CONTEMPORARY MUSIC HUB

A Home for Musical Arts and Training Center for

Filipino Artists

A Research Paper Submitted to

The College of Architecture
University of Santo Tomas

Submitted by:
Yap, Charles Wesley F.
5AR-8

Submitted to:
Ar. Clarissa Avendano

August 20, 2019

ABSTRACT
 1. CHAPTER I: INTRODUCTION

“Music in the soul can be heard by the universe”

(Lao Tzu, philosopher, 6th century BC).

Music is all around us, it’s a part of every person’s life. It has become a necessity

that each and every person living in the world has become beneficiaries of this at one

point in their lives. From childhood sing-a-long songs, to garage grunge music, and

everything between it is all around the world. Music is everywhere and it’s hard to

imagine going one day without listening to some variety of music. According to

Hesmondhalgh, “Music provides a basis for intimate relations with others: a parent

singing a child to sleep; three sisters expressing their feelings for a fourth by

singing to her on her birthday; two lovers in bed hearing a song that they will

forever associate with each other.” This could only mean that music plays a vital

role in our lives, as well as it is able to interact with certain private and public aspect

of a person’s life.

Music is said to be a global phenomenon. According to a research conducted by

David Boer, Music is able to cross borders all around the world, and it has been

demonstrated by the death of Michael Jackson. TIME magazine reported that

tributes went up from Paris, to Karachi, Moscow to Mexico City. Candlelight vigils

were held in Beijing, Eulogies were even held in Japan (Cloud, 2009, p. 10). It was

his music that touched listeners around the world; that united multiethnic fans and

audiences. As a musician, he shed light to millions as an inspiration; someone

people look up to despite all his flaws. (Boer, 2009)

 Hesmondhalgh also stated that music has the mere potential to enrich people’s

lives, as well as to enrich societies. His study (which debates upon the value and

culture in the modern world, as well as to seek to contribute to his writing) ponders

upon the reality that music matters to people, which derive upon a couple of

contrasting dimensions of musical experience in modern societies: The connection

of music to the private self, or as on writer has to put it, “music is a set of cultural

practices that have come to be intricately bound up with the realm of the personal

and the subjective” (Martin, 1995: 2) and the other which states that music is often

a basis of the collective, public experiences, such as live performances, dance

parties, or simply by the fact that thousands, even millions can come to know the

same sounds performers.

Listening to and playing music also helps de-stress, relax, and sometimes it can

help motivate others in challenging times. Some researches, connecting to business

practice suggests that well-being is of primary importance to employers and

employees today. A small number of studies have begun to explore the influence of

music on well-being at work following evidence that music listening can enhance

productivity and morale, and that people use music listening to manage their well-

being in daily life. (Haake, 2003)

“… Whenever humans come together for any reason, music is there,”

writes Daniel Levitin “….weddings, funerals, graduation from college, men

marching off to war, stadium sporting events, a night on the town, prayer, a

romantic dinner, mothers rocking their infants to sleep and college students

studying with music as a background….” He also continued to note that music is

and was always part of the fabric if everyday life. From all across the world and for

most of human history, music was almost as natural an activity as it is breathing

and walking, and everyone participated in it. Music has been involved in every

culture, up to this day. Needless to say, music has withstood the test of time.

1.1. BACKGROUND AND NATURE OF THE PROJECT

The history of popular music has been long debated by philosophers,

sociologist, journalists and even with pop stars. Their accounts, though evidently

exposed in the study and aesthetic judgements, lack what scientists need: rigorous

tests with clear hypotheses based on quantitative data and statistics. Social scientists

studying the history of music have done better, but they are less interested in music

than the means by which it is marketed. Linguists and archeologists, studying the

evolution of both language and material culture, commonly apply these tools that

evolutionary biologists do when studying the evolution of species. (Mauch,

MacCallum, Levy, & Leroi, 2010)

As music continues to evolve, so does making revenue out of it continue to

evolve. From the birth of the first phonograph, to the first vinyl record, first

cassette tape, much has changed. In the most obvious way, digital technologies

have redefined the way music is packaged, spread around and distributed. But as

music continued to evolve, much has endured along it.

Magnifying the study in the international level, which is the Philippines,

started the love for music through chants and rituals. Despite colonial regimes,

creating vast cultural deficiencies that created vast cultural deficiencies that

created a Philippine society that was modeled after their societal structures, the

Philippines found ways for a unique perception for music.

 While the eventual preference for foreign artists prevailed, local artists

continued to strive for a distinct sound could be referred to as “Filipino”. Efforts to

develop that Filipino, or “Pinoy” sound, came in the 1970s with the creation to

“Pinoy Rock”, which is Filipino rock music, Pinoy Jazz or even the Manila Sound.

Those initial efforts came to a significant development in the late 70’s to the 80’s

with the flourishing of various Filipino pop styles. (Baes, 2015)

With that being said, love for music, from the loud sounds of karaokes along

the street to the roaring crowds of “Pinoy Idol”, has long prevailed in the culture of

Filipinos. This eventually leads to conflicts regarding the music industry and other

issues underlying music.

1.2. STATEMENT OF THE PROBLEM

As music continues to evolve, modern music consumption has continued to

become digitalized, along with new innovations for music coming along with it.

With the rapid advances in Internet connectivity and digital compression

technologies have dramatically increased online sharing of digitized material and

music being more convenient with digital streaming services like Spotify and

soundcloud, numerous encounters of alarming rates regarding intellectual property

rights and lost sales.

Within the context of the local setting, dating over the past 9 decades, the

industry of Original Pilipino Music has seen its birth and death on media which it

was stored—from the 45-rpm singles to the long-playing vinyl albums during the

1950s to the 1970s to the eight-track and cassette tapes of the 1980s, then the

compact discs of the 1990s. today, the local music industry has to compete with yet
another music transition, this time expanding world of digital arts and media where

only the fittest may survive. (Arceo-Dumlao, 2014)

With that being said, the music industry has faced a massive decline by 75% in

the past decade. The executive director of the Philpop Foundation, Ryan Cayabyab,

pointed out the issues confronting the industry today, with the decline in revenues

being the most notable. “1999 is considered the peak of the Philippine recording

industry with total industry CD sales reaching to P2.7 billion. Since then, album

sales have gone down to P699 million by 2010. That represents a 75 percent drop

in revenues for recording companies in one decade,” according to Cayabyab.

Aside from the dropping CD sales, the dominance of foreign over local music and

radical changes in the technology, were cited as factors that have recently weighed

down the industry. (Manalac, 2014)

The recent technology, along with the wide reach of the internet have been

perfectly convenient to the international and local independent bands that lack

support from monolithic entertainment corporations. Along with the backing of the

massive media and entertainment groups such as ABS-CBN, the country’s top acts

are more often television stars that more often use fame to penetrate the music

industry. Despite all this, there’s a recent thriving of the independent music in the

Philippines. According to the publication The Manila Review, Filipino indie artists

are the most active in the country’s recording industry. A growing number of indie

musicians are emerging through self- release services. Though a few have

managed to use the reach of the internet to cross the boundaries of indie and

mainstream, expanding the boundaries and redefining contemporary music in the

local setting. (Hambali, 2017)

1.3. PROJECT GOALS AND OBJECTIVES

1.3.1. Project Goals

The project aims to provide a haven for budding Filipino music artists to

be recognized in the Philippine setting, as well as to promote and develop

Filipino music to the status of world class and for them to penetrate the world

market. The project also aims to give confidence to aspiring artist and train them

with the stronger and well improved proficiency compared to conventional

music education, and broaden their skills, such like experiences of live

performances.

1.3.2. Project Objectives

1.3.2.1. To provide a conducive environment for artist as well as a setting

for them to promote their craft.

1.3.2.2. To produce a venue for Filipinos and Filipino music, to

accommodate collection as well as their enthusiasm towards music.

1.3.2.3. To provide facilities for people of all ages for concerts, music

production and others.

1.4. SIGNIFICANCE OF THE STUDY

Online streaming services, which operates mostly on a subscription-based

business model, revolutionized the way consumers listen to music, and how artists

make them. Rather than buying individual albums or singles from artists, consumers

only have to pay a recurring fee for access of millions of songs made by artists

locally and internationally, which they can listen to anytime and anywhere with the

convenience of the internet. The benefits for the artists can go both ways. Its open

nature gives opportunities to small-time musicians a platform to be able to release

music and draw audiences, while the ones with larger fanbases get paid by their

listeners who would have otherwise resorted to pirating their content (Beltran,

2018). The success of most Philippine music events partially relies on Filipino

audiences, support is very much needed to keep OPM as well as its music industry

and the Filipino pop culture to survive. In line with the surge of acts staged by

foreign artists in the Philippines, this draws significance to facilitate in aiding the

younger audiences, as well as aspiring Filipino artists brought about by the

significant music activities in the country.

1.5. SCOPE AND LIMITATION OF THE STUDY

The project shall include the design for the musical performing arts and

training center, inclusive of the site development, along with the hardscapes and

softscapes, plans with proper facilities as required by its standards, and amenities

significant to it for its users, as well as the overall use and function of its facilities.

1.6. DEFINITION OF TERMS

2. CHAPTER II: REVIEW OF RELATED LITERATURE

The topics related to this study focus on the industry of music in the

Philippines, from its roots, pop culture, commodification and further more. It also

emphasizes the on the musical culture in the Philippines and its decline against the

digital age.

2.1. Role of Music in the Society

2.1.1. Music as Intimate and Social, Private and Public

 According to Hesmondhalgh, Music represent a remarkable meeting point of

intimate and social realms. It provides a basis of self-identity, which is the point of

who I am and who I’m not, as well as the collective identity, which is who we are

and who we’re not. Most products can have this cultural asset– films, television

programs, shoes and even cars. All these may seem logical, yet music’s somewhat

special link to emotions make it an especially powerful asset for bringing together

of private and public experience. (Hesmondhalgh, 2003)

These private and public dimensions of musical experience may support and

reinforce each other. Our excitement or sadness at listening to songs can be

heightened through the sense that these emotions in response to a particular music

are shared by others, or even just that the might be shared, such as listening to a live

performance. However, it is just as possible as listening to someone perform on

television or on YouTube, listening to music through headphones, you might,

however be able to quite consciously and fleetingly, while imagining others – a

particular person, or untold thousands – being able to share that response. That sense

of sharedness is one of the pleasures of pop music, even though many are suspicious

of it. (Hesmondhalgh, 2003)

2.1.2. Sociology in Music

In the basis of sociology, Steven N. Kelly stated that learning about music

involves as well different human interactions that are influenced by varieties of

cultural variables that constantly change. Learning music reflects a social

perspective, which involves the development of cognitive, psychomotor as well as

affective social skills. Concepts of music, as well as learning it vary greatly in our

society, as they can be learned both formally and informally. Although many may
think that direct learning occurs through formal lessons, our initial ones actually

begin informally, in home environments. As our first teachers, our parents introduce

us music, which leaves our homes as our initial performance stages. We get to learn

our first values in music, including our sense of preferences and abilities, through

our homes and families. (Gordon, 1971; LeBlanc, 1982).

Kelly also stated that all these informal experiences will most likely influence

us to either pursue or not to pursue music in a more traditional way. Having a social

perspective enables these music educators to recognize other challenges they face,

including:

2.1.3. Music Education’s Distantiation from Society

With that being said, Music teaching has as well, exhibited little fundamental

change. Its history in the Western culture is the efforts of cultural patrons, which is

mainly the elite patrons of the fine arts, to bring distinct culture towards the masses.

During the late 19th century, virtually all educational institutions—museums,

theater associations, musical societies, and the like—were established on such

egalitarian premises, only to eventually weed out more trouble by making such as

to be prohibitive to all but the rich. As a consequence, with the rise of the idea of

universal and general education, the fine arts and literature, and the culture assumed

to go along with them, were relegated to schools where they would be available to
all regardless of the socioeconomic class, wherein the audiences could be properly

trained and developed. Thus, in most places, the school has become in effect the

cultural center of a community to attempt the spread of culture to the masses.

(Regelski, 2006)

2.2. Understanding the Music Industry

2.2.1. Marketing and consumption of popular music

In O’reilly’s writing of “Marketing and consumption of popular music:

the case of New Model Army” he explained a video of a live performance by

U2, an Irish rock band based on Dublin, performing at an indoor theatre in San

Francisco back in 1988. For the majority of the song, the video focused entirely

on the band, with a variety of shots from different positions and angles. As the

song reaches a significant moment, the house lights unexpectedly come up, with

the camera focusing principally on the fans. This shows a theatre-style venue

packed way up into the “god”, according to him. (O'reilly, 2008)

With all the fans standing up, waving their arms, and apparently “feeling

the moment”. He compares this experience in contrast to watching a number of

live performances of music, mostly folk or pop. He stated that he had never seen

such a spectacle of the power of music to move people- and this coming from a

video rather than a live performance. The effect was such that he replayed the

scenes from his own enjoyment, and also used it in his marketing teaching

practice as a way of illustrating how passionate consumers can be about such

‘products’. This single moment also raised a number of questions, such as

(O'reilly, 2008):

 Why did the consumers get so excited by the music?

 What was going on at that gig, for the performers and for the fans?
  What did it mean to all involved to be there?

 What was it like to be there?

 Why did this particular band have this effect?

 How did this connect with their popularity, market position and

marketing strategy?

 How could notions of strategic marketing be applied to this kind of

phenomenon?

In the basis of Institutional Context, the cause of arts marketing wasn’t

helped by the mere fact the it had allowed itself often to be associated with such

areas like nonprofit marketing, which were seen as a majority if the mainstream

commercial business. Institutionally, arts marketers were isolated in separate

institutions rather than gathered in centres of excellence which could generate

some critical mass of research effort or creative synergies in some cases. There

were few academic researches dedicated to arts management or marketing, but

these journals tended to favour positivistic accounts of arts forms like

performing arts and large museums. Furthermore, there was a relative lack of

access to government funding. And within the research council seemed to

secure less funding than “weightier” disciplines. (O'reilly, 2008)

 The music industry and

business are two separate worlds

that overlap but are interdependent

as well, but not necessarily co-

dependent on each other. The music

business is the financial exploitation

of music as well as artists. The

music industry is a field in the

entertainment industry that

produces financial gain from the business and music business related activities,

like publishing and the promotion and booking of talent to perform in different

venues. The Music industry is a term reflective of the various business activities

that take place within the music entertainment industry. (Azores, 2015)

2.2.2. The UK Popular Music Industry

In its Creative Industries Economic Estimates Statistical Bulletin in

October 2007, UK’s Department for Culture Media and Sport (DCMS)

estimated that two-thirds of the businesses in the creative industries were

divided into two, namely software and music/visual/performing arts. The UK

popular music industry is essential for employment and exports. (O'reilly, 2008)

The music business is part of the entertainment economy (Wolf, 2000),

and the experience economy (Pine and Gilmore, 1999). The majority of

marketing when it comes to music is quite similar to the mass marketing of other

popular cultural products like comic books, novels, films, video games and

videos. In the classical model, ownership of rights in such products is commonly

assigned by their manufacturers of large corporations with the financial

strength, technology, media connections and distribution networks to deliver the

prodcuts to consumers and to promote them through the mass media. The major

record labels have smaller labels, rather like publishers have different imprints,

to handle different categories or genres of music, and thereby better align each

with their own target consumer segments. (O'reilly, 2008)

2.2.3. Music industry in the Philippines

2.2.3.1. Recording

In reference to Yson, The Philippine recording industry consist of

producers of local records, many of whom are licensees of foreign labels,

from the singers, composers, musicians, arrangers, managers, PR men and

the like. (Azores, 2015)

The Filipino composers are prolific and come up with compositions

at an instant. Yson also stated that the number of entries to songwriting

contests range around 3,000. (Azores, 2015)

 In the Press Relations and Promotions, the success of a recording will

depend on the promotion and public relations so companies only find it

reasonable to have one. Most PR writers are the PR men as well. The

Promotions man will schedule live TV appearances and radios. (Azores,

2015)

The arrangers set the backing tracks to a composition the newly

composed songs that are made for recording. (Azores, 2015)

The Studio technician takes in technical aspects that make a smooth

recording to the listeners. (Azores, 2015)

The managers run the business affairs of the artists, which include

their schedule of appearances, concerts, as well as other future

commitments. (Azores, 2015)

2.2.3.2. Concerts

Foreign concerts in Manila, as well as other local talents such as Sarah

Geronimo, Anne Curtis, Bamboo and many more are only proving that

concerts are raking the money. According to Oliver Suarez explained that

foreign artist should not be blamed. He observed “just watch most of the

variety shows in the Philippines such as ASAP or Party Pilipinas and it

seems like 95 percent of the songs they perform are by foreign artists,”

(Azores, 2015).

The ‘Examiner,’ the arts and entertainment blog of Oliver Suarez

explains that foreign artists should not be blamed. He observed, “just

watch most of the variety shows in the Philippines such as ASAP or Party

Pilipinas and it seems like 95 percent of the songs they perform are by
 foreign artists,” (Pe, 2012). Watching a foreign concert does not

necessarily make one anti-OPM or anti-Filipino, as Filipinos constantly

look for quality just like the way they do in their choice of cars, jeans, or

services. (Azores, 2015)

2.2.3.3. Conflicts of artists in the Philippines

In the Philippines, those who decide to take a serious music career would

go to school to learn and eventually develop their crafts. Years ago, the only

choice was to enroll in conservatory or in music college to be well equipped

with their performance skills. Now, the business side of music has become

a focus of a college institution in the course like Bachelor in Science, major

in Music Business Management. (Azores, 2015)

The industry of music is still a big business in the Philippines, which

enhances the musician’s skills not only in the music but also in the business

side to professionalize the industry. (Azores, 2015)

2.3. Popular Music in the Philippines

2.3.1. Historical Background of Philippine Music

Before 1950, there was a large amount of literature which dealt with Western

and non-Westernized, as well as Asian types of music in the Philippines.

These accounts appeared in magazines, journals, newspapers, monographs,

books, and others, studies related by anthropologists, linguists, folklorists,

missionaries, or civil servants. In succeeding years there were more attempts

of writings about regional music, but mostly were introductory studies at best

from existing published material. (Dioquino, 2014)

1500-1750
One of the main sources of information on music is in the form if historical

chronicles and travels. These were written mostly by Spanish friars or

government officials, dealing with military conquest, government, and other

from various parts in the Philippines. From vast assortment of documents which

include letters, maps, statistics, etc. occasional mention is made of music. These

documents that span for the first 200 years after landed in the Philippines in

1521 which were found scattered descriptions of indigenous people, with vocal

and instrumental music for various rituals and occasions. (Dioquino, 2014)

1750-1900

The years between 1750 and 1900, more published material were proven as

available evidence. These descriptions showed how fast Filipinos adapted to

customs and practices of the Spanish culture, and some are shown through

music. Much more travelogues were published from 1870-1900, though most

were in Spanish, French and English. Descriptions of theaters in Manila and

mentions of the arrival of the Italian opera troupe. (Dioquino, 2014)

1900-1950

Period from around 1900 to 1950 showed accounts with reference to music,

which were more numerous at the time. Some of the earliest known compilation

of data of Filipino music, using Philippine musical instruments appeared in

1932. According to Nerberto Romualdez, a judge of the Court of First Instance

who travelled all over the Philippines collected music and instruments as a

hobby. Much of this data appears in the 1969 edition of Raymundo Baias’

Pilipino. (Dioquino, 2014)

1950-Present
Systematic studies of Philippine music began in the 1950s. The most extensive

on-going research on Philippine Music is being done at the Department of

Music research, College of Music, University of the Philippines under Jose

Maceda. The project began in 1953 during Maceda’s fieldwork, along with

several other groups up to the present time. Financial support was granted by

the National Research Council of the Philippines from 1970 to 1974. Research,

although on a much smaller scale, is still funded in the University of the

Philippines. (Dioquino, 2014)

The Philippines as today, like other developing republics in this century,

is faced with the conflict trying to develop their own national identity. Centuries

of different exposures of varying influences, such as Asian, Spanish and

American- has propagated an unnecessarily unique Filipino culture. The

byproducts of the mix of both Eastern and Western cultures have both been a

benefit and a problem, some of which have plagued the country to this day. The

lack of cultural unity and sense of national identity, has been an example, just

as Corpuz pointed out: “Many young Filipino intellectuals have come to be

alienated from their national culture. They have either been led to believe that

there is no such thing as Filipino culture, or that what does exist is merely an

imperfect or distorted version of alien cultural imports.” (Atabug, 2014)

2.3.2. Pop Culture in the Philippines

According to the Yahoo-Nielsen Survey of 2013, three of the top sources

of the consumption of media in the Philippines come from television, radio, and

the continuous rise of usage of the internet. With these media sources, one can

actually imply that watching shows on the television, listening to radio

programs, or even by surfing the net can have political, social, or even economic
implications. (Garchitorena, Pop Culture and the Rise of Social Media in the

Philippines: An Overview , NA)

Popular culture, according to National Artist for literature Bienvenido

Lumbera in his book Revaluation: Essays on Philippine Literature, Theatre and

Popular Culture (1984), is immensely different from folk and nationalist culture

of the Filipinos. To simply put it, folk culture is the way of life, or living in a

place in a specific time and represents the practices of certain people, and how

they adapt with nature. Popular culture in the Philippines, however, was created

and used by the Spaniards to the native Filipinos, or “Indios” as they call it,

through plays, literatures, as well as music to get the heart of the natives and

win it. The colonial origins of popular culture found in the Philippines can be

traced by the initial developments in Philippine literature. (Garchitorena, Pop

Culture and the Rise of Social Media in the Philippines: An Overview , NA)

2.3.3. The International Music Scene

Cross-Referenced from Henry Johnson’s analysis of the book “Pop Music,

Pop Culture” by Chris Rojek, it is suggested that pop music is not just about

music itself, but also the broader culture within it which it is created, consumed

and envisioned. From the outset of Rojek’s discussion, he defines one of the

book’s main parameters as argument for the simultaneous study of pop music

and pop culture. (Johnson, 2012) To further understand the relation of music to

media, communication and journalism, one has to examine the various

approaches in studying music. Chris Rojek’s book delves in musicology and it

provides a perspective of where pop is in the field of culture, media,

communication and production. (Bonayon, 2012)

 Many countries have given their fair share of music to the world. Some

like Jamaica with reggae, Trinidad with Calypso, and even others like countries

in South America, the music of the Andes. These are some of the countries

mentioned in Wallis and Malm’s book, “Big Sounds From Small Peoples” in

1984, which focuses on smaller countries that produce valuable music for the

whole world to hear. (Bonayon, 2012)

Malm and Wallis also explain how small countries, such as the ones

mentioned earlier, contribute to the global music scene:

“The reason is twofold. Small countries fulfill a dual role for the music

industry. They provide marginal markets for international products. They

also, by virtue of their unique cultures, can provide the sort of talent that

comprises invaluable raw material for international exploitation.”

(Wallis & Malm, 1941)

The Music Industry in Small Countries (MISC) Project is a three-year research

project which studied 12 countries all across the global, like Europe, Africa,

South America and Asia to discover what these countries are in the music

industry and how they manage to survive in the international scene. Big

Sounds from Small Peoples also discusses the overall view of the local as well

as the international scene, significant accounts, policies and the structure of

media affecting the industry, and patterns that explain music and media

relations, and the role of media and communications in the music industry.

(Bonayon, 2012)
2.3.4. The Local Music Scene

Indian Malaysian music also struggles to emerge from the challenge of

globalization. Production of Tamil music, the most common language in India,

and other Malaysian languages, is a great endeavor with the mainstream

Bollywood that dominated the indigenous local music.

“The richer people use English more commonly while the poorer people

tend to speak Tamil more.” It was also quoted by Indra Sathiabalan explaining

the importance of bilingualism and how his music could unite the youth from

different social and economic classes. “My music is universal … it appeals not

just to fans of Tamil pop [and] many feel that it’s got a world music concept

[with] Malay, Chinese, Indian, Western and Latin musical styles in [it].”

(Vengadesan, 2002)

The colonials already had their way of using music as a way to impose

power on their would-be colonies. Both the Americans and the Spaniards

utilized music as a social tool to take over the Philippines. Raul Navarro’s

abstract “Ang Musika sa Pilipinas: Pagbuo ng Kolonyal na Polisi, 1898-1935”

discussed the American colonialism through music.

“This paper argues that music, particularly vocal music, was a

prime tool in the dissemination of the American colonial worldview.

Utilized in public schools, music introduced a culture forged in the

context of American life, thus bringing a whole world of beliefs and a

process of cultural homogenization that pervaded American colonial

schools. Given the structured public educational system the Americans

created in the Islands, the colonial project of ‘a true general Philippine

 culture’ in musical terms have almost resulted in homophony with the

Americans whistling away the melody and the Filipinos doing the

accompaniment.” (Navarro, 2008)

Even from the Marcos era, the Western way is, and has always been the

standard of high state of living. Culture has been used as a way to enforce what

people believe to be the standard of a convenient life. (Bonayon, 2012)

2.3.5. Popular Musicians in the Philippines

2.4. Influence of Technology to Music

2.4.1. Online Subscriptions

According to a research in Connecticut by Users with sufficient bandwidth

connections (via modern or DSL service) indicated that they were willing to pay

over $10 per month for an online music service, while those with slower

connections were willing to pay for about half of it. This demonstrated a

significant positive price sensitivity on subscription rates based on Internet

connection speeds. It is an interesting contrast on their earlier result that users

with access to high-speed connections were willing to pay for a lower price for

a CD than those with slower connections. This strongly suggests that users find

subscription services immensely convenient, and therefore this model would

become a better model due to its ease of use and greater customer convenience.

However, doubts have been raised about the viability of subscriptions as

business models in their sole form. (Bhattacharjee, Digital Music and Online

Sharing, 2003)
 2.4.2. Digital Age in Music

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.

2.5. Music Performance Arts

2.6. Training Center

2.7. Acoustic Design

2.8. Case Studies

3. CHAPTER III: RESEARCH METHODOLOGY

The research will be conducted to promote, as well as to improve the country’s

musical industry. The research shall follow a logical and rational approach on

gathering data in order to arrive with a significant, reliable and a factual basis for

analyzing and completing the study for the proposed project.

3.1. Descriptive Method

This will involve the collection of data in relation to its present conditions,

which will be beneficial in determining the outcome of the said project. This

method will also be vital in establishing basis by carefully analyzing the present
 conditions of the site, and determining the present and future trends in the music

industry. This involves gathering of data through published books, news

articles, newsletters, reports, online sources, and government documents.

3.2. Historical Method

The researcher will conduct an interview with various professionals,

enthusiasts, artists and some local industries/businesses to help understand

better the need and wants of the said parties, as well as the problems they are

currently facing and/or experiencing.

3.3. Electronic Sources

Through the use of the internet, the researcher will be able to gather key

articles and books that will be vital for the thesis project. These websites

provide the name of the author and the publication date (i.e. JSTOR, Science

Direct, Online News Articles, Published Theses and Government Websites).

This will give the researcher the ease of research and can be used to manage

time efficiently.

3.4. Research Techniques

In order for the researcher to come up with solutions for the project, different

research strategies and techniques will be used. This will give an accurate detail

for the project that will be of help for the design proposal.

Observation and Site Visit

The researcher shall conduct a site visit and observe the existing

environment of the site. This will include, but not be limited to roads,

pedestrians, neighborhood, the existing community which will help in

identifying problems that needs to be addressed in the study.

 Data Gathering

The researcher will gather data from reliable electronic resources,

books, the local government news articles, etc. This will help the researcher

to get vital information about the current situation of the site and gain a

better understanding on what to do to provide the best possible solution to

the problem.

Interview Method

The researcher will conduct an interview with artists, fans, collectors

and some local industries/businesses in the vicinity of the site to help

understand better the needs and wants of the said parties, as well as problems

they are currently facing and/or experiencing for the project.

3.5. Description of Respondents

4. CHAPTER IV: SITE PROFILE AND ANALYSIS

This chapter will describe possible site locations for the said project. The

researcher will determine its strengths, weaknesses, opportunities, and its strengths

and combine it together for the project.

4.1. Site Selection and Justification

The chosen site should be able to garner a good rating on the criteria for

choosing the ideal site. The site will be evaluated to contribute to the feasibility of

the project.

4.1.1. General Criteria

4.1.1.1. Accessibility
 The access to the facility will be through walking and land

transportation. The project must be accessible to visitors and future

investors as well.

4.1.1.2. Environment

The site must be able to reduce the negative impacts towards the

environment and be sustainable as well as having plenty of vegetation

to reduce heat as well as reduce floods and potential calamities.

4.1.1.3. Orientation

In order to be efficient and to be able to minimize natural elements

from intervening from the users like the sun and wind, proper orientation

should be taken into consideration.

4.1.1.4. Land Use and Zoning

The site must be in accordance with the Comprehensive Land Use Plan

of the municipality. Zoning preferences will be sites offering opportunities

to be able to accommodate to the public viewers.

4.1.1.5. Pedestrian Access and Circulation

The presence of sidewalks, pedestrian lanes/crossings and other

pedestrian friendly measures ensures that the people walking to, from, in

and around the project can walk safely.

4.1.2. Specific Criteria

4.1.2.1. The Site must be Marketable

The location must preferably have an active lifestyle, more specifically

during the night to accommodate its target market while having a money

generating asset at any time of the day

 4.1.2.2. Surrounding institutions

The site must preferably ne situated with the sufficient target clients,

with institutions such like schools, commercial areas or communities that

will be involved in the development of the project.

4.1.2.3. Must be distant from noise distractions

Considering that the site must be proficient in acoustics, the site must be

distant from areas that produce too much noise and can cause possible

distractions for the project.

4.2. Site Location Profile

4.2.1. Macro Locational Profile

The chosen site should preferably be situated around Metro

Manila, to accommodate performers and possible viewers as well as

enthusiasts around Metro Manila.

4.2.2. Micro Site Selection Location Profile

1. 2670 A. Reyes Ave, Makati, 1200 Metro Manila (14°34’25.7”N

121°01’01.6”E)
 The first proposed site is located in A. Reyes Ave, Makati. It is bound

by A. Reyes Ave, Hippodromo, Theater Dr, with Ayala Malls as well as

Circuit Makati Transport Terminal adjacent to it.

2. Don Chino Roces Avenue, Makati, 1224 Metro Manila (14°33'38.8"N

121°00'39.1"E)

The third proposed site is along Makati. It is near estabishments like

Avida Towers Makati West, Export Plaza Building, Urban Development

Bank, Oriental Garden Condominium, and nearby schools like STI college
Makati, and Centro Escolar University Makati Campus. The site is close

to future developments of Greenfield Development Corporations.

3. Uptown Bgc, 9th Avenue, Corner 38th St, Taguig, Metro Manila

(14°33'32.9"N 121°03'17.8"E)

The second proposed site is along Taguig. The site is across a parking

lot, St. Michael bus stop, Metrobank, MDi Corporate Center, and

establishments like Breakfast bars, Chapels, and Bonifacio High Street.

 4. Old Capitol Site, Diliman, Quezon City, Metro Manila (14°39'09.4"N

121°03'08.5"E)

The final proposed site is located at the old capitol site in Diliman,

Quezon City. The site is near the Quezon City Memorial Circle, University

of the Philippines, and UP- Ayala Land TechnoHub, to name a few.

SELECTION CRITERIA

GENERAL CRITERIA
SITES

CRITERIA %
Site 1 Site 2 Site 3
Site 4
 Equiva
Criteria Equivalent Criteria Equivalent Criteria Equivalent Criteria lent
Ranking Percentage Ranking Percentage Ranking Percentage Ranking Percent
age

Accessibility 10 10 10 9 9 8 8 9 9

Land Use &

5 10 5 10 5 10 5 10 5
Zoning
Safety &
10 8 8 9 9 10 10 9 9
Security

Access to
5 9 4.5 9 4.5 10 5 10 5
Utilities
SITE SPECIFIC CRITERIA
Lot Area 25 10 25 8 20 9 22.5 10 25
Orientation 15 7 10.5 8 12 9 13.5 9 13.5
Compatibilit
y with 8 8
10 9 9 9 9 8 8
adjacent
Land
Pedestrian
8 8
Access and 10 9 9 8 8 9 8
Circulation

Accessibility
to important
10 10 10 9 9 9 9 9
existing 9
facility

TOTAL 100 91 85.5 89 91.5

4.2.3. SWOT Analysis

1. Site 1

Strengths

 The site is close to public establishments like Ayala Malls and other food

establishments like Mang Inasal, McDonalds, a Sports complex and

more.
  The site is nearby the Pasig River Ferry, along with other tricycle

terminals along the site.

 The site is a suitable place for walking, with pedestrian-friendly areas

nearby, as well as having the Ayala Malls beside it, according to sources.

Weaknesses

 The site is in Makati, a possible traffic-heavy location.

 The site is near residential areas on 2 sides of the site.

 The site has a possibility of being remote based on its location.

Opportunities

 With the site having proximity to crucial establishments like the Ayala

Malls, the site can have close locations that are suitable for the project’s

target market.

 The site proximity to tricycle terminals can help in the area’s ease of

traffic within its radius.

 The site can have less trouble with sustainable ideas, considering as well

the size of the lot along with it pedestrian-friendly environment.

Threats

 The site possibility of being traffic prone can hurt its marketability in

the area.

 The site, having a few residential areas, can cause difficulty to

contextualize with the basis of its project.

 With reference to its possible target market, the site’s marketability

might be compromised based on its location.

2. Site 2

Strengths

 The site is nearby upcoming new developments, as well as having more

areas with possible new developments.

 The site has a close proximity to commute areas, as well as an LRT

station.

 The site is close to certain schools (CEU Makati Campus, STI College

Makati).

Weaknesses

 Despite its close proximity to commute routes, the site might be too

remote in serving its target clients.

 The site is the smallest among the 4 site options.

 The site might be traffic prone in some areas of the site.

Opportunities

 The site can have convenient locations that can contribute to its

marketability with openings to new developments.

 The site can counter traffic with its current commute routes

 The site’s target market can be utilized with the proximity of the location

to some schools.

Threats

 The site’s location might compromise its target market and in looking

for possible new market.

 The project might be limited based on its scale, compared to the other

sites.
  The site’s possible threat to vehicular traffic may compromise its flow

for the project.

3. Site 3

Strengths

 The site is nearby new establishments and other possible areas open for

development.

 The site’s located to near formidable commercial establishments, as well

as a nearby parking lot.

 The site’s parameter is surrounded by 2 main roads (9th Ave. & 38th St.)

and 2 minor roads, with the location’s traffic being regulated properly.

Weaknesses

 The site’s location might be more expensive than the other site options,

with ratio to its scale.

 The site might be too far to access for other users as well as future

investors.

 The site’s location might not suit its target market.

Opportunities

 The site can have access to commercial establishments for its users

conveniently.

 With the site’s proximity to nearby parking lots, it can be a contribution

to its possible parking issues.

 The project can be flexible having 4 accessible roads around the site.

Threats

 The project might be less feasible with the site’s market cost.
  The site’s inconvenient access to its users might be less marketable with

reference to the project.

 The project’s context might not be suitable for its target, based on

location.

4. Site 4

Strengths

 The site’s scale (approximately up 3 hectares) is the largest of the 4

possible options.

 The site is closely accessible to a bus and jeepney station.

 The site has close proximity to commercial establishments like UP

Ayala Land, along with having a close location to the Quezon Memorial

Circle.

 The site has close access to certain schools like University of the

Philippines

Weaknesses

 The site’s main road is a highway, which is the Don Mariano Marcos

Ave.

 The site is close to informal settlers and businesses on one side (Masaya

St.)

 The site might have the possibility of having a moderate to heavy

vehicular traffic.

Opportunities

 The project can play along the site’s scale and flexibility, which can

either have vertical, sprawling development or both.

  The site can have accessible commute routes for its users, especially its

target market.

 The site can have a formidable target market, with possible client

interviews with the proximity of the site to the University of the

Philippines.

Threats

 The main accessible road, being a highway might hurt its opportunities

for having a pedestrian friendly environment.

 The project, having a priority of acoustics in its project, might be slightly

compromised because of its locations proximity to a noisy environment.

 The site might have possible traffic complications on certain areas on

the site.