions
informal activities gatherings and events.
Examples include: City/ town fiestas/
Plazas, civic squares, festivals, Outdoor
outdoor promenades. concerts, Community
gatherings.
TABLE 2. 3 PUBLIC PARKS, OPEN AND GREENS SPACES: CIVIC SPACES
TABLE
B. Republic Act No. 7160
RA 7160
This requires LGUSs to formulate CLUPS and Zoning Ordinances where parks
and open spaces are part of the package of "services" that LGUs are required
to provide in line with their public welfare mandate.
C. Presidential Decree No. 1096
PD 1096
This sets measurements and standards for built-up areas in cities and
municipalities, which include Parks and Open Spaces.
D. CLUP Guidebook Model Zoning Ordinance
HLURB'S CLUP Guidelines
These provide for a Land Use Plan with an accompanying ZO within which
LGUs can incorporate parks and open spaces.
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CHAPTER 3
FRAMEWORKS, DEVELOPMENT OF
DIALECTICS, THESIS STATEMENT,
AND METHODOLOGY
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3. Chapter 3: Development of Dialectics,

Frameworks and Methodology
3.1. Theoretical Framework
TABLE 3. 1 THEORETICAL FRAMEWORK
3.2. Conceptual Framework
TABLE 3. 2 CONCEPTUAL FRAMEWORK
3.3. Methodological Framework
TABLE 3. 3 METHODOLOGICAL FRAMEWORK
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3.4. Development of Dialectics
THESIS:
The establishment of the urban community music complex will provide the city
of Manila to develop and nurture the creative industry of music.
ANTI-THESIS:
Not all individuals are musically inclined and it requires an ample development
of the study in order to attract other creatives to invest time in music-making
and music appreciation.
SYNTHESIS:
The application of selected strategies and theories of tactical urbanism and

sense of place theory will make it more participative and inclusive without
compromising the main goal of the study.
3.5. Declaration of Thesis Statement
Expanding the potential of music regardless of type and genre as a catalyst for
urban revitalization can enhance the creative music industry of the Philippines
and provide a capacity to increase cultural, economic, and social growth.
3.6. Strategies, Procedures, Methodologies
STRATEGIES
The research study aims to reach the stated objectives by using the framework
formulated from case studies, interviews, literature review, and surveys.
PROCEDURES
Phase 1: Data Gathering
Desktop Research
Literature Review
Content Comparison
Preference Survey
Public Mass
Filipino Musicians
Filipino Singers
Phase 2: Conceptual Design
Phase 3: Final Output
SURVEYS
The study aims to professionalize the music industry in the Philippines, which
calls for the enhancement of the industry’s creative skills through designing a
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public Music Complex. The following questions will serve as a validation and
guide in developing the possible programs and activities needed.
FROM THE MASS, MUSICIANS, SINGERS, AND CREATIVES:
Survey Results (73 Respondents)
TABLE 3. 4 SURVEY QUESTION 1
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SURVEYED CREATIVES PREFERRED ACTIVITIES AND PROGRAMS:
• What other programs and activities do you wish to have and experience
in a music hub?
• Concert
• Music lessons
• Concert
• social interaction
• Orchestras
• Rest area
• outdoor music playing
• Interaction between other fields that requires a high level of skillful music
activity (e.g. game development of original soundtrack, music in film is a
thriving system aside from streaming, game soundtracks are designed
as ambient music with passive systems in mind). I would really love a
music facility that wouldn’t require me to wear earphones just enjoy
something sublime in nature (e.g. goosebumps)
• Rehearsal studio
• Music Workshops
• Noise cancellation
• A community of musicians just playing together
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• Individual private soundproof recording areas HAHAHA

• Creating own music
• Music Park
• Classical Music Performance
• playing instrument
• Pool table
• having someone to play music with and teaching more music techniques
• more interaction with performers
• Workshop
• Actual music lessons
• Programs that we could enhance our talent at the same time finding your
own sound
• 1 vs 1 lessons
• Recording
• music lessons
• Street Busking
• Parks and Open spaces
• Practicing Area
• Music Ministry Room
• Classical music instrument tutorials
• Music studio rentals
• To be able to play with others despite the classes (average or above
average)
• Commercial stalls
• Opera house
• Bar
• Interactive instrumental installations
• Hands on experience
• Street Performers
• Rap music performance
• mini stages for individual performances
• Percussion instrument on open spaces
• Quality instruments and amplification systems
• Public recording studio for independent singers
• parks and recreational area
• Public access to music halls
• Free piano
• Entertainment pods
• Platform for independent musicians
• Cultural performances
• Music instruments rentals
• OPM performances
• Public squares and commercial stalls
• Resting area
• Music shops
• Music museum
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• Public theater
• Street installations
• Recording studios
• Parks and open spaces
• Chamber music hall
• Voice lessons practice room
• Amphitheater
• Public workshops and tutorials from professional musicians
• Urban karaoke
• Bamboo instruments
• Orchestra of Filipino Youth Collaboration
• Music experience through social interaction and shared spaces
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CHAPTER 4
STUDY PROPER
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4. Chapter 4: Study Proper

4.1. Site Criteria
TABLE 4. 1 SITE CRITERIA
4.2. Site Selection
TABLE 4. 2 SITE SELECTION

BREAKDOWN
TABLE 4. 3 SITE SELECTION BREAKDOWN
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4.3. Site Analysis
A. Macro Site Analysis
FIGURE 4. 1 MACRO SITE ANALYSIS

The Creative Industries can play a transformational role in the quality and
competitiveness of cities and regions across The Philippines. There are
opportunities to nurture significant cluster developments across the country.
This should include a strategic development push where there is already
appetite – e.g. Cebu. But it should also focus on Greater Manila as a regionally,
even globally significant cluster. This can focus on:
• Economic growth and competitiveness: it is a high growth sector of micro

businesses which love to co-locate.
• Quality of life and distinctiveness: the sector generates creative content
and experiences – which animate a city, generate energy and can drive
a brand
• Spillover effects – e.g. cities with strong creative sectors also tend to
have high performing innovation ecosystems, a rich and diverse cultural
life, and excellence public spaces.
The Philippine Creative Economy (Fleming, Tom) NCCA
B. Meso-Macro Site Analysis
FIGURE 4. 2 MESO-MACRO SITE ANALYSIS

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C. Micro Site Analysis
FIGURE 4. 3 SITE BOUNDARIES
FIGURE 4. 4 CURRENT SITE CONDITION
FIGURE 4. 5 WATER BODY
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FIGURE 4. 6 FLOOD HAZARD MAP
FIGURE 4. 7 TRAFFIC CIRCULATION 1
FIGURE 4. 8 TRAFFIC CIRCULATION 2
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FIGURE 4. 9 PEDESTRIAN CIRCULATION
FIGURE 4. 10 CHOKE POINTS AND NOISE
FIGURE 4. 11 OPEN SPACES
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FIGURE 4. 12 CULTURAL AND INSTITUTIONS
FIGURE 4. 13 COMMERCIAL ZONES
FIGURE 4. 14 TERMINALS AND STOPS
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4.4. S.W.O.T. Analysis
STRENGTHS
o Accessible through vehicular, pedestrian, and ferry transportation

system
o Heritage buildings on proximity
o Large open spaces
WEAKNESSES
o Deteriorated facilities and urban furniture

o Informal settlers and illegal vendors
o Tangled flyovers, avenues and traffic during rush hour
OPPORTUNITIES
o It has a huge potential as a new entertainment plaza for manila

o Commercial center and music hub for adjacent institutions
o Point of interest for music activities and programs
THREATS
o Flooding is a major threat due to adjacent Pasig river

o Crowded plaza if the revitalized plaza is not controlled
4.5. Theoretical Application Process
TABLE 4. 4 THEORETICAL APPLICATION PROCESS
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4.6. Study Model
FIGURE 4. 15 SITE BOUNDARY
FIGURE 4. 16 BASIC VOLUME ON SITE
FIGURE 4. 17 INCREMENTAL SETBACKS
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FIGURE 4. 18 CONNECTIONS AND PASSAGES
FIGURE 4. 19 VISUAL CUES AND NOISE FILTER
FIGURE 4. 20 INITIAL ZONING
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FIGURE 4. 21 ECOLOGICAL PERCEPTION
FIGURE 4. 22 SENSE OF PLACE
FIGURE 4. 23 TACTICAL URBANISM
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FIGURE 4. 24 INCLUSIVITY
FIGURE 4. 25 DYNAMIC PROGRAMS AND ACTIVITIES
4.7. Programs and Activities Distribution
TABLE 4. 5 PROGRAMS AND ACTIVITIES DISTRIBUTION
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Bibliography
Bräuchler, B., & Postill, J. (2010). Theorising media and practice. Oxford:
Berghahn.
Burgheim, J. (n.d.). Live Performance in Digital Times: An Overview. Brussels:
International Network for Contemporary Performing Arts.
Empirical Musicology Review. (n.d.). The Ohio State University Library.
Fleming, T. (n.d.). The Philippine Creative Economy. Toward a Baseline &
Programme.
Hooper, A. (2007). Capital Cardiff 1975-2020: Regeneration, competitiveness
and the urban environment. Cardiff: Univ. of Wales Press.
Inclusion by design: Equality, diversity and the built environment. (2008).
London: Commission for Architecture and the Built Environment.
International Models of Creative Industries Policy. (n.d.). The Creative
Industries: Culture and Policy,33-58. doi:10.4135/9781446288412.n3
Kronenburg, R. (2012). Live architecture: Popular music venues, stages, and
arenas. Abingdon, Oxon: Routledge.
Mercado, J. (2015). PROFESSIONALIZING THE MUSIC INDUSTRY IN THE
PHILIPPINES: ENHANCEMENT OF THE INDUSTRY SKILLS THROUGH A
MUSIC BUSINESS MANAGEMENT PROGRAM. Sta. Mesa Manila:
Polytechnic University of the Philippines.
Najafi, M. (2011). The Concept of Place and Sense of Place in Architectural
Studies (8th ed., Vol. 5). World Academy of Science, Engineering and
Technology International Journal of Humanities and Social Sciences.
Newhouse, V. (2012). Site and sound: The architecture and acoustics of new
opera houses and concert halls. New York: Monacelli.
Oslo Opera House. (n.d.). Retrieved from https://www.visitnorway.com/places-
to-go/eastern-norway/oslo/oslo-opera-house/
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Our History. (n.d.). Retrieved from
https://www.nashvillemusiccitycenter.com/about/our-history
Philippine Music Education. (n.d.). Retrieved from https://ncca.gov.ph/about-
ncca-3/subcommissions/subcommission-on-the-arts-sca/music/philippine-
music-education/
Philippine Music, A Historical Overview. (n.d.). Retrieved from
https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-
arts-sca/music/philippine-music-a-historical-overview/
Rosario, M. D. (2017). FOSTERING COMMUNITIES. The Creative Hubs'
Potential in the Philippines.
Samodio, G. S. (n.d.). ASSESSING THE NEEDS OF THE FILIPINO CREATIVE
ECONOMY WORKFORCE.
SCHOOP, M. E. (2019). INDEPENDENT MUSIC AND DIGITAL
TECHNOLOGY IN THE PHILIPPINES. S.l.: ROUTLEDGE.
Sound Diplomacy. (n.d.). Retrieved from https://www.sounddiplomacy.com/
Tactical Urbanist's Guide to Materials and Design (Vol. 1). (2016). Streets Plan
Collaborative.
The Diversity of Philippine Music Cultures. (1970, December 10). Retrieved
from https://www.filipinaslibrary.org.ph/uncategorized/the-diversity-of-
philippine-music-cultures/?fbclid=IwAR3hZ18z1C19ASquvLfnMIzEpV-
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Tschumi, B. (2010). Event-cities 4: Concept-form. Cambridge, MA: MIT Press.
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TUGTOG-GUNAN:

Expanding the Potential of Music as a Catalyst for Urban

De La Salle – College of St. Benilde School of Design

and Arts Architecture Program

Johann Sebastian D. Montales

DLS-CSB Faculty of the Architecture Program

In Partial Fulfillment of the Requirements for the Degree of

Bachelor of Science in Architecture

ARCH. JOSHUA CUNANAN

3RD Term Academic Year 2018-2019

I offer my deepest recognition to:

My mentors on Benilde Architecture, who shared their time for consultations

My family and my friends in the Architecture program for their assistance on my

The creative individuals that serves as my respondents that validates and

And lastly, our Creator above.

The study responds to the investigation of the relationship between architecture

Keywords: Music, Music complex, Urban revitalization, Creative Practice

1. Chapter 1: Introduction ............................................................................ 16

1.1. Background of the Study .................................................................. 16

1.2. Statement of the Problem ................................................................ 18

1.3. Research Questions......................................................................... 19

1.4. Research Goal ................................................................................. 19

1.5. Research Objectives ........................................................................ 19

1.6. Significance of the Study .................................................................. 20

1.7. Rationale .......................................................................................... 20

1.8. Scope and Limitations ...................................................................... 20

2. Chapter 2: Review of Related Literature ................................................. 24

2.1. The Diversity of Philippine Music Culture ......................................... 24

A. Himig Collection, On Philippine History and Culture ........................ 24

Himig Collection, On Philippine History and Culture (De Leon, Felipe

B. Philippine Music Education .............................................................. 28

C. Independent Music and Digital Technology in the Philippines ......... 29

2.2. The Creative Industry of Music......................................................... 30

A. Assessing the Needs of the Filipino Creative Economy Workforce .. 30

B. Professionalizing the Music Industry in the Philippines: Enhancement

C. A Policy Brief in Philippine Creative Industries ................................. 31

D. The Philippine Creative Economy Toward a Baseline & Programme

E. UNESCO Creative Cities Programme .............................................. 34

F. The Music Cities Manual .................................................................. 35

2.3. Music, Performance and Architecture .............................................. 36

A. Live Architecture: The Design of Portable Buildings for Live Music

B. Live Performance in Digital Times: An Overview ............................. 38

C. Site and Sound................................................................................. 38

2.4. Review of Related Case Studies ...................................................... 42

A. A Case Study of Casa San Miguel, Zambales Philippines ............... 42

B. A Case Study of Music Museum, San Juan City .............................. 43

C. A Case Study of CCP Theater, Pasay City ...................................... 45

D. A Case Study of Oslo Opera House, Oslo Norway .......................... 46

E. A Case Study of Nashville Music City Centre .................................. 47

F. A Case Study of UNESCO Creative Cities of Music ........................ 48

2.5. Design Theories, Principles, and Strategies .................................... 50

A. Creative Practice Theory .................................................................. 50

B. Ecological Perceptual Theory .......................................................... 52

C. Sense of Place Theory ..................................................................... 53

D. Theory of Inclusivity ......................................................................... 54

E. Tactical Urbanism ............................................................................ 56

2.6. Laws, Guidelines, and Policies ........................................................ 57

A. Public Parks, Open and Green Spaces A Planning and Development

B. Republic Act No. 7160 ..................................................................... 58

C. Presidential Decree No. 1096 .......................................................... 58

D. CLUP Guidebook Model Zoning Ordinance ..................................... 58

3. Chapter 3: Development of Dialectics, Frameworks and Methodology ... 60

3.1. Theoretical Framework .................................................................... 60