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MÉXICO ELECTROACÚSTICO
rolandkuit
May 2018 edited May 2018 in Electronic
Concertzender Electronic Frequencies: 2018.05.23 - 23:00 C.E.T.
A series about the history of Electroacoustic music in Mexico part I.
MANUEL DE ELÍAS (1939) is a composer and orchestra director born in México City. He studied piano and composition with his father, at the National Conservatory, the National School of Music (ENM), and later in the USA and Europe. He made an important career as an orchestra director performing Mexican, Latino American and contemporary music in general. He founded the Orquesta Sinfónica de Veracruz and the Filarmónica de Jalisco. He is a member of the Academia de Artes and has been distinguished with the prize Premio Nacional de Ciencias y Artes (1992). In 2000 he was organizer of the XI Foro de Compositores del Caribe and president of the jury for the prize Premio Tomás Luis de Victoria, the most important award for consecrated composers coming from Spanish speaking countries.
MARIO LAVISTA (1943) was born in México City. He studied composition with Carlos Chávez, Héctor Quintanar, and musical analysis with Rodolfo Halffter at the Conservatorio Nacional de Música (CNM). From 1967 to 1969 he received a grant from the French government in order to study with Jean Etienne Marie at the Schola Cantorum. In 1969 he was a student of Stockhausen at the Reinische Musikschule of Cologne and participated at the International new music courses in Darmstadt, Germany. He founded in 1970 the improvisation group Quanta, interested in the simultaneous creation and interpretation and in the relationships between "live" music and electroacoustic music. He realized graphic musical Works with the painter Arnaldo Coen and composed music for various films of Nicolás Echeverría. His interest in the exploration and research of new possible instrumental and expressive techniques has taken him to a close collaboration with some outstanding performers. In 1987 he obtained the Guggenheim grant in order to write his opera Aura, and he was named a member of the Academia de Artes. In 1991 he received the Prize Premio Nacional de Ciencias y Artes and two years later CONACULTA distinguished him as a Creador Emérito. In 1998 he entered El Colegio Nacional. Presently he teaches composition, analysis and XX century musical language at the CNM and he is the director of the magazine Pauta, cuadernos de teoría y crítica musical.
MANUEL ENRÍQUEZ (1926) was born in Ocotlán Jalisco and died in México City in 1994. He was one of the most important musical figures in Mexico in the second half of the XXth century. In 1955 he had a grant at the Juilliard School of Music of NY, where he studied chamber music with Louis Persinger and composition with Peter Mennin. In the beginning of the 70's Enríquez went to the Center of electronic music at the Columbia Princeton Univer- sity in NY in order to experiment with electronic media and to study the new resources that contemporary technology offered at the time. He also participated at the Darmstadt International Course where he became friend of important composers belonging to the European vanguard such as: Berio, Xenakis, Stockhausen, Penderecki and Ligeti. As a violin player he was a member of the Orquesta Sinfónica Nacional, the Cuarteto de México, and concertino of the Sinfónica de Guadala- jara. He was the director of the Conservatorio Nacional de Música and the CENIDIM musical research institute. He was also vice-president of the UNESCO international music council and founded the Foro Internacional de Música Nueva, a music festival that promoted Mexican electroacoustic music. As a professor he was invi- ted to teach courses in Montreal, at the Carleton College of Northfield, Minnesota; he thought composition at the "Manuel de Falla" courses in Granada Spain, was visiting professor at UCLA in Los Angeles (1991,1993) and at the Center for Experimental Music in San Diego UCSD. He obtained important prizes such as Premio Nacional de Ciencias y Artes de México
FRANCISCO NUÑEZ (1945) was born in La Piedad, Michoacán. This composer, pianist and orchestra director, pedagogue, researcher and teacher of various generations have presented his compositions in all the important Mexican festivals, and in Europe, Asia and Latin America. He obtained the following prizes and distinctions: Ier Premio de Composición Silvestre Revueltas in 1976 (UNAM), Premio de piano Manuel M. Ponce in 1973 (INBA), 2° Premio de composición de la UAEM in 1972, Presea José Tocaven Lavín given by the Michoacán governmet, etc. He was director of the Escuela Superior de Música School from 1977 to 1983. He created with Roberto Morales the first Computer- Music laboratory in Mexico in 1986. In Querétaro he created in 1995 the Centro de Creación Musical through which he has created Symposia dedicated to contemporary music. He has given cycles and conferences since 1970 about the theory of rhythm and Music in relation to Science and Philosophy. His production includes all genres, including concrete music, electroacoustic and computer music, with a particular interest in symphonic and chamber music where his vocal works outstand. He has realized seven Symposia in Querétaro since 1998 dedicated to the Mexican Composition School, analyzing works of composers form the beginning of the XXth Century to the present under the mirror of the most representative XXth Century creators.
HÉCTOR QUINTANAR (1936) was born in México City. He starts his musical career at the Escuela Superior de Música and later at the Conservatorio Nacional de Música. He was a student of Carlos Chávez in his composition workshop and later his assistant, and when Chávez died he became the director. He studied electronic music in New York and concrete music in Paris, and founded the first electronic music laboratory in México in 1970. He was the music director at UNAM. In 1972 he obtained the Guggenheim grant. From 1965 to 1970 he organized the Festival de Música Contemporánea del INBA. He was orchestra director of the OFUNAM, the Michoacán Symphonic Orchestra and the Universidad de Guanajuato Symphonic Orchestra. Presently he teaches at the Guanajuato University and at the Escuela Superior de música belonging to INBA.
JULIO ESTRADA (1943). Since the beginning, his music proposes the fusion of imagination and research. The composition processes has driven him to organize the improvisation, for example with Memorias for piano (1971). His book Music and theory of finite groups gives mathematical basis for his first theoretical propositions: compositional mechanisms with Melódica (1973); nets, with the chants alterno (1978), Tejido, Oculto; finite groups, with Canto mnémico. As general editor of the encyclopedic work La música de México he proposes the search of the musical origins of pre Hispanic México and the critique of the official culture. His book El sonido en Rulfo was the base for his Opera Pedro Páramo (1992-2006), including different modules: "Doloritas", first part of Pedro Páramo, quasi una ópera radiofónica (1992); mictlan, femenine voice, ruidista and double bass (1992); miqi'nahual, double bass (1992); hum, for 5 voices (1999-2002). His research in the field of theory and composition synthesize two basic notions: the potential of intervals and scales —Canto naciente (1975-78)—and that of the continuous macro timbre developed in eua'on (electroacoustic), eua'on'ome (orchestra), eolo'oolin (6 percussions) the yuunohui for string soloist in different combinations, or ishini'ioni (string quartet). Salabert Editions edit his work since 1980. He has been distinguished with different prizes such as the Darmstadt courses (1971), the Radio Nacional de España (1992) and the Prix Prince Pierre de Mó- naco (1993). He received a Doctorate cum laude in musicology at the Strasbourg University, France. He teaches since 1971 at ENM and is the director (starting in 1996) of the Laboratorio de Creación Musical at the same school. He is a full time researcher at the Instituto de Investigaciones Estéticas and member of the Sistema Nacional de Investigadores, and of the Academia Mexicana de Ciencias. He was professor at the Centre de Mathématiques et Automatiques Musicales of Paris (1980-86), and the government of France has distinguished him in two occasions with the Orden de las Artes y las Letras.
CARLOS JIMÉNEZ MABARAK (1916-1996) was a Mexican composer. He studied in Chile, at the Instituto de Altos Estudios Musicales y Dramáticos of Ixes in Belgium, and at the Royal Conservatory in Brussels. He took classes with Silvestre Revueltas at the Conservatorio Nacional de Música in Mexico City, school where he became professor later. He was also professor at the ENM of UNAM. He wrote music for ballet, theater and cinema. Jiménez Mabarak was part of a Mexican composers generation that lived the transition between Nationalism and Modernism. He became interested very early in the dodecaphonic tech- niques and thought them to his pupils. He was the first Mexican composer to create an electroacoustic work in 1960.
Works with a note of the composers:
1/ Non novo sed nova (Nothing new but in a new way, 1974) for tape, MANUEL DE ELÍAS Everything is derived from this concept: to make music with other resources; that musical thinking rules over technology using it only as a media. I make use of a game of generators and very briefly of a keyboard. The parameters (mix of acoustic and electroacoustic sequences) were realized in the Laboratory of the National Music Conservatory in Mexico where I participated in the first "live" electroacoustic music concert.
2/ Contrapunto (Counterpoint) (1972) for tape, MARIO LAVISTA The elements that conform the musical material of this work have a diverse and maybe contradictory origin. Integrating these elements in a coherent structure implies difficult problems for the formal aspect of the piece, especially owing to the heterogeneity of the materials. Mahler's 9th symphony, The Rolling Stones, music from the Japanese imperial court named gagaku, fragments of noh theater, electronic sounds, organ, The Beatles, a waltz by Richard Strauss, Zen Buddhism music, a USA radio station, national anthems from México, Japan and USA, etc, are all elements that appear in the work, sometimes literally. All of them have been manipulated and transformed until becoming unrecognizable at times, due to the electroacoustic techniques used such as filtering, frequency and amplitude modulation, pitch variation and editing. This is why in some passages of the work electronic sounds can be confused with a fragment of Mahler's 9th, or Buddhist chants with Jimmy Hendrix for example. The superposition of such elements and their articulation in time originate a polyphonic texture and counterpoint interplay.
3/ Viols (1972) for violin and tape, MANUEL ENRÍQUEZ Violin: Manuel Enríquez
Tape realized in March 1972 at the laboratories of Columbia-Princeton in NY, where the only sound source is the violin, and whose transoformed and processed sounds are the result of the sterephonic track which is the complementary factor of the piece. The original material had been previously written in a score that is competely graphic and that can be played in any string instrument. When it is presented in this version, it appears with the name of Móvil II, composed in Madrid in October 1969.
The present interpretation of Manuel Enriquez was recorded at the studios RIVE in Madrid on june 13th 1976. The technical part was the responsability of the composer Pablo Riviere.
4/ Juegos sensoriales (Sensorial games) (1987) for tape, FRANCISCO NUÑEZ This composition was premiered at the festival En torno a los sonidos electrónicos in January 1988 at the Sala Manuel M. Ponce of the Palacio de Bellas Artes. There was an important collaboration with Roberto Morales in the manipulation of the Midi system and the DX7 Yamaha synthesizer, with which we generated many "voices" for the concerts we started to organize using the FM synthesis resources. A previous score was generated inspired in these elements and taking advantage of the synthesizer's keys, maintaining always a climax concept over the electronic coloring. My contacts with Concrete Music at the Composition Workshop of Carlos Chávez in 1965-66 and 67, and specifically with Jean Etienne Marie in France, had enriched my sonic imagination. This is a kind of synthesis of my sensorial and emotional perceptions where timbre responds to my total sense of sound spectra.
5/ Diálogos (Dialogs) (1973) for piano and tape, HÉCTOR QUINTANAR
Piano: Robert Miller
The work Diálogos for piano and electronic sounds reflects an important period of work for Héctor Quintanar (his own words). It was realized under the supervision of Mario Davidovksy, at the Center of Electronic Music of the Columbia-Princeton University. The interest for the notation and the control of electronic sound material is going to relate Quintanar's music clearly to certain mixed pieces by Davidovsky, where the magnetic tape material is completely written, with "quavers, semi quavers and silences" (interview with H. Quintanar in May 2000). In Diálogos, the pitch of sound, musical intention (frequently dramatic), timbre and texture fusion, and the transformations of the resonance, are meeting points that take place between the piano and the electronics. The score situates clearly in time the interplay of the two sound sources. Robert Miller premiered this piece in 1973 in a Vermont festival organized by Mario Davidovsky.
ROBERT MILLER (1930-1981) was an American pianist and attorney. A graduate of Princeton University, he also taught piano there and served on the faculty of the Berkshire (later Tanglewood). A regular member of the Group for Contemporary Music (New York, N.Y.) and the Composers Conference, he made many recordings of contemporary music for such labels as Columbia. An active advocate of new music, many composers, like Milton Babbit, dedicated compositions to him, including Charles Wuorinen, George Perle, Mario Davidovsky and Stefan Wolpe.
6/ Misa prehistórica (Prehistoric mass) (1980) for tape, MANUEL ENRÍQUEZ
Frist movement
Electroacoustic work in five movements composed in 1981 for the dance choreography created by Amalia Hernández, and based in the cave paintings found in the state of Baja California. Unfortunately, the show was never presented.
7/ eua'on (1980) for tape, JULIO ESTRADA This work broke with the universe of scales. The basis of the process was a drawing for the UPIC computer created by Xenakis. My drawings in the digital table of the machine incited me to do a direct musical creation and showed me the close relationship between seeing and hearing. To face the electronic sound rigidity I made use of my digitized voice that creates a multiphonic, a product of its modulation with a hoarse roar in the infra-low register. Conceived as a continuous, eua'on is a long scream made from hundreds of voices that generates a dense choral mass reminding us the threaded sonority of the wind, of physical changes similar to the human voice and that, when stretched with elasticity toward the highs, is converted into a noisy scream.
8/ Paraíso de los ahogados (Paradise of the drowned) (1960) for tape, CARLOS JIMÉNEZ MABARAK Jimenez Mabarak created this composition for the choreography of the ballet El paraíso de los ahogados by Guillermina Bravo, with the art direction of Raúl Flores Canelo. It was premiered on October 4th 1960 at the Palacio de Bellas Artes in México City. The choreographic idea was based in a Pre Hispanic myth where all people dying drowned were driven by two dogs through seven rivers until arriving at a paradise chosen by the rain and germination god Tlaloc. Guillermina Bravo based also her ideas in the paintings of a temple in Tepantitla in the Teotihuacán archeological zone. The choreography is divided in four parts, Fishing scene, Storm scene, Way to the paradise and Paradisiacal dances. Jiménez Mabarak relates about the conta- gious creative fever of G. Bravo, which inspired him to make a sound edition on tape. Because of his lack of experience in electroacoustic music, the audio technician of the Bellas Artes Palce Hall, Joseph R. Hellmer, collaborated in a crucial way with him in the creation of the work. They made the storm with a straw and a glass of water, and used a Cora indigenous chant distorting it. In the words of JM: "they were endless recording sessions; we had to choose between more than two rolls that we made with bubbles, Hellmer and I worked with Guillermina for more than seven months; this is, a little more than the time required for a regular score. This shows that all labor was planned and realized with microscopic care".
Disc I from the album:
Electroacustico [1960 – 2007] IRD 002.
Many thanks to the artistic director of this unique document Manuel Rocha.
Roland Kuit
https://www.concertzender.nl/programma/electronic_frequencies_444130/
Concertzender Electronic Frequencies: 2018.06..27 - 23:00 C.E.T.
MÉXICO ELECTROACÚSTICO II
ALEJANDRA HERNANDEZ, ROBERTO MORALES, JAVIER ÁLVAREZ, GABRIELA ORTIZ,
MANUEL ROCHA ITURBIDE, ANTONIO FERNÁNDEZ ROS, ANTONIO RUSSEK, GUILLERMO GALINDO, VICENTE ROJO CAMA
Produced by Roland Kuit
https://www.concertzender.nl/program...encies_449515/
Brighternow
I've just come arround listening to part 1.
I have found this related release on archive.org:
- also with credits to Manuel Rocha and released by Audition Records
Great, thank you @Brighternow !
2018.07.25 - 23:00 C.E.T.
Electronic Frequencies:
MÉXICO ELECTROACÚSTICO III
A series about the history of Electroacoustic music in Mexico part 3.
PABLO GARCÍA-VALENZUELA (Pablo Gav 1973) studied musical theory, piano and compo-sition at the CIEM (1992-96). In 1996 he moved to UK, where he completed an MA in mixed contemporary music composition at Hertfordshire University with Javier Álvarez. From 1998 to 2003 he completed his PHD in acousmatic electroacoustic music composition at the City University in London, with professors Simon Emmerson, Javier Álvarez and Denis Smalley. He has received international awards in composition like the Prix de la Region de Aquitaine at the Concours SCRIME 2000 in Bordeaux France, honorary mention in the Concours Metamorphoses 2000 Belgium, and the 3rd price of mixed electroacoustic music from the Luigi Russolo contest 2001, Italy. Pablo's main interests are electroacoustic music com-position, in its acusmatic format as well as in combination with the acoustic instru-ments, the spatial multi-channel diffusion of sound, and finally the analysis and aesthetic debate of music. He has created experimental electronic music groups like the project mañas in London (for quadraphonic sound, two laptops, percussion and video) and forms part of the Mexican American progressive rock group Sonus Umbra. He is currently living in México where he is completing a post doctorate project on multi-channel creative sound at the Laboratorio de Acústica y Vibraciones of UNAM. Since august 2007 he is professor of experimental audio at the Universidad del Claustro de Sor Juana where he is now head of the symposium La habitación del ruido.
GUILLERMO ACEVEDO studied music at the ENM of UNAM with Lucía Álvarez and Hugo Rosales, and computer music with Manuel Rocha Iturbide. In 1999 he made the music for the theater play Ayax y Tecmesa written by Antonio Ponce Rivas. The same year his piece La danza del sol, for 5 percussion players, piano and flute was chosen for the Foro Internacional de Música Nueva Manuel Enríquez. In 2000 He makes the music for the theater play Socrates redivivo written by Antonio Ponce Rivas. This year he was given a FONCA artistic residency grant at the The Banff Center for the arts in Canada. Later, the NYC contemporary music group The fourious Band performed his piece Rostros de mi tierra. From 2000 until now he decided to change from the "técnicos" to the "rudos" side, leaving the music for acoustic instruments behind and commit- ting himself in making "electronic noises". He is presently a member of the collective Machintosco.
VICTOR H. ROMERO (1975) studied at the Instituto Cardenal Miranda and the UNAM's ENM and electroacoustic music with Manuel Rocha Iturbide. In January 2002 he was selected by the International Institute of Electroacoustic music of Bourges, France (IMEB) for a resi-dence in composition. His works have been performed in multiple concert halls of México and abroad, among them we can mention the Carlos Chávez, Nezahualcoyotl, Miguel Covarrubias, Blas Galindo, the Palacio de Bellas Artes. He has also played in festivals like Radar and the International Festival of Sound Art in Mexico city, and abroad in festivals like the International Festival of Electroacoustic music of Bourges (France), the 2nd Festival of noise times (Colombia 2002), The sound gallery of the University of North Texas (USA 2003), etc. Rude collaborator of the Machintosco collective from the beginning of the first round, a group of electroacoustic music composers that have collaborated in various projects, like the video-installation El Santo Cuántico, a work that won the first prize at the Electro-acoustic Trivium in Bourges in the category of multimedia in 2001.
ROGELIO SOSA (1977 Mexico City) is a composer and promoter of experimental electronic music and sound art. He studied electronic music at the Ateliers Upic and IRCAM in Paris between 1999 and 2001. In 2003 he obtained his MA in music and technology from the University of Paris VIII. Since 2004 he lives in México city. Currently he is a member of the improvisation with electronic media project .pig, the director of the Radar Festival, and was curator of the Electronic Arts Biennale Transitio_mx. He has curated projects for the Festival Decibel, La Habitación del Ruido, Instrumenta Oaxaca and Rawbits Festival in Chicago, among others. He was the sound art curator at Ex Teresa Arte Actual from 2005 to 2007 and professor at the Laboratorio de audio experimental of the Claustro de Sor Juana University from 2004 to 2007. His work has been performed in North America, Latin America and Europe. Sosa has been a FONCA recipient four times. The most important prices and achievements he has received are the Premio Nacional de la Juventud en artes (México 2000), the Electroacoustic Music Contest SCRIME (Bordeaux France, 2000), the Elec- troacoustic Music Contest from IMEB (Bourges France, 2001), the Premio Nuevas Resonancias (México, 2001), the Luigi Russolo Electroacoustic Music Contest (Varese Italia, 2002), the EAR Electroacoustic Music Contest (Budapest Hungary, 2003) and the grant for production and research of Art and Media from the Multimedia Center (México, 2006).
JUAN SEBASTIÁN LACH LAU (1970) began his musical career playing piano and keyboards in the experimental jazz band Psicotrópicos and later in the rock band Santa Sabina with whom he recorded six CD's and made multiple tours. He studied Mathematics at UNAM in Mexico City. Later he obtained a bachelor in composition at CIEM, México City. He has a bachelor (2003) and master (2005) degree in composition from the Royal Conservatory in The Hague, The Netherlands, with a specialization in Sonology. He is presently pursuing a PhD in Artistic Research from the Leiden University and Orpheus Institute in Ghent, Belgium. His music has been played by: Cuarteto Latinoamericano, Ensemble Royaal, Muse, Soil, Insomnio, The Barton Workshop, Modelo 62 and The Electronic Hammer among others. His composition teachers have been: Juan Trigos, Víctor Rasgado and Ignacio Baca-Lobera in Mexico; Gilius van Bergeijk, Clarence Barlow and Louis Andriessen in Holland. He teaches at the Electronic Studio of the composition department at the Royal Conservatory in The Hague. His pieces have been played in the American and European continents.
ALEJANDRO MONTES DE OCA TORRES (1980, Mexico City) studied classic guitar, electro- acoustic music and Musical analysis in Mexico City. He later studies computer music and electronic media in Vienna. In 2005, the UNESCO-ASCBERG grant program for artists offered him an artistic residency at the Electroacoustic Music Institute of Bourges, France. In 2007, Alejandro was selected to continue his studies through the program ECMCT (European Course for Musical Composition and Technologies), Track A Helsinki- Barcelona, sponsored by IRCAM in France, the Sibelius Academy in Finland and the ESMUC in Spain. The FONCA scholarship program currently supports him. His musical production comprises electroacoustic pieces for mixed media and tape. He has composed scores for dance, video, and cinema. His music has been performed in multiple festivals of México, Bolivia, Austria, France, Germany, Finland and Estonia. He is presently very interested in improvising with electronic media as well as in the creation of installations and sound sculptures.
SERGIO LUQUE (1976 Mexico DF) is a composer. He lives partly in Madrid and partly in Birmingham and currently is working towards a PhD in Composition at the University of Birmingham. He is an active member of the Birmingham Electroacoustic Sound Theatre (BEAST). In 2006 he received a Master's Degree in Sonology (with distinction) from the Royal Conservatory at The Hague, studying with Paul Berg and Kees Tazelaar. In 2004 he received a Master's Degree in Composition from the Conservatory of Rotterdam, studying with Klaas de Vries and René Uijlenhoet. He has a Bachelor's Degree in Composition from the Musical Studies and Research Center (CIEM, Mexico). Luque's music has been performed in Europe, North America, South America and Oceania.
1/ Gutura,1999 – Pablo Gav
for tape.
The sound material is derived from improvisations of guttural gestures performed and recorded by the composer. Other sound sources are used for sound transformations, such as metallic and wooden impacts. Non-pulse-based rhythmic forces as well as timbre mostly structure the piece, but there are other aspects: an imaginary narrative describes a pre-linguistic human body whose ultimate [unconscious] goal is the externalization of his mind and the attempt to communicate by way of articulating a word for the first time in his existence. Although cartoon like and humoristic, the piece concentrates on the idea of how structured thought and instincts were (and are) translated into sound and therefore into spoken language. Gutura won the Prix de la Region de Aquitaine from the contest Concours SCRIME 2000 in Bordeaux France, and an honorific mention at the Concours Metamorphoses 2000 in Belgium.
2/ Punto de Partida (Departing point), 2002 – Guillermo Acevedo
At least eighty percent of this work is realized with the only sound of a snare drum. The idea was to reveal the infinite possibilities of a timbre through the consistent and rude appli-cation of digital processes, and that the structure of the piece would emerge from this same experimentation. Although, regarding the piece's structure, the best solution for me was to be guided by a kind of plot, because in this way intuition and imagination could be liberated within me. I also used the sounds of a computer keyboard in order to give the composition and infernal and percussive touch, as well as an Iranian chant to add 'finesse' and feminine sensuality. This piece is dedicated to all the gang that is searching for internal answers, and that is bringing this exploration until the last consequences.
3/ Voces (Canto1) Voices (Chant 1), 2000 – Víctor H. Romero
Based in Gregorian modal singing, this work is the recreation and exploration of sound scapes and sound images suggested by these chants, as well as from the harmonic and timbre content of the voice.
4/ Maquinaria del ansia (Anxiety machine), 1999 – Rogelio Sosa
This work procures to translate in the sound terrain the sensations experimented when we find ourselves in a state of anxiety. The emotional contention, unexpected explosion, obsessive repetition of an idea, and the sudden transition from one mood to the other, served as models to follow in the compositional processes. Here the challenge was to create a musical discourse starting from a minimal number of elements. I used only one sound impulse (the recording of a stroke in a wood body) in order to generate all the material of the work through the multiplication, transformation and manipulation of such a sound. Maquinaria del ansia uses beating and the repetition as metaphor of stasis and obsession, and the massification and deformation of these beatings as an allusion to an exasperated internal overflow.
5/ rzw for 4 channels (stereo version), 2002 – Juan Sebastián Lach
Percussion: Diego Espinosa.
The score of this piece was constructed by mapping permutations of five sounds against permutations of accent patterns in a five-meter. Their reading is made according to their symmetries; when coincidences happen the resulting clash generates a signaling 'fill in'. The structure of the piece has this section as its middle and longest one, surrounded by contrasting sections built similarly but in a filtered fashion. The electronic soundtrack was generated in the analog studio from the multi track recording of the percussion and was done in several passes, processing the instrument's sound in the outer sections and using synthetic sounds in the middle one. The computer was used at a later stage to synchronize the electronic parts and to do the quadraphonic movements. The live performance of this piece has the electronic sounds following the percussion and sometimes the percussion following the electronics, which resembles the process the composition went through. The work is dedicated to Diego Espinosa.
DIEGO ESPINOSA (1978) is a percussionist, actor, dancer, and a member of the Atlas Ensemble (directed by Ed Spanjaard), Ziggurat (Theo Loevendie), The Electronic Hammer, Slagwerk Groep Den Haag, Soil, PI, Ensemble Insomnio and the percussion ensemble Ear Massage with whom he won the International Percussion Competition of Luxemburg in 2005. He frequently plays for the Nieuwe Ensemble and the Ives Ensemble. He has played as a soloist in the Atlas Ensemble and the Concertgebouw of Amsterdam (Ed Spanjaard 2005), the Koninklijk Conservatorium Orkest (West Montgomery 2001 and Micha Hammel 2002), Orquesta de Pamplona (Josep Vicent), Orquest de las Arts (Josep Vicent 2005), the Hong Kong Chinese Orchestra (Yan Hui- chang 2006) and the Nederlands Kamer Orkest (Jurgen Hempel 2007). Many pieces have been written specifically for him, including percussion solos in combination with orchestra, ensemble, percussion quartet, live electronics and with fixed media, as well as with dance and video.
6/ Imaginario 1 (Imaginary 1),2007 – Alejandro Montes de Oca
Electroacoustic piece that has as its principal idea the study of microscopic sounds in relation with other bigger sounds, their acoustic characteristics and spatial potential. Within the work, we find sounds coming from two different recordings, a field and a studio recording. The first sounds work as a scenery and the second ones as actors. It is a metaphor of sound digitalization, a trip between the extremes; it's about imagining with sounds. The composition was realized at the studios of the Composition Electroacoustic Institute of the Music University in Vienna, Austria. It was selected to represent this institute at the festival Next Generation ZKM in Karlsruhe, Germany.
7/ Frío (From lat. frigidus) for tape – Sergio Luque.
*1. adj. Applied to bodies whose temperature is much inferior to the ambience ordinary one.
*2. adj. Applied to the colors that produce sedative effects, like blue.
*3. adj. Indifferent to sexual pleasure.
*4. adj. That, with respect to one person or thing, shows indifference, coolness or lack of affection, or that doesn't take interest in her.
*5. m. Excessive diminution of heat in bodies; drop of temperature that, in general rule, contracts them and arrives to liquidate the gases and freezes the liquids.
*6. m. Sensation that experiments an animal body towards a descent in temperature.
*7. m. Barrel. Frigorific, electro domestic apparatus that conserves nourishment.
Disc 3 (nrs: 1-7) from the album:
MÉXICO ELECTROACÚSTICO.
ARTURO FUENTES, RODRIGO SIGAL, ISRAEL MARTÍNEZ, JULIO ESTRADA,
VICENTE ROJO CAMA, ANA LARA, MARIO LAVISTA
Thanks @rolandkuit I'm looking forward to this.
FYI: ISRAEL MARTÍNEZ at Emusers
Also, at Bandcamp from 2017:
Nadaanda by Israel Martínez
I've found some more interesting Mexico stuff at Bandcamp:
rostasi
Thanks for this ^^^^^^^^^ ^^ ^^^^^^^^^


When the millennium dome (remember that!) was first opened its strap line to attract visitors was – "one amazing day!" Such a "sound bite" could well apply to the very first Easter day as we shall now discover.
As the sun rose some women visited the tomb to anoint Jesus' body with perfume (Mark 16 v 1), preoccupied with the huge problem of who would roll away the stone from the entrance to the tomb (Mark 16 v 3.) Despite all that Jesus had said to them about his suffering, death and resurrection (Matthew 16 v 21; 17 v 23 & 20 v 19), coupled with the images that he had used of the temple (John 2 v 19) and Jonah and the great fish (Matthew 12 v 40) the women went to the tomb expecting to find a dead body, their faith in his proclaimed resurrection having been extinguished.
Upon the women's arrival at the tomb there was a violent earthquake, then an angel appeared and rolled back the stone; while the Roman guards shook with fear at this supernatural demonstration. The angel then directly addressed the women – "He is not here; he has risen" (v 6), before inviting them into the tomb to inspect the pristine grave clothes, and then commissioning them to go and share the news of resurrection with his disciples. So off they went having seen with their eyes and heard with their ears the evidence of resurrection.
As the women hurried from the tomb to tell the disciples, they were met and greeted by none other than the risen Christ himself. They clung to him and worshipped him as they rejoiced in their personal experience of the risen Lord.


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This product is no longer available. Check out top picks for more great tools.
Review by Polly Conway, Common Sense Education | Updated April 2013
Online book nook for teen readers to explore
Teachers say (3 Reviews)
Platforms: Website
Pros: Shelfari is versatile and gives users a lot of freedom to share opinions and information.
Cons: User-created content may not always be accurate or top-quality.
Bottom Line: Though not as comprehensive as some of its competitors, Shelfari is a comfortable place for teens to share and make connections with the books they love.
Teachers can use Shelfari as an at-home supplement to in-class readings and assignments. You can easily create groups for each class and facilitate discussions or let students take the lead and ask each other questions about the day's reading. An extra-credit assignment could have students pick their favorite book quotes and post them on Shelfari; you also could create a contest to see which student can reach her reading goals the fastest. Shelfari lets you track your students' progress, and with "My Reading Stats," kids can see pie charts showing how many pages they've read within the year or semester. Shelfari even graphs books read by genre. Overall, it has a variety of cool resources you can use to keep kids engaged (and reading!).
Editor's Note: Shelfari has merged with Goodreads.
Shelfari is a website for book lovers that allows users to create a virtual bookshelf, write reviews, and participate in discussion groups. Teens can read the entire first chapter of any book featured on Shelfari for free, using Kindle for the Web. It's also a little like Wikipedia in that any user can edit public content about a book's background, characters, and plot. Want to add a character description of Jay Gatsby, or don't like the one that's there? Shelfari makes it simple to add or change information by clicking "edit." You can also join book discussion groups, read full chapters of future contenders, and, on the social-media end, follow and share updates with friends.
Shelfari is a smaller, more intimate community than the sometimes-overwhelming Goodreads. The ads are subtle and unobtrusive, and though the design isn't that exciting, it's simple and easy to navigate. Shelfari also has some neat little touches that set it apart from the rest. For example, while reading the reviews of The Three Musketeers, you can click the "Hide all spoilers" box to extricate any ruined endings from your future. The free first chapter is a huge bonus for kids who may be on the fence about buying a book.
What's most powerful is that teens get to see their own book reviews posted on the Internet and witness how their opinions can affect another person's reading choices. They get to be critics -- that's fun! After perusing an Amazon-provided preview, they also get to decide whether a book is worth reading next. With the chance not only to create their own content but also to edit what's already there, kids can participate deeply in Shelfari's reviews.
Kids will love the freedom of editing content and filling in sections like "Themes and Symbolism" to "First Sentence."
Kids collaborate with other users to make up the content available on Shelfari; they review what previous writers have written and decide if any changes should be made.
Shelfari is very easy to use, with simple instruction on how to set up an account and maximize the site's offerings. There isn't a huge amount of guidance available, but it doesn't seem necessary as the site is very intuitive.
Polly Conway Classroom teacher
RL.11-12.2
Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text.
Determine a theme or central idea of a text and analyze its development over the course of the text, including its relationship to the characters, setting, and plot; provide an objective summary of the text.
RL.9-10.2
Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.
SL.11-12.1
Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.
SL.11-12.1b
Work with peers to promote civil, democratic discussions and decision-making, set clear goals and deadlines, and establish individual roles as needed.
Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 8 topics, texts, and issues, building on others' ideas and expressing their own clearly.
SL.8.1b
Follow rules for collegial discussions and decision-making, track progress toward specific goals and deadlines, and define individual roles as needed.
SL.9-10.1
Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.
SL.9-10.1b
Work with peers to set rules for collegial discussions and decision-making (e.g., informal consensus, taking votes on key issues, presentation of alternate views), clear goals and deadlines, and individual roles as needed.
W.11-12.6
Use technology, including the Internet, to produce, publish, and update individual or shared writing products in response to ongoing feedback, including new arguments or information.
Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.
W.8.6
Use technology, including the Internet, to produce and publish writing and present the relationships between information and ideas efficiently as well as to interact and collaborate with others.
Write arguments to support claims with clear reasons and relevant evidence.
W.9-10.6
Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology's capacity to link to other information and to display information flexibly and dynamically.
(See all 3 reviews) (3 reviews)
Kellie A. , Technology coordinator
Engaging site for students to review and discuss books
If having online discussions is an important part of a teaching practice, this is a good tool. It can give students a chance to write critically, read what a review looks like, and learn about the pros and cons to user-generated and user-edited content. I liked the ease of setting up the group and the options for members, although having to email invitations could be a downside for those schools/districts where students aren't given an email address (this would also be problematic for account set-up) ...

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Open Access Library Journal > Vol.7 No.6, June 2020
Assessing Religious Tourism Motivational Factors and Experiences of Visitors to Selected Religious Sites in Camarines Sur, Philippines ()
Niño R. Rebuya1, Emy S. Lasarte2, Mericia Mila A. Amador2, Gina R. De la Roca2
1Tourism Management Department, Partido State University—San Jose Campus, San Jose, Camarines Sur, Philippines.
2Partido State University—San Jose Campus, San Jose, Camarines Sur, Philippines.
DOI: 10.4236/oalib.1106404 PDF HTML XML 1,669 Downloads 7,609 Views Citations
In recent years, pilgrimage is considered as one of the growing activities of people in the world. In the Philippines, the presence of numerous religious sites and activities makes it more significant in promoting pilgrimage or religious tourism most particularly in Bicol region where the home of Ina popularly known as Our Lady of Virgin Pe?afrancia is located. Along this, it is deemed important to further understand the intentions and behaviors of religious travelers. Hence, this paper assessed the religious tourism motivational factors (religious and secular) and experiences of visitors to selected sacred sites using a descriptive method of research. It was found that religious motives significantly prevail as very important factors for visitors to set out on journey in comparison to secular motives which is regarded as not very important travel motivator towards religious sites. This indicates that religious visitors of the destination are motivated due to their intrinsic spiritual desire such as satisfaction of religious convictions and fulfillment of religious curiosity (faith and practice). Their experiences were mainly observed for spiritual participation (religious) rather than for tourism activity (secular). Therefore, it is very important to put balance between visitors who came for religious and secular motives, thus recognizing the vital roles among churches' administrators and a regional tourism organization is necessary.
Religious Tourism, Pilgrims, Secular Motives, Religious Motives, Visitor Experience
Rebuya, N. , Lasarte, E. , Amador, M. and De la Roca, G. (2020) Assessing Religious Tourism Motivational Factors and Experiences of Visitors to Selected Religious Sites in Camarines Sur, Philippines. Open Access Library Journal, 7, 1-10. doi: 10.4236/oalib.1106404.
Globally, religious or pilgrimage tourism is regarded as an ancient form of travel. It is said that religion is one of the factors that motivate people to set out on a journey [1] and millions of people travel towards the great pilgrimage centers to satisfy one's own religious conviction and fulfill their religious curiosity. This type of tourism has such an important social and cultural characteristic, as social practice and changing individual beliefs. Hence, it owns a kind of socio-cultural potential of influencing the motivational state of a person, which has the need of cultural and religious objects required for the spirituality ideological existence [2].
It is estimated that approximately 240 million people per year go on pilgrimages, the majority of them being Christians, Muslims, and Hindus. Religiously or spiritually motivated travel has become widespread and popularized in recent decades. Many of those people travel to sacred places in strong belief that they will be cured and to pay respect to God, but some of them are just curious to see those sacred sites and destinations [3]. The main motives such as search for truth, enlightenment, or an authentic experience with the divine or holy, lead people to sacred sites [4]. It is also argued that pilgrims are generally not considered tourists, or, at least, they are regarded as being different from tourists [5]. This view suggests that pilgrims are not tourists because they travel for spiritual reasons, while tourists travel for more secular reasons such as curiosity or pleasure [3]. Religious tourists or pilgrims seek to escape the stresses of daily work and life in general. Many thus desire some spiritual invigorating formative and cultural experience in which they grow and become enlightened by what they encounter at a destination. Many enjoy dabbling in diverse world views and lifestyles experiencing other cultures [6]. On the other hand, for Christianity, the idea for pilgrimage is undoubtedly linked to the belief that "The Church is Pilgrim" as the will of people following God.
The religion of our country combined with ecological culture, natural scene and historical sites. Thus, it is regarded that in the early days, the religion and tourism of our country have already formed mutually promoting and developing together. In the Philippines, where it is considered as the third largest Catholic population in the world, faith has several ways of expressing itself. It depends on the local history of church, the national tradition, a whole set of cultural elements which make the expression of faith unique in some places. People of strong faith regardless of their social status do not have the words or the will to define their faith. They just practiced it and live with it along their lives [7]. Filipinos another way of practicing one's own belief is experienced through many great events, from the novena, recitation of rosary, attending to processions of saints, and the religious devotion to various spiritual representation of Jesus Christ. These practices are believed by the Filipinos to be the salvation of their distress and misfortune in life, thus, spiritual faith will live forever as it is embedded in the Christian's culture.
In this light, it is important to mention that motives of modern religious tourists differ from medieval pilgrims. Nowadays, religious tourism refers not only to the form of tourism with strong or single-minded religious motives of pilgrimage, but also to people who undertake non-pilgrimage tourist activities such as travelling to religious sites for sightseeing, cultivation and recreation [3]. Given the rise of religious tourism and strong spiritual conviction of pilgrims, it is vital to understand what motivates travelers to visit sacred sites and individual experiences [8].
2. Objectives of the Study
Generally, this paper aimed at understanding the motivations and experiences of religious travelers and at providing baseline in suggesting regulations and policies for visitors and sites as well. Specifically, it assessed the religious tourism motives such as religious and secular and further evaluated the experiences of visitors to six selected religious sites in the province of Camarines Sur, Philippines.
This paper employed a descriptive method of research which is considered common in the leisure and tourism area, for three reasons: 1) the relative newness of the field, 2) the changing nature of phenomena being studied, and 3) the frequent separation between research and action [9]. It is also aimed to present and describe the characteristics of the subject being studied [10].
In order to achieve the purpose of the study, a questionnaire-based survey was utilized in a self-administered form that serves as the main gathering tool. This instrument was modified from sources cited in the work of Božic [3] and has adopted the theoretical framework of Smith [11] which suggests and differentiates religious and secular motives (see Figure 1).
Figure 1. The pilgrim-tourist motives.
Religious motives are purely spiritual faith and adoration to God while secular motives are combined with visits to sacred sites while performing recreation and other tourism related activities found in the place.
The study was conducted at the six religious sites (see Figure 2) during three months (March, April, and May) time in the year 2018 as the summer and lenten seasons in the country. The selection of the sites was based on its popularity and with the highest recorded influx of visitors for the last three years in Camarines Sur, one of the provinces in Region V also known as Bicol region. It is considered as one of the major pilgrimage sites in the Philippines and a center of the 300-year old devotion to the Nuestra Señora de Peñafrancia, declaring it as a pilgrim city of the country.
1. The Miraculous Our Lady of Virgin Peñafrancia. Housed in Our Lady of Peñafrancia Church, the Nuestra Señora de Peñafrancia is a miraculous wooden statue of the Blessed virgin, which was an exact replica of Spain's Peña de Francia. Because of Her countless miracles, millions of devotees and pilgrims, local and foreign tourists alike, visit Naga City every year during the month of September in celebration of the nine-day festivity in Her glorious honor. This Blessed Mother is sweetly addressed as "INA" as sign of unconditional love and unwavering faith of the devotees. 2. Our Lady of Prompt Succor. The Miraculous Image of Nuestra Señora de Proto Soccoro was said to be part of the church in Buhi yet no one seems to remember how and when the image got to its altar. The image stands approximately three and a half feet in height and is made of very hard wood and is practically antique. 3. Hinulid (Christ laid to rest). Pilgrims travel to Calabanga, mostly on foot, to visit the Amang Hinulid, the image of Christ laid to rest. As part of the tradition, the Hinulid draws hundreds of devotees not only from Camarines Sur, but also from other parts of the country. 4. Hinulid (Christ laid to rest). Considered one of the oldest religious image of Christ laid to rest located in San Jose, Camarines Sur. It is believed for its healing miracles that strengthen the faith of locals and visitors. Influx of numerous devotees and pilgrims are observed every Friday most particularly during holy week. 5. Our Lady of Peace. Our Lady of Most Holy Rosary, Mother of Peace Grotto is located on top of Caglago Mountain in Barangay Tabgon, Caramoan, Camarines Sur. A flight of 524 steps to the grotto leads to the 26-foot image of the Blessed Virgin Mary. 6. Our Lady of Lourdes Grotto. The grotto is built on top of Calvario Hill at the Ibalon Hotel Compound. It faces Mt. Iriga and offers a bird's eye view of the city's central business district. During lent, the grotto is also the set for the crucifixion scene of the street play on the Passion and death of Christ where many devotees come together to profess their faith and personal intention.
Figure 2. Major religious sites and attractions in Camarines Sur.
Table 1. Socio-demographic profile of religious visitors.
The survey was administered to 1200 respondents equally distributed across the six study sites. Each site was represented by 200 visitors selected through convenience sampling technique where every respondent on-site has a chance to be selected in the survey. Most of the visitors are female between 41 - 50 ages and married whose monthly income ranging from Php 1001.00 - 5000.00. They are majority Roman Catholic and visitors within the region (see Table 1).
Respondents' profile is consistent with the report of Asia Society [12] that the Philippines proudly boasts to be the only Christian nation in Asia, where more than 86 percent of the population is Roman Catholic, 6 percent belong to various nationalized Christian cults, and another 2 percent belong to well over 100 Protestant denominations, where Camarines Sur alone constitutes a 93.86 percent of catholic population.
Table 2 presents the religious motives of visitors. It was noted that the very important motivational factors for religious visitors are the beliefs for miracle
Table 2. Religious motives.
(3.96), spiritual healing (3.76), expressing love and respect to God (3.75), pilgrimage (3.33), prayer at the tomb of the saint (3.30), and devotion to God (3.28). Similarly, motives of searching for forgiveness (2.54) and getting closer to something sacred (2.50) are viewed important factors in their visit.
These findings have reflected for many Filipino Catholic practices and ethnic identity which are intricately interwoven into cultural meanings of identity, family, and community [13]. This powerful alignment of religious and cultural practices has carried over through generations, and Filipino Catholics has sustained a wide variety of church practices and attitudes to guide them and are able to manage life's challenges and hardships.
Based on the scripture and church teachings, Filipino Catholics have so many ways of expressing devotion and worship to God. It encompasses faithfully attending mass and participating to private and public processions [14]. Furthermore, their spiritual actions were also visible through recitation of the rosary, charismatic gatherings, celebration of the Patron saints, kissing the feet and/or touching of saints and other images, visita iglesia (seven churches visitation), senakulo (passion play), pabasa ng pasyon (reading of the passion), penitensya (penance) that are usually observed during lenten season. A connection to divine power may also be sought through amulets, pilgrimages, saints, and novena [15]. These practices are believed by the Filipinos to be the salvation of their distress and misfortune in life, thus, spiritual faith will live forever as it is imbedded in the Christian's culture.
Along with secular motives presented in Table 3, it was clearly understood that secular motives are not very important factors for visitors such as cultural-historic value and architecture (2.40), following the modern trends in travelling (2.33), desire for novel experience (2.30), beauty of the nature surrounding the religious site/s (2.05), and desire to interact with people (1.90). While, there were only few factors considered important along secular which are the curiosity to see attraction (3.00), desire to be a better person (2.76), and exploring the legends and interesting stories about religious site/s (2.60).
Table 3. Secular motives.
Result on secular motives is mirrored on the profile of visitors that most of them were belonging to senior age and lower social class based on their income. Thus, respondents are characterized under religious pilgrim whose these types of travellers searches for the meaning of life, does not live a luxury of life, is not concerned with social status, does not exploit the local people, and does not buy souvenirs [16]. They are visiting sacred sites purely for spiritual purposes and intervention in the belief that God will grant their prayers and will continue to provide on their everyday lives.
On the other hand, it can also be observed that some of the factors such as exploring the legends and interesting stories about religious sites, curiosity to see attraction, and desire to be a better person were viewed important motives by the visitors. With ever changing global political landscapes, religion has retained a significant place as a social movement with complexity of structures and functions, which pervades culture and traditions. The revival of visitation to pilgrimage sites was at the same time the rediscovery regarding secular public space and has introduced new form of thinking to find spirituality and develop alternative religious movements [17]. Nevertheless, religious tourism can be defined as travel with the core motive of experiencing religious forms or the products they induce like art, culture, traditions, and architecture [18].
The general religious tourism experiences of visitors are shown in Table 4. They strongly agree that religious travel gives them spiritual fulfillment (3.97), participation to religious activity shows their devotion to God (3.50), religious travel expresses their love and respect to God (3.30), and prayer to miraculous saint/s strengthens their belief to God (3.25). In the same way on visit to sacred places heals them spiritually (3.10), gives them feeling of forgiveness (3.05), and brings them closer to God (3.00). Contrarily, they disagree on their experiences that religious sites make them appreciate the historic value of the place (2.46) and the religious activity/attraction portrays historical and cultural value that widens their understanding (2.05).
Table 4. Visitors' religious tourism experience.
Visitors' experiences were mainly observed on religious aspects rather than secular. Among the many reasons and/or motivations for people to travel are religion or spirituality and major tourism destinations across the world have developed largely due to their connections to scared people, places and events [4]. There are two distinguished aspects of religious tourism, such as: 1) the faith of a tourist, who has spiritual attachment to the destination in line with his religious belief, and 2) the new spiritual experience of a tourist, belonging to another belief or a different religion and for whim the destination and the religious practices have the dimension of novelty [19].
5. Conclusions and Implications
The religious motivational factors of visitors in the destination were significantly prevailing on the religious motives rather than secular motives which also reflected on their experiences. This indicates that religious visitors are motivated due to their intrinsic spiritual desire such as satisfaction of religious convictions and fulfillment of religious curiosity (faith and practice). In this sense, visitors are religious travelers themselves since their main motives are search for truth, enlightenment, or an authentic experience with the divine or holy which leads people to sacred sites [4].
In a broad sense, religious tourism is any trip motivated, either exclusively or partly, by religious reasons [20]. Although religious issues are not the only ones considered by the visitors to religious sites or events, some would be on the purpose of experiencing cultural, traditional, spiritual, and landscape patters which set them on a journey. This can also be noted that with the rise of travelers for religious tourism whether on religious or secular motives, pilgrimage destinations and/or sites have become a multifunctional nature that welcomes tourists in general.
Therefore, it is very important to put balance between visitors who came for religious and secular motives, hence, recognizing the crucial role among churches' administrators and regional tourism organizations through local government units to implement measures that will preserve religious practices while taking advantage of its tourism significance.
The authors acknowledge the Research and Development Office of Partido State University for technical and financial support; the respective manager/administrator of study sites for positive response on the administration of surveys; and for the friends and families of the researchers throughout the success of this paper.
The authors declare no conflicts of interest regarding the publication of this paper.
[1] Cristea, A.A., et al. (2015) The Role of Media in Promoting Religious Tourism in Romania. Procedia—Social and Bahavioral Sciences, 188, 302-306.
https://doi.org/10.1016/j.sbspro.2015.03.398
[2] Kurmanaliyeva, et al. (2014) Religious Tourism as a Sociocultural Phenomenon of the Present "The Unique Sense Today Is a Universal Tomorrow. This Is the Way Religions Are Created and Values Are Made". Procedia—Social and Bahavioral Sciences, 143, 958-963.
[3] Bu?ic, S., et al. (2016) Exploring the Motives of Religious Travel by Applying the Ahp Method—The Case of Monastery Vujan (Serbia). International Journal of Religious Tourism and Pilgrimage, 4, 33-34.
[4] Timothy, D.J. and Olse, N.D. (2006) Tourism, Religion and Spiritual Journeys. Routledge, London and New York. https://doi.org/10.4324/9780203001073
[5] Collins-Kreiner, N. (2010) Researching Pilgrimage: Continuity and Transformations. Annals of Tourism Research, 37, 440-456. https://doi.org/10.1016/j.annals.2009.10.016
[6] Nicolaides, A. (2016) Marian Tourism: Eastern Orthodox and Roman Catholic Pilgrimage. African Journal of Hospitality, Tourism and Leisure, 5, 1-19.
[7] de Charentenay, P. (2018) A Filipino Practice of Faith. Loyola School of Theology, Ateneo De Manila University, Quezon.
[8] Raj, R., Griffin, K. and Blackwell, R. (2015) Motivations for Religious Tourism, Pilgrimage, Festivals and Events. In: Raj, R. and Griffin, K., Eds., Religious Tourism and Pilgrimage Management: An International Perspective, 2nd Edition, CABI, Wallingford, 103.
https://doi.org/10.1079/9781780645230.0000
[9] Veal, A.J. (2011) Research Methods for Leisure and Tourism: A Practical Guide. Fourth Edition, Pearson Education Limited, Harlow.
[10] Turk, E.S. and Uysal, M. (2017) Research Methods for Leisure, Recreation and Tourism. 2nd Edition, CAB International, Wallingford, 15.
[11] Smith, V. (1992) The Quest in Guest. Annals of Tourism Research, 19, 1-17.
[12] Miller, J. (2020) Religion in the Philippines. Asia Society. http://asiasociety.org
[13] Nadal, K.L. (2009) Filipino American Psychology: A Handbook of Theory, Research, and Clinical Practice. AuthorHouse, Bloomington.
[14] Mulder, N. (1997) Inside Philippine Society: Interpretations of Everyday Life. New Dat Publishers, Quezon City.
[15] Lagman, R.A., et al. (2015) "Leaving It to God": Religion, Spirituality and Filipina American Breast Cancer Survivors. HHS Public Access, Providence.
[16] Libosada, C. and Bosangit, C. (2007) Introduction to Tourism: A Comprehensive Guide to Travel and Tourism Industry. ANVIL Publishing Inc., Pasig City.
[17] Raj, R. (2012) Religious Tourist's Motivation for Visiting Religious Sites. International Journal of Tourism Policy, 4, 95-105. https://doi.org/10.1504/IJTP.2012.048997
[18] Asi, L.M., et al. (2015) Religious Tourism in Batangas, Philippines. Asia Pacific Journal of Multidisciplinary Research, 3, 58-66.
[19] SIGA Team (2012) Diverse Beliefs: Tourism of Faith, Religious Tourism Gains Ground. Strategic Initiatives & Government Advisory (SIGA).
[20] Rinschede, G. (1992) Forms of Religious Tourism. Annals of Tourism Research, 19, 51-67.
https://doi.org/10.1016/0160-7383(92)90106-Y
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If the outer man is broken, the spirit spontaneously will remain in the Lord all the time. A brother read Brother Lawrence's book The Practice of the Presence of God the second year after he was saved. He struggled very much because he was not able to enjoy God's presence continually like Brother Lawrence. He made a pact with a brother to pray once every hour. He wanted to follow the biblical teaching of praying unceasingly. Every time the clock struck the hour, they would try to kneel down to pray. Nevertheless, they felt as if they could not maintain God's presence, and they wrestled to turn back to God all the time. It was as if they wandered away from God whenever they went about their own business or became engaged in their studies so that they had to hurriedly turn back to God. If they did not turn back, they felt that they would be gone forever. They prayed all the time. On Sundays they prayed the whole day, and on Saturdays they prayed half of the day. They did this for two or three years. But even though they felt His presence when they turned back to God, they would lose it as soon as they turned away. The problem of maintaining God's presence with human memory is a great frustration to many Christians, not just to these brothers. To them, the "presence" of God can only be maintained when their memory is fresh; when their memory fails, the "presence" is gone. Such attempts to preserve the divine presence with human memory are foolish. God's presence is in the spirit, not in the memory.
In order to deal with God's presence, we have to first deal with the matter of the breaking of the outer man. The nature of our emotion is different from the nature of God; the two can never be joined as one. The same can be said of our mind. John 4 shows us that God's nature is Spirit. Only our spirit is of the same nature as God, and only our spirit can be in harmony with God forever. If we try to retain God's presence in our mind, this presence is lost as soon as we are not in complete control of our mind. If we try to retain God's presence in our emotion, the same is true; this presence is gone as soon as we are not in complete control of our emotion. Sometimes when we are happy, we think we have God's presence. But this happiness does not stay. When it goes away, our sense of His presence is gone. We may think that we have God's presence when we weep, but we cannot weep all the time. Sooner or later our tears will stop, and when they stop, God's presence seemingly stops as well. The function of the mind and the function of the emotion are both activities, and no activity can go on forever. If we try to maintain God's presence with activity, this presence will be gone as soon as the activity stops. Two substances will blend together only when they are of the same nature, such as water with water or air with air. Things with the same nature can enjoy each other's presence. The inner man is of the same nature as God; therefore, it can realize God's presence through His Spirit. The outer man is constantly in the realm of activity; therefore, it is a frustration to the inner man. The outer man is not a help but a hindrance. The inner man will be free from distractions only when the outer man is broken.
God has installed a spirit within us to respond to Him. The outer man, however, only responds to outward signals. A man loses God's presence and the enjoyment of it because his outer man is constantly responding to outside activity. We cannot eliminate all outward signals, but the outer man can be broken. We cannot stop all outside activity. Millions and billions of things in this world are occurring outside of us. If the outer man is not broken, we will react whenever something happens outside of us. We cannot enjoy God's presence calmly and continually because the outer man is constantly reacting. God's presence is based on the breaking of the outer man.