University of Wollongong Thesis Collections University of Wollongong Thesis Collection

University of Wollongong Year 

Music educational and ethnomusicological implications for curriculum design: development, implementation and evaluation of Philippine music and dance curricula

Philomena S. Brennan University of Wollongong

Brennan, Philomena S., Music educational and ethnomusicological implications for curriculum design: development, implementation and evaluation of Philippine music and dance curricula, Doctor of Philosophy thesis, Department of Education, University of Wollongong, 1984. http://ro.uow.edu.au/theses/1332

This paper is posted at Research Online.

APPENDIX A

CURRICULUM A CURRICULUM A

Teacher's Book

Pupi1's Book

Score Book

Puzzles and Answers

Acknowledgement of Sources

Audio Cassette Tape - Volume 4

Video Cassette Tape - Volume 5 An Introduction to Philippine Music and Dance

Curriculum A

by Philomena S. Brennan

Copyright (c) 1983, P. S. Brennan

COPYRIGHT RESERVED

All materials (music, dance, photographic illustrative, educative and informative) reproduced in this Curriculum are covered by Copyright. All rights reserved.

327

CURRICULUM A

TEACHER'S BOOK

INDEX

Page A

Sequence and Organisation (i)

Music and Dance of Tribes in the Philippines

Music and Dance of the Moros in the Philippines 43

Music and Dance of the Filipino Christians 91

[A denotes Curriculum A Teacher's Book pages.]

§§§§§§§§§

Within the text of Curriculum A Teacher's Book pages of the Pupil's Book and Score Book are inserted at appropriate sequence points. Complete Pupil's Book, and complete Score Book, are given at the end of Curriculum A Teacher's Book.

§§§§§§§§§

Sources of illustrations in Curriculum A Teacher's Book are listed in Acknowledgement of Sources, the final section in Volume 2. Sequence and Organisation (i)

INSTRUCTIONS TO TEACHERS

1. This curriculum comprises Teacher's Book, audio cassette, video cassette and, for the pupils. Pupil's Book, Score Book and Puzzle Book.

2. The Teacher's Book contains all teaching materials. Pupil's Book and Score Book.

3. 'An Introduction to Philippine Music and Dance' is presented in three Sections: A. Music and Dance of Tribes in the Philippines. B. Music and Dance of the Moros in the Philippines. C. Music and Dance of the Filipino Christians.

4. Each piece of music to be listened to is on the accompanying audio cassette Tape, For each Section, there is a listing of the order of the music on the Tape. The sequence in this Teacher's Book, the Pupil's Book and the Tape is the same. The music on the Tape runs consecutively from Section to Section

5. In this Teacher's Book the pages of the Pupil's Book are interspersed in order to relate closely to the Teacher's text. The Pupil's Book pages are in their correct sequence and are numbered consecutively according to the Teacher's Book A numbers. Dance instructions are numbered consecutively within the Teacher's Book and are also designated, for example, Tlnlkllng [l], ill). The text refers the Teacher to all pages.

6. There is a series of Listening Sheets, in the Pupil's Book, for the pupils to answer questions relating to the music. These Sheets were NOT 329

Sequence and Organisation (ii)

designed as tests but, rather, as a way for the pupils to build up a summary of all they have learnt. The Teacher's Book has the answers for all Listening Sheets. The Teacher should lead the pupils through these Sheets and answers as the lesson progresses. The Sheets were designed with the activity of 'directed listening' in mind,

7. The Score Book contains the scores of the music to be listened to or performed. The text refers the Teacher to the relevant Score Book page. The scores are also inserted at appropriate places within the Teacher's Book. The purpose of the Score Book is to allow the pupils to follow the score of the music as they listen to it. It is recommended that this practice occurs.

8. Each Teacher receives Puzzle Books for the pupils and a Puzzle Book, with Puzzle Answers, for the Teacher. The separate Puzzle Books allow the Teacher the freedom of choosing which Puzzles he/ she wishes. Puzzles are to be completed at home or when time permits in a lesson,

9. Pronunciation is given in the Teacher's Book text for difficult Filipino words and terms. Pronunciation for songs may be learnt from respective items on the Tape.

10. Lesson organisation and Tape details for each of the three Sections follows the Sequence of Pupil-Based Activities and Materials, which begins on the next page. 330

Sequence and Organisation (iii)

MUSIC AND DANCE OF TRIBES IN THE PHILIPPINES

Sequence of Pupil-Based Activities and Materials:

1. Introduction by the Teacher. 2. Listen to Hunting tkz Boaft as an introduction to the sound of Philippine Tribal Music (Im.SOs.). H Bontok 3. Listen and read information: Pklllpplnz Tfilbal In&tfiumznti, (5m.). 4. Listen and answer Listening Sheet: Bontok Waft Vancz (lm.55s.). H Bontok. 5. Sing Vong Vong Ay. ^ Bontok. 6. Listen and answer Listening Sheet: Mu6lc oi tkz Hanunoo. \ Hanunoo. 7. Listen and answer Listening Sheet: Eallmac-Bllaan (Im. ). ii Blaan. 8. Perform and accompany dance Vugi>o. \ Bukidnon. 9. Describe Vug&o. 10. Listen to l^ugao Gania.i>. (10s.). If Ifugao. 11. Play Wzddlng Vancz. H Ifugao. 12. Sing Bugan. Describe (}}zddlng Vancz and Bugan. f Ifugao. 13. Listen and answer Listening Sheets for five Kalinga vocal pieces: 1. Blcblc (Im.). 2. Alhlg (35s.). 3. Ullallm (Im.). 4. Ela-Lay (55s.). 5. Salldumay Mang-Anl (40s.). 14. Listen and answer Listening Sheet: Sallp and Ela-Lay (3m.15s.). H Kalinga. 15. Sing Ela-Lay and add accompaniment. 16. Listen and answer Listening Sheet: Idavo (2m,20s.), ^ Kalinga. 17. Perform the dance Banga and add accompaniment. ^Kalinga 18. Describe Banga dance. 19. Play/improvise using Tribal scales and rhythms.

NOTE: At any time within the sequence of activities pupils complete PUZZLES related to Philippine Tribal music and dance - as homework or classwork. 331

Sequence and Organisation (iv)

MUSIC AND DANCE OF TRIBES IN THE PHILIPPINES

LESSON ORGANISATION:

The numbers indicated for each Lesson refer to Activities.

40 minute Lesson 1 1 3 Lesson 2 4 6 Lesson 3 7 10 Lesson 4 11 12 Lesson 5 13 15 Lesson 6 16 17 Lesson 7 18 20

45 minute Lesson 1 1 4 Lesson 2 5 7 Lesson 3 8 10 Lesson 4 11 14 Lesson 5 15 17 Lesson 6 18 20

50 minute Lesson 1 • 1 - 4 Lesson 2 5 - 7 Lesson 3 8 - 10 Lesson 4 11 - 13 Lesson 5 14 - 16 Lesson 6 17 - 20 332

Sequence and Organisation (v)

MUSIC AND DANCE OF TRIBES IN THE PHILIPPINES

Index to Activities and Materials

1 - Page Al 11 - Page A17 2 - Al 12 - A27 3 - Al 13 - A27 4 - AlO 14 - A30 5 - AlO 15 - A33 6 - AlO 16 - A33 7 - A15 17 - A33 8 - A15 18 - A42 9 - A17 19 - A42 10 - A17

TAPE SEQUENCE - TRIBAL:

1. Hunting tkz Boaft. 2. Pklllpplnz Tfilbal ln6tftumznt.i>. 3. Bontok Waft Vancz. 4. Mu6lc 0^ tkz Hanunoo. 5. fallmac-Bllaan. 6. IjJagoLo Gan&ai. 7. Vlvz Kalinga vocal plzczi'- 1. Blcblc 1. Al&lg. 3. Ullallm 4. Ela-Lay. 5. Salldumay Mang-Anl «. Sallp and Ela-Lay. 9. Ela-Lay. 10. I daw. 333

Sequence and Organisation (vi)

MUSIC AND DANCE OF THE MOROS IN THE PHILIPPINES

Sequence of Pupil-Based Activities and Materials:

1. Introduction by Teacher. 2. Listen to Vuyog (45s.) as an introduction to the sound of the music of the Moros of the Philippines. UMaguindanao. 3. Listen and read information: InAtftumzntA o^ tkz Mofio6 . (5m. 35s . ) 4. Listen to Blnallg (30s.). 5. Play Blnallg. 6. View video of Slngkll (6m.) and answer Video Answer Sheet. ^ Maranao. 7. Perform and accompany dance Kaplll Sa Munsala. ^Maranao. 8. Describe Kaplll Sa Mumala. 9. Listen and answer Listening Sheet: Taking Balla (Im.15s. ). H Yakan. 10. Play Taking Balla. 11. Listen to Teacher play Pangalay. Describe Pangalay. H Sulu. 12. Listen to Gabbang (20s.). 13. Play iJJaftftloft'6 Vancz (Yakan). 14. Describe (JJaftftloft'6 Vancz. 15. Listen and answer Listening Sheet: Sagayan Sa Kulong (lm.53s.). fl Maranao. 16. Listen and answer Listening Sheets for four Maguindanao vocal pieces: 1. Talavol (40s.) 2. Bang Adkan (42s.) 3. Radja Indaftapatfta (41s.) 4. Bungbung Mangmang (40s.) 17. Sing and accompany Vallng-Vallng. ^ Sulu. 18. Listen to Slnulog (30s.), 19. Play Slnulog. 20. Listen and answer Listening Sheet: Kapa Malong- Malong (Im. ). 21. Play Tagonggo. 22. Listen and answer Listening Sheet: Vuyog (Im.lOs.), to complete study of the music and dance of the Philippine Moros, 334

Sequence and Organisation (vii)

NOTE: At any time within the sequence of activities pupils complete PUZZLES related to the music and dance of the Moros of the Philippines as homework or classwork. 335

Sequence and Organisation (viii)

MUSIC AND DANCE OF THE MOROS IN THE PHILIPPINES

LESSON ORGANISATION: The numbers indicated for each Lesson refer to Activities

40 minute Lesson 1: 1 - 3 Lesson 2: 4 - 6 Lesson 3: 7 - 9 Lesson 4: 10 - 12 Lesson 5: 13 - 16 Lesson 6: 17 - 19 Lesson 7: 20 - 22

45 minute Lesson 1 1 4 Lesson 2 5 7 Lesson 3 8 11 Lesson 4 12 16 Lesson 5 17 19 Lesson 6 20 22

50 minute Lesson 1 1 4 Lesson 2 5 9 Lesson 3 10 15 Lesson 4 16 18 Lesson 5 19 22 336

Sequence and Organisation (ix)

MUSIC AND DANCE OF THE MOROS IN THE PHILIPPINES

Index to Activities and Materials

1 - Page A43 12 - Page A66 2 - A43 13 - A70 3 - A43 14 - A70 4 - A43 15 - A70 5 - A52 16 - A75 6 - A52 17 - A76 7 - A56 18 - A76 8 - A56 19 - A76 9 - A56 20 - A76 10 - A66 21 - A86 11 _ A66 22 - A86

TAPE SEQUENCE - MORO:

/. Vuyog 2. lni,tfiumznt6 oi tkz Mofto&. 3. Blnallg. 4. Taking Balla. 5. Gabbang. 6. Sagayan Sa Kulong. 7. Vouft Mofto vocal plzcz6: 1. Talawl. 2. Bang Adkan. 3. Radja Indaftapatfta. 4. Bungbung Mangmang. i. Slnulog. 9. Kapa Malong-Malong. 10. Vuyog.

— 337

Sequence and Organisation (x)

MUSIC AND DANCE OF THE FILIPINO CHRISTIANS

Sequence of Pupil-Based Activities and Materials:

1. Introduction by Teacher. 2. Listen and answer Listening Sheet: Pandanggo Sa llaio (2m.45s. ) 3. Listen and answer Listening Sheet: Pamullnauozn (Im.). 4. Listen and answer Listening Sheet: Chltckltftltcklt (50s.), 5. Listen to the words of Ckltckltftltcklt spoken on Tape. 6. Sing Ckltckltftltcklt and add guitar accompaniment. 7. Play simple arrangement of Ckltckltftltcklt. 8. Perform the dance Polka Tagala to Polkabal. 9. Describe Polka Tagala 10. Listen to Maglalatlk 1 (2m,25s.). 11. Add accompanying coconut rhythms to Maglalatlk 11 (2m.10s.) and/or perform dance Maglalatlk. Describe Maglalatlk. 12. Listen and answer Listening Sheet: Vakil Sa lyo (lm.20s,). 13. Listen and answer Listening Sheet: Kondan^oy (45s,). 14. Listen and answer Listening Sheet: Lulay (Im.lOs,), 15. Listen to words of Lulay as spoken on Tape. 16. Sing Lulay and add guitar accompaniment. 17. Perform the dance Lulay and accompany by singing song and/or playing Lulay and/or dance with Taped Lulay. 18. Listen to instrumental/vocal version: Lzfton Lzfton Slnta (48s.). 19. Listen to words of Lzfton Lzfton Slnta. 20. Sing Lzfton Lzfton Slnta with i nstrumental/vocal version 21. Play simple arrangement of Lzfion Lzfton Slnta. 22. Sing Lzfton Lzfton Slnta with own accompaniment. 23. Describe Lzfton Lzfton Slnta. 24. Listen and answer Listening Sheet: Atln Ku Pung Singling (2m.15s.). 25. Listen to instrumental/vocal version: Atln Ku Pung Slng-iilng (Im.lSs.). 26. Listen to words of Atln Ku Pung Slng.6lng. 338

Sequence and Organisation (xi)

27. Sing Atln Ku Pung Slng.i>lng and add guitar accompani­ ment . 28. Play simple arrangement of Atln Ku Pung Singling. 29. Perform all Atln Ku Pung Singling again: song, guitar accompaniment and arrangement. 30. Listen to Magtanlm Ay VI Blfto (lm.5s.). 31. Listen to words of Magtanlm Ay VI Blfto. 32. Sing Magtanlm Ay VI Blfto and answer Song Answer Sheet. 33. Perform dance Magtanlm Ay VI Blfto and accompany with song. 34. Listen to Tlnlkllng (2m.) to learn main melodies. 35. Sing and accompany Tlnlkllng. 36. Perform the dance Tlnlkllng^ adding own accompaniment with song and guitars, or dance Tlnlkllng to Tape. 37. Describe Tlnlkllng.

NOTE: At any time within the sequence of activities pupils complete PUZZLES related to the music and dance of the Filipino Christians - as homework or classwork. 339

Sequence and Organisation (xii)

MUSIC AND DANCE OF THE FILIPINO CHRISTIANS

LESSON ORGANISATION: The numbers indicated for each Lesson refer to Activities

40 minute Lesson 1 1 3 Lesson 2 4 7 Lesson 3 8 10 Lesson 4 11 13 Lesson 5 14 17 Lesson 6 18 23 Lesson 7 24 29 Lesson 8 30 33 Lesson 9 34 37

45 minute Lesson 1 1 3 Lesson 2 4 7 Lesson 3 8 11 Lesson 4 12 17 Lesson 5 18 23 Lesson 6 24 28 Lesson 7 29 33 Lesson 8 34 37

50 minute Lesson 1: 1 - 6 Lesson 2: 7-11 Lesson 3: 12 - 17 Lesson 4: 18 - 23 Lesson 5: 24 - 29 Lesson 6: 30 - 33 Lesson 7: 34 - 37 340

Sequence and Organisation (xiii)

MUSIC AND DANCE OF THE FILIPINO CHRISTIANS

Index to Activities and Materials

1 - Page A91 19 - Page A127 2 - A91 20 - A127 3 - A95 21 - A127 4 - A98 22 - A134 5 - A98 23 - A134 6 - A98 24 - A134 7 - A98 25 - A134 8 - AlOl 26 - A138 9 - AlOl 27 - A138 10 - AlOl 28 - A138 11 - Alio 29 - A138 12 - Alio 30 - A138 13 - Alio 31 - A138 14 - A123 32 - A138 15 - A123 33 - A143 16 - A127 34 - A143 17 - A127 35 - A143 18 _ A127 36 - A143 37 - A143 341

Sequence and Organisation (xiv)

1 TAPE SEQUENCE - CHRISTIAN:

1. Pandanggo Sa Haw. 2. Pamullnawzn. 3. Ckltckltftltcklt. 4. Words to Ckltckltftltcklt. 5. Polkabal. 6. Maglalatlk 1 (with coconuts) 7. Maglalatlk 11 (without coconuts) S. Vakil Sa lyo. 9. Kondan6oy. 10. Lulay. 11. Words to Lulay. 11. Lzfton Lzfton Slnta. Ii. Words to Lzfton Lzfton Slnta. 14. Atln Ku Pung Singling. IB. Instrumental/vocal of Atln Ku Pung Singling 16. Words to Atln Ku Pung Singling. 17. Magtanlm Ay VI Blfto. IS. Words to Magtanlm Ay VI Blfto. 19. Tlnlkllng. 342

Sequence and Organisation (xv)

AUDIO TAPE SEQUENCE

SIVE A

1. Hunting tkz Boaft 2. Pklllpplnz Tfilbal In&tfiumznti, 3. Bontok Waft Vancz 4. MU'ilc oi tkz Hanunoo 5. ¥allmac-Bllaan 6. l^^ugao Gani>ai> 7. Elvz Kalinga vocal plzcz^'. Blcblc At&lg Ullallm Ela-Lay Salldumay Mang-Anl S. Sallp and Ela-Lay 9. Ela-Lay 10. Idaw 11 . Vuyog 11. Initftumznt6 o^ tkz MoftoA 13. Blnallg 14. Taking Balla 15. Gabbang 16. Sagayan Sa Kulong

SIVE B

17. fouft Mofto vocal plzczi>: Talawl Bang Adkan Radja Indaftapatfta Bungbung Mangmang 18. Slnulog 19. Kapa Malong-Malong 343

Sequence and Organisation (xvi)

10. Vuyog 11. Pandanggo Sa Haw 11. Pamullnawzn 13. C kit c hltfilt c kit 14. Woftd^ to Ckltckltftltcklt 25. Polkabal 16. Maglalatlk I [wltk coconuti>) 27. Maglalatlk 11 [wltkout coconut>b) li. Vakil Sa lyo 29. Kondan6oy 30. Lulay 31. dJoftd^ to Lulay 32. Lzfton Lzfton Slnta 33. {Uoftd^ to Lzfton Lzfton Slnta 34. Atln Ku Pung Singling 35. In6tftumzntal/vocal o{^ Atln Ku Pung Singling 36. Wofid6 to Atln Ku Pung Singling 37. Magtanlm Ay VI Blfto 3S. Woftd^ to Magtanlm Ay VI Blfto 39. Tlnlkllng.

§§§§§§§§§

VIDEO TAPE

1. Slngkll.

§§§§§§§§§ 344 Al

MUSIC AND DANCE OF TRIBES IN THE PHILIPPINES

Play Hunting tkz Boaft (TAPE) as example of the type of music of Philippine Tribes in the north. This music is from the Bontok tribe. Hunting tkz Boaft (Pupil's Book, page 1) depicts the hunting and killing of a wild boar. Yells, shouts, sticks and shields are heard with the northern Tribal instruments.

In the Philippines there are many pagan Tribes and, geographically, they fall into Tribes of north and Tribes of south. The music and dance for this Tribal section presents, in order: instruments of north and south Tribes, music of the northern Tribes, music and dance of the southern Tribes, music and dance of the northern Tribes.

3, Listen to, and read information for Pklllpplnz Tfilbal In&tfiumznti (Pupil's Book, pages 1-5, on page 2 in this Teacher's Book). The information and listening instructions are explicit in the Pupil's Book. Listen to each instrument twice (or more) if necessary. The instruments appear on the TAPE in exact order as in Pupil's Book, under title on TAPE: Pklllpplnz Tfilbal 1 n6tftumznt^ . A more detailed view of the kolltong is given in this Teacher's Book: Philippine Tribal Illustrations, page 9.

(Text continued...AlO)

346

CURRICULUM A and CURRICULUM B

PUPIL'S BOOK

INDEX

Page (Pupil 's Bk.)

Music and Dance of Tribes in the Philippines §§B Supplement (i), (ii)

Music and Dance of the Moros i n the Phi 1ippi nes 11 §§B Supplement (iii), (iv)

Music and Dance of the Filipino Christians 22 §§B Supplement (v), (vi)

[Pupil's Bk. denotes Pupil's Book pages.]

§§§§§§§§§

Sources of materials in Curriculum A and Curriculum B Pupil's Book are listed in Acknowledgement of Sources, Volume 2. A4 347

MUSIC AND DANCE OF TRIBES IN THE PHILIPPINES

HUKT1NG THE SOAR

This music is from the Bontok in northern Luzon. It depicts the hunting and killing of a wild boar. Yells, shouts, shields and sticks are heard with the instruments. mm^

PHILIPPINE TRIBAL INSTRUMENTS

GAA/SA

The g ania is rtant instrument to those Tribes 1 i V i ng in th regions of northern Luzon. The metal gam a , ranging in size from 25 cms. to 40 cm s . i n d as a handle made from tusks or jaw-b ones of gania is played by striking with a sti ck or b e palm/fingers of the hand, Somet imes th of playing are used at the same time, with t ng against the knees of the player as he sits 0 The gansa is usually played by the m en of t Liste jl to th several gamai, and notice the stick and ha laying. You will hear different pitch es from s they are of different sizes.

GANSA

Playing the GANSA

SULIBAO

The iulA.bao is a drum. It is a very important instrument to the Tribes of northern Luzon. The iulibao is conical in shape and the length varies between 28 cms. and 95 cms. The diameter varies between 8 cms. and 20 cms, The iullbao is made from a hollow log and the skin on top is often pig-skin. The skin is stretched tightly across the top of the drum and attached with braided twine. The iu.lA.bao is played with the hands (and not with a beater). Li sten to the short excerpt of the iul-ibao playing. A5 348

Pupil's Bk. - 2 Ph-illpp^m Tribal In.itiamtnti (continued)

N.

L U Z 0 N

V I S A Y A S J-'VL* M I N D A N A 0

MAP OF THE PHILIPPINES SULIBAO (showing the three main regions: Luzon, Visayas, Mindanao. The areas of the northern and southern Tribes are indicated by the arrows.)

KALLELENG The kalle.tzng is a nose flute. The kalle.le.ng is made of bamboo and the sound is produced by blowing through one nostril. The sound is very soft and haunting. It is a very difficult instrument to play, as the stream of breath must be gently centered to a tiny hole at the top of the kallzlzng. US, i\Lowe r Cut ahead of node in bamboo. Top ^Cut through node.

'Nose hole' drilled in centre of node of bamboo.

Playing the KALLELENG A6 349

Pupil's Bk. - 3 Ph-illpp-ine Tnlbal Ini>tKumenti, (continued) The kalLe.le.nq has three finger-holes in the front and a thumb-hole at the back. Listen to the excerpt for kalltleng (sometimes also called FaZZngglng) nose flute, and notice the trills, short phrases (owing to constant breathing required to play a kaltelzng) and overblowing on some notes.

(left) Igorot girl pi aying KALiUlENG

(be!ow) GAWSA, 2 SULIBAO and 2 KALLELENG:

AFim The aiA,w is a metal jaw's harp. In the northern Tribes the a^iui metal jaw's harp is used and the southern Tribes use the bamboo jaw's harp (similar to the kablng of the Moros). The metal a^iw is played by blowing through the middle of the small instrument, while, at the same time, vibrating the attached 'tongue' with the thumb. Listen to the excerpt for a^iui and notice the many different pi tches obtained by changes in the breath expelled. The rhythm is achieved by manipulating the "tongue". AFIW wi th 'tongue ' cut from same piece of metal. A7 350

Pupil's Bk. - 4 Philippine TKlbal Imt^umenti (continued)

8ANGIBAWG and KALUTANG

Kalutang are two sticks of different length and different pitch (see Mu^lc oi tkz Hanunoo, Pupil's Book page 1). Banglbang is a curved stick with a handle, played by striking with another stick.

KALUTANG

PALVONG Paldong is a mouth flute, made from bamboo. The number and spacing of finger-holes depends on the scale used. Soft blowing is required to play the bamboo paldong. Listen to the two short excerpts of paldong, one demonstrating the low register and the other being in a higher register.

TWO types of PALVONG

BUNKAKA The bankaka is a split bamboo 'buzzer', so called because of the quality of the sound made when the split ends are hit against the arm or hand. Bankaka is often nick-named the devil-chaser (again owing to the sound), hunkaka vary in size from 40 cms. long with 3 cms. diameter (low pitched) to 36 cms. long with 2 cms. diameter (high pitched). 350 A7

Pupil's Bk. - 4 Philippine. TKlbal ImtAumenti (continued) BANGIBANG and KALUTANG Musical sticks are called banglbang in the northern Tribes and kalixtang in the south. Musical sticks are played in pairs, striking one against the other. Different sizes produce pitches. The method of holding the sticks reduces or increases the resonance. Some Tribes suspend several sticks in a row and strike them with a beater. Listen to the excerpt for banglbang, which is very short (there is also a i,\i.tlbao heard in this excerpt).

KALUTANG

PALPONG Paldong is a mouth flute, made from bamboo. The number and spacing of finger-holes depends on the scale used. Soft blowing is required to play the bamboo paldong. Listen to the two short excerpts of paldong, one demonstrating the low register and the other being in a higher register.

TWO types of PAiVONG

BUNKAKA The bankaka is a split bamboo 'buzzer', so called because of the quality of the sound made when the split ends are hit against the arm or hand. Bankaka is often nick-named the devil-chaser (again owing to the sound). Bankaka vary in size from 40 cms. long with 3 cms. diameter (low pitched) to 36 cms. long with 2 cms. diameter (high pitched). A8 351

Pupil's Bk. - 5 Philippine Tulbal In-6-t.tumen-t^( conti nued) Listen to the example of two bankaka playing. The deeper pitched bankaka is not only beat on the arm in certain rhythms, but a thumb-hole (near the base) is covered and uncovered, producing another timbre from the bankaka.

BUNKAKA

KOLITONG The kolltong is a plucke d instr ument, ma de from a single thick piece of bamboo, f rom whi c h string s are carved, These string s are made f rom the actual p iece of bamboo itself. The tube acts a s a resonato r Kolltong is held in both hand s and the string s a re plucke d with thumbs and fingers of b oth hands, There a re betwee n 4 to 6 strings, which are tune d by movin g the smal l wedg es. The kolltong in the pictu re is 60 cms. long with a di ameter of 10 cms. Listen to th e melody as piayed on the bambo o kolltong, accompanied by a slit ba mboo ti ny drum h it with a thin sti ck.

KOLITONG (shown on the ground. To see playing position, turn page sideways.)

Some BUNKAKA and KOLITONG A9 352

Kolltong

Philippine Tribal Illustrations AlO 353

4. Play Bontok Waft Vancz (TAPE; Pupil's Book, page 6). Lead the pupils through the Listening Sheet in their books, not as a test, but as directed 1 i stoning. Score for Bontok Waft Vancz is in Score Book, page 1, and in this Teacher's Book, pages 11,12

Answers to questions in Pupil's Book for Bontok itJafi Vancz (you can write these answers in your copy if you wish);

1. Kallzlzng - Nose Flute. 2. Three sections. 3. No. 4. No written musical tradition. No notation of music in Bontok. Oral tradition, passed down in this manner for centuries. Played as felt and taught by ancestors. Breathing difficult for nose flute, 5. Man. Free rhythm. Pitch often on one note and with limited range. 6. Gan6a. 7. Northern. 8. North. 9. Salldumay is the most popular way of singing in the northern tribes. Text may concern any topic. Always has strict rhythm and uses pentatonic scale. 10. Sullbao. For description, see Instruments 11. Kallzlzng. Nose flute.

5. Sing chant Vong Vong Ay, from Bontok (Uaft Vancz. Sing with TAPE. DO NOT USE PIANO TO TEACH MELODY, Learn chant from TAPE. Words mean preparations for war on a neighbouring Tribe.

Mu^lc oi tkz Hanunoo (Tape; Pupil's Book, pages 6, 7) Listen to the music from the Hanunoo and lead pupils to answer Listening Sheet questions. The Hanunoo (HAR-NU-NQ-0) are an isolated Tribe in the south. Pupil's Book contains all relevant information. (NOTE: all 'decorations' in Pupil's Book are designs used by the particular Tribe under consideration. The writing after 2 in Hanunoo is

..,A15 All 354

SBl

BONTOK (t/AR PAWCE

Bontok

KALLELENG (J =60) >CT~' 'yp^i^ i.|VP^^ •^PDteP LfVErTTt^ '^ I I CHANunMi T (free) If5 1 Ha-da-lo no-da-la ni mey - e 19'^ n\J n ii pa -la -da u - ma-gua ne-dama-bic na ;a - dak ) I v^\n:r\^^ r * • 9—^ -a-du um a du 1^ i-a-nay-ya i-pa-bu i -^ ^"^liKALLELENG./iqfct^ iMfi i W i ^ ^e --satag-ka-da-ga-no-mo QANSA (J=C.144) i4^ J >j. _B 1 j n n-rt

n n J Jl X ^ ^ SOLO (J=c.80)

^ ^ jg vc a tix M^^h-J^TJ Dong dong ay i' CHORUS 1^3^==3 : W-f^fc ? ^^ ^ dong i - lay Dong dong ay i -donlong i1 -la-1 a>y in sa - li - du- S^ £j^ Mi'Dlj a S may di-wat In du - ru a po -ra - sa in sa -li - du- 355 A12

SB2

CHANT (free) ^P i JUf JD may di wat Ha -da-lo no-da-la ni mey - e pa - la- da 1^'"^ j^ j^y ma -guani-na-ma li na - t, dafk tta, - da CHORUS ^ qt ^J i da- la- no- mo^Oi-i,Oi-i,Oi-i,Oi-i,Oi-i,Oi-i,Oi-i,Oi-i.Oi-i SULIBAO KALLELENG & O^^x^^. •^^^^^v'-^^^r-Vy'^^.^'^^^''-'*^^*'^^,^^^"^ m iij.fr^rrUfr''^ (J^ ii

§§§ In this Score Book, AV is used to approximate a slight movement around a given pitch. It does not necessarily denote a mordent A13

Pupil's Bk. rmmm BONTOK WAR PANCE Listening Sheet 1. Give the Filipino and English names of the instrument playing at the opening of this piece: 2. How many sections does this instrument play in the enti re piece? 3. When this instrument plays, is the rhythm strict and easy to follow? (circle correct answer): Yes No 4. Give one reason for your answer to Question 3: 5. A chant follows, sung by a Comment on the chant's rhythm: and the chant's pitch (or tune): 6. Name the rhythmic, metallic-sounding instruments that play before the 'Vong Vong Ay' section: 7. This instrument is important to the music of the northern/southern Tribes (circle correct). 8. Where do the Bontoks live: north/south Philippines? (circle correct). 9. 'Vong Vong Ay' is a ialldamay. What does this mean? 10. Name the drum that plays near the end of the piece: Briefly describe: 11. Bontok Wan. Vance ends very softly, with the instrument called (a bamboo ) playing.

MUSIC OF THE HANUNOO Listening Sheet The Hananoo are a Filipino Tribe living in the south, on the island of Mindoro. They have a music tradition of their own, different to the northern Tribes. Listen to music of the Hanunoo and answer the questions. 1. KALIPAy (Merrymaking): Circle the instruments which you can hear in this excerpt: drums - gongs - string instruments - wind instruments. 2. LANTUV solo: Lantay is a bamboo mouth-blown transverse flute. Follow the score and then describe the sound and playing technique of lantay. /7\

\>n ^-^p^ fi'\ I i^jy-^^/^f^ Describe the lantay 3. IVA/A (Lullaby): Comment on the singing style of this lullaby:

4. KASKAS and TIMPARA: This solo is played by a kadyapl, a general term for a 6-string plucked instrument, from 38 cms. to 75 cms. in length. After listening and following the score, explain the meaning of Kaikai: and Tlmpana:

Hanunoo V^ KUPVAPI [ m A14

Pupil 's Bk.

MUSIC OF THE HANUNOO (continued)

^'-I'vjs:

nTIMfmA

5. KALUTANG: What are kalatangi Follow the score for kalatang. \\\s\'Q'm'y)T UWI_: The Hanunoo call to each other as they walk along the jungle and forest trails. AMBAHAN: Courting song with GITGIT string instru ment accompaniment. The illustration (right) shows Ambahan words for song asaaa twiim..7B« carved into a bamboo node. After listening and following the score below, describe the music for Ambahan:

ibfi7fUiuj'i'(rru|-Lii-ii-u:3tN ^

V\\W\ii\\\^^^mr^ ^, ^^^^

8. CALLING ANIMALS: A Hanunoo man tells his nephew to call the animals. Listen, then list the animals you think that the boy is calling:

9. SINIPSIRUy (Gltglt solo): The gltglt has 3 strings and is very small, being approximately 36 cms. long and 6 cms. wide (at widest part). It is played with a bow of human hair. Score: A15

Hanunoo script [Pfeiffer 1975:117] as explained in 7 of Hanunoo).

Answers to Hanunoo questions:

1. Gongs. String instruments. 2. yery 'bamboo' sound, etc. 3. Type of yawn sound. Dragging, sleepy quality of voice. Exhalation of breath. 4. Ka-&ka6 is playing chords and Tlmpafta is playing melody (Conklin and Maceda 1955:6) 5. Musical sticks (Conklin and Maceda 1955:4) Comment on pitches made from pieces of stick hit together. 6. - 7. Piercing quality of gltglt (Conklin and Maceda 1955:2). Almost 'mumbled' quality of singing voices. Single note singing. Gltglt maintains interest. 8. This item is for fun! Animals obvious! 9. No questions, but Teacher may wish to ask questions regarding gltglt.

7. Play Tallmac-Bllaan. No score for this piece. DO NOT spend too much time on this piece, as it is an example of other music of southern Filipino Tribes, this time the Tribe called Bilaan (or Blaan) Pupil's Book, page 8, has all information. (TAPE)

Answers to l^allmac-Bilaan questions:

1. Drone. 2. Melody (tune). 3. The tagungguan plays another melody (tune) in T^allmac-Bllaan. 4. Style question: soft playing instruments; irregular phrasing and rhythms; unusual scale; repetitious small bells; free form. According to Bayanihan (b:l), it is music to accompany gentle bird-like movements of a dance.

Eallmac-Bilaan = FAR - LE - MARK/MAK BIL - AR - ARN Piaglong = PFARG - LONG Tagungguan = TAR - GUUNG/GUNG - GOO - ARN

8. Class to perform the southern Tribal dance, Vug6o (DOOG - SO'), from Bukidnon Tribe. This is a slow, . . .A17 A16 359

Pupil's Bk. FALIMAC - BILAAN Listening Sheet 1. This piece is from the Bilaan (or Blaan) Tribe in the southern Philippines. Three instruments are important in this music, which accompanies a dance imitating birds. Firstly, there are the small bells worn around the dancers' ankles, which provide a continuous accompaniment as the dancers move. The second instrument is the 2-string p^aglong, illustrated below. One string is the string and the other string is suspended over small frets and it is on this one string that the is played.

PEAGLONG:

The third instrument heard in Falimac-Bi1aan is the tagungguan, eight pitched gongs suspended in a frame. Each gong has a knob or boss in the centre, which is struck with a soft mallet. The tagungguan plays another in Eallmaa-Bilaan.

TAGUNGGUAN (actual height approx. the height of a man, as the lower - and bigger - gongs can be 45 cms. wide. The frame is usually made from bamboo). Illustrated below is one single big gong of tagungguan:

2. Comment on the style of Eallmac-Bllaa

VUGSO Dance Briefly describe the Vagio dance, from the southern Tribe called Bukidnon: A17

serious dance and very simple for pupils if serious manner is maintained at all times, as in dance instructions. The only accompaniment is small bells around ankles (as in IFallmac-Bilaan above). Dance instructions also suggest that a small group of pupils accompany the Vugio with these bells (rhythms are given at end of dance instructions). If by any chance the school owns a string instrument similar in sound to pf^aglong (above, in Fallmac-Bllaan), an improvised part could be added to Vug^o if played STYLISTICALLY. This string accompaniment is by no means necessary, as the bells alone are authentic. Pug^o dance instructions follow: Vug6o [l] - \vl) (freely adapted and re-interpreted, as observed, from Aquino II 1976:121). Vug^o headdress is seen in Philippine Tribal Illustrations (page 24 of this Teacher's Book). Try to achieve the effect of dancing Vug&o around an offering fire/table. No music on TAPE for Vug^o .

9. Pupils write their description of Vugi>o, after performing the dance.

10. Listen (once only) to Ifugao gan&a^ (TAPE). This is to introduce another northern Tribe, the Ifugao (IP - U - GO).

11. Play Wzddlng Vancz, an Ifugao piece for 3 gansas. There are only three pitched gan&ai> used for this, but each pitch may have several people playing. Consequently, the whole class of pupils may play this piece. SIMULATION: As this is the first piece to be played it is necessary to explain the author's meaning of simulation for non-western music. Simply stated, simulation means to find a western musical

...A27 A18

Vugio il)

DUGSO

PAWCE

Vugio is a ceremonial dance of the Bukidnon. The dance may be performed as thanksgiving after a good harvest or as an offering to the gods for special favours. The dancers of Vug6o have serious facial expressions and the movements are executed with an air of solemnity and reverence. In Bukidnon, a fire is built at the place where Vug6o is to be performed. The dance moves around the fire, as it is believed that the smoke from the fire carries the offerings and prayers to the gods. Vug-i>o may also be danced around a table laden with food, the food having been specially prepared as an offering to the gods. Boys and girls, or only girls, may perform this dance. Dancers wear Bukidnon costume and headdress and wear bells around each ankle. The rhythm made by these bells as the feet strike the ground is the principal music accompaniment for Vug^o. A simplified version of Vug^o is given for class­ room performance. The rhythm for the bells is also given separately, as some members of the class could help with the bells accompaniment (keeping same serious manner and sitting to one side of the dance area). In Bukidnon performances of Vug^o, the priest often chants while the dance is in progress, or occasionally soft music is added. A19 362

Vugio ill)

SECTION A

With serious facial expressions and leaning back­ wards (at all times), the row of dancers hold hands and move as one long entity. The hands swing in natural rhythm as the dance progresses. Build a simulated fire, or food-laden table, in the centre of the dance area. The dance will always move around this centre, it being the focal point in the offering or thanksgiving. Enter USL, moving in direction given in diagram below. Use brush-tap-bal1-change step for entry step. There is no prescribed number of steps for entry, but it is suggested that the pattern performed eight times should be sufficient to allow all dancers to enter. Move hands freely, but maintain reverent attitude.

•x-x-x-x-x-x

SR FIRE SL

£n;trjr^ s^te^p_pa^tt^e£nj^ . time, 4 bars in pattern. The first two bars are performed in place, with the next two bars moving in the direction of Right:

J .f .^ Brush L Tap L Step L Brush R Tap Step Step backward backward R. R. L.

> I > ^ R. Ball Change Ball Change Ball Change Ball Change

§ Brush: Strike the ground with the free foot. The foot is off the ground at the end of the movement. A20

VugAo {III)

§ Tap: Touch the ground with the ball of the foot without putting weight on it. § Step: To place weight on entire foot. § Ball Change: Stepping with weight on one foot (R), transfer weight to ball of other foot (L) and then quickly to the original foot. For the Vugi>o entry step, as it moves in direction of Right, it is the R foot that has the weight. ( J* = stepping with weight on one foot, R.; J* = transfer weight to ball of other foot, L.)

SECTION B

Moving around the fire (with hands, arms and face as in Section A) perform B Step. In the diagram, the circle direction is shown once only; the dancers move in this circular direction as often as it takes to perform the steps for Section B. Circle direction: counterclockwi se.

SR SL

B Step is 3 bars in length. Perform B Step eight times around fire. A21 364

Vug6o ilv)

B Step:

• • « L across Tap Step R R in R sideward front, to to Right: bending Right.a large step R knee. to Right.

SECTION C

Remain in circular formation around offering fire. Hands, arms and facial expression as before. Section C features movements in which the dancers move out from the fire, then return towards the fire. The 'outward' step is of 4 bars length and the 'inward' step is of 4 bars length. Perform the outward-inward pattern four complete times (i.e. 8 bars four times = 32 bars). Outward-Inward Pattern: 1 1 • « J. ^ step L Step R Step L Step R to back, to back. to back, in place (quickly)

^ ^^ ^ • • « • . J J Ball Change Step L Keeping weight on in place to back. L, lift R leg high (L R L R). forward, pointing toes down.

} I 1 ^ Step R Step L step R Step L forward, forward. forward. in place (quickly) A22 365

VugAo {v

^ ^ ^ ^ \ • • • • Ball Change Step R Keeping weight in place forward on R, 1ift L leg (R L R L). high forward, pointing toes down

SECTION D

Repeat all Section B

SECTION E

The circle direction has always been counter­ clockwise. Section E is the exit Section. Keeping the circle direction correct (and the posture and facial expressions correct), exit USR. Use Section B (B step) for exit step: as many times as necessary. (Note: in Bells music, exit rhythms are given eight times.)

\ SR FIRE \ SL \ / N „ / A23 ^^^

Vugio {vl)

DUGSO: ACCOMPANIMENT MUSIC FOR BELLS

Rhythms for bells to accompany the Bukidnon ceremonial dance, Vug6o. The rhythms are written in sectional format, but in performance there is JTO^ break between Sections.

SECTION A: Repeat this 4-bar pattern eight times. i.n.i in.ni.n.ni.n.ni

SECTION B: Repeat this 3-bar pattern eight times.

4N J i; ) i.n J

SECTION C: Repeat this 4-bar pattern eight times. ii J I J. >l.nniJ J 1

SECTION D: Repeat this 3-bar pattern eight times %i J ij J I.n J 1

SECTION E: Repeat this 4-bar pattern eight times in J mni.n.ninn

o o o o o o o o o o o o o A24 367

Vugi>o

Banga

Philippine Tribal Illustrations A25 368

SB3

WEWING VANCE Ifugao

Fast J=J =15i 2

GANSA 1. (High) - hit with stick GANSA 2. (Lower) - stick (s); hand (h) -s' tn! Js nt GANSA 3. (Lower) J J J J J J .1 J - hit with hand • J }} >J J J J J J ri repeat continuousl / (as ostinato) s h s h, h J J J J repeat continuousl / (as ostinato) TJ }} >J 7^— ^

V^ J J J J n>j >j

7^ -7^

J J J J J JL ft. f t7 —^^^- 7^ A26

Pupil's Bk.

IFUGAO GANSA and WEVVING VANCE Listen to the gamai, as played by the Ifugao of the northern Philippines. Play the transcription for 3 gamai, called Wedding Vance, Comment: BUGAN msiimm> This song is sung by the Ifugao and tells the story of Bagan, a beautiful young girl. This song is difficult to sing: why is this so?

^^m BICBIC Listening Sheet 1. Blcblc is sung by the Kalinga, in the north, at times of death. Give reasons that suggest this theme in the song: 2. Comment on the vocal style (i.e. the way of singing):

© ^ ALSIG Listening Sheet 1. The Kalinga witch sings Alilg. Give examples in the song that suggest this: 2. Comment on the rhythm of Alilg: and comment on the melody of Alilg:

ULLALIM Listening Sheet 1. The Kalinga sing their epic folktales relating to the deeds and feats of their heroes by singing the Ullallm. Give several vocal techniques heard in Ullallm:

ELA-LAi' Listening Sheet This is a different type of Kalinga singing. It is a song of rejoicing, and is rather similar to Ela- Lay in Sallp (see later). Comment on this slow Ela-Lay and follow score: rhythm: melody (tune) .... voices:

SALIVUMAV MANG-ANI Listening Sheet ^^ This is a ialldamay of the Kalinga. Name another northern Tribe who sing a ialldamay: This Kalinga ialldamay is sung at harvest time. Coraraent on the melody (tune): the rhythm: voices: This is the fifth Kalinga song that you have heard. Briefly summarize Kalinga vocal style: A27 370

instrument (or any available sound source) that is similar to the Philippine instrument under consideration. The western instrument may have to be played in an unusual manner or quality of sound altered in some way. The primary aim in simulation is to achieve the CLOSEST POSSIBLE SOUND REPRODUCTION of the original sound. Simulation, in no way, pretends to bje the original sound. Ifugao Wzddlng Vancz is for gansas of high, lower and lower pitch. Find a sound source to simulate these sounds and pupils perform Wzddlng Vancz. Suggestions for simulated gan^a: damped cymbals, damped metallophone key, piece of metal or tin. Wzddlng Vancz is in Score Book, page 3. Wzddlng Vancz is on Page 25 of this Teacher's Book. Gan6a 2 part, and Gan&a 3 part, are merely repeated ostinato patterns using the two methods of playing gama (stick and/or hand). Gan^a 1 part is a little difficult and, if there are no pupils capable of playing the rhythms, the Teacher should play this Gansa 1 part. The tempo is very fast, the dynamics 1 oud.

12. Pupils sing Bugan, an Ifugao song. Bugan is in Score Book, page 4, and on page 28 of this Teacher's Book. Translation is not possible, but Bugan tells of the man Duman courting the beautiful girl , Bugan (BOO - GARN). Even though the pitch and rhythm of Bugan song is difficult, it is suggested that pupils try to sing this song. Teacher may help with pitch and rhythm by also singing or playing on wind instrument. DO NOT USE PIANO. Bagan is not on TAPE.

13. Listen and answer Listening Sheet for five Kalinga vocal pieces (TAPE): Blcblc, Al&lg, Ullallm, Ela-Lay and Salldumay Mang-Anl. These vocal pieces are from the Kalinga northern Tribe. Lead pupils

. . .A30 A28 371

SB4

BUGAN Ifugao

J=6 6

ALSIG

Kalinga

=96

g| =te^ ^ ^ ^•1 ^J |fJ =g Hay^i Hay>-i A lig-gu_^g gwa-non y 7 ^Wif d M »J tyJ bW i»i^ ^ 321^ ma-wa-an si-an ng tu-bi de ^ Heu-01^

^ ^$s ^ e ^J yJ )>*HifMn^ in "^ Heu-oi Hay-i A- lig-fle't ga-ka- me ga-mo- ii *e ^ i b^* 1/J bJ> ^J b/K J no ^ Hay-i A lig-gu_^g gwa t'an-an ng > ? iSi * tu-bi dle > Heu-olS Heu-oi Heu -01^ A29 372

SB5 ELA-LAV

Kalinga

J = 63 P El -a - lay la el-a ^-W-^ WW.1,

la el-a el -a - lay In ta pu

^ B^ paJU. h -m 1 na ong su - ra ^Sm^ s ' ?i'-;'-lay. la'?l'*#-*#-fay, #^ •lay, Rs Plael- a el -a - lay El -a -la '^^ lael-afr -eT i HP i lay. lay. la el-a el- a- lay,

SALIPUMAV MANG-ANI

Kali nga

1-88

^S .njn n 31 uon.Donodonq Qongq aay , Dong dong ay si dong e-lay in- se - da - li

Repeat X3 dong dong ay ay ung sa - li -du-may A30 373

to answer Listening Sheets using directed listening Listening Sheets are not test sheets. Each vocal piece should be listened to twice only (however, if you wish to listen more times, feel free to do so). The five Kalinga vocal pieces are in Pupil's Book page 9.

Answers to five Kalinga vocal pieces:

Blcblc- 1. Mourning sounds, wailing, flute part, etc. 2. Sliding pitches, wailing, free rhythm, etc. AI&Ig: 1. Sliding from notes, (Score Book, page 4, and 'shuddering', tremolo page 28 of this Teacher's vocal effects, etc. Book) 2. Rhythm: free, following words, not metrical. Melody: three note scale.

Ullallm; 1. Sliding pitches, breathing effects, tremolo, nasal quality, free rhythm, limited range and scale. Ela-Lay: 1. Men and women singing. (Score Book, page 5, and Rhythm: rather metrical page 29 of this Teacher's and easy to follow. Book) Melody: five note scale (pentatonic). Voices: male and female. Rather slow.

Salldumay Mang-Anl 1. Bontok. (bcore Book, page 5, and page 29 of this Teacher's 2. Melody: Simple, repeated, Book) pentatonic. Rhythm: metrical. Voices: men alone firstly, then men and women together. SAR-LI-DOO-MAI MARNG-AR-NI.

14. Listen and answer Listening Sheet for Sallp and Ela-Lay (TAPE). Pupil's Book has information (page 10 Pupil's Book). SAR - LIP and EL - AR - LIE. Sallp and Ela-Lay is in Score Book, page 6, and on page 31 of this Teacher's Book.

• • • M «3 O A31 374

SB6

SALIP

Kali nga J=c. 160

GANSA and SULIBAO : .Introduction - ^ three bars,

.57 bars.

ELA-LAy

J =120 A Li>J >>.! -h;^ S m *i • ' ' ^ * El -la-la e-la-la e- la-la e-la-lay, e -la-la el-a-lay. I

la-laell-lay. El -la-la e - la-la e - la-la el-a-lay, e - •hJ>J >>J >i ^~-m i la-la eT?a-lay, e-*- la-la el-f-1 ay, e - la-la e -la-la e i \^^m.-g.-—^ —#' 4- * J >',—f r '•>••» ^ »' Ila-lael-a-la y , e - la-la el-a-lay, e -la- lael-a-lay, e - ii >j >n >\nr\ * •' • .J • la-la e -la-la e - la-lael-a-lay, f-e - la-lael-a -lay, fe - i J'lJJ J'j'.i J'l-n^ i •' la-Tael-J-lay, El -la-la e - la-la e -la-la el-a-lay, '•^e-

I'lJJ J'» M•• J' r-y V :• ** *^* Ila-lael - a-lay, e -la-lael- a-lay. El -la-la el -la-la e

^ ^m• • . -J*^'J •' • J *'. .-4 # »'—m• I i la-lael-a-lay, e*^-la-la el-^-lay, e"*"-la-la el- ci-1 ay

^ i IS^

OSTINATI: Clapping Gansa 1 (hand) Gansa 2 (hand) A32 375

Pupil's Bk. - 10 SALIP and ELA-LAV Listening Sheet 1. Name the two instruments in the Introduction of this Kalinga wedding music: 2. How many different pitched gama do you hear as the music progresses? 3. What methods of playing the gama are used? 4. Does the iallbao continue playing with the gamal ... 5. Describe what the iallbao plays: 6. Draw the iallbao and gama in space provided:

The fast Ela-Lay song completes Sallp. Comment on the rhythm: the voices: the melody (tune): the accompaniment: Sing and accompany the rejoicing song, Ela-Lay.

I PAW Listening Sheet Idaw is music from Kalinga in the northern Philippines. Name the instrument which opens this piece: From what is this instrument made? Does this effect the quality of the sound? How? Describe the melody (tune) played by the first instrument in Idau): Sullbao, whistling and banglbang follows. Describe the music and explain these words: 4. Towards the end, when the tempo becomes fast, what do you think the music is describing (circle correct): death - wedding - battle - hunting.

BANGA Dance (Kalinga) Briefly describe this dance, Banga, and mention the accompaniment.

SCALES and RHVTHMS Improvise, stylisti cally , on these Tribal scales, using the given rhythms: Rhythms: Ifree rhythm II J >1 >J II f}Jl JU3 I J Jl Idaui: Kallelen^: Alilg: Scalp-^-l^1|H. .^.^''-lifu.^-'• k« * * II P . h^ t>'* Ilf> . u^ Ela-Lay: Bugan: Vong-Vong Ay: fii i|,^..b.rf.^"'^ f!E -*—•— Lantay: lyaya: Kalatang: # * tE ^ S^ END: MUSIC OF TRIBES IN PHILIPPINES ^ivK 376 A33

Answers to questions for Sallp and Ela-Lay:

1. Gan-6a and Sullbao. 2. Three or more. 3. Stick and/or hand. 4. Yes. 5. Mainly continuous 'rolls'. 6. For drawings, see Pklllpplnz Tfilbal ln6tfiumznti>. 7. Rhythm: metrical. Voices: men and women. Accompaniment: gansaA played with hand mainly. Clapping from singers.

15. Pupils sing and accompany fast Ela-Lay, as in Score Book, page 6. Sing with TAPE if you wish. Accompaniment ostinatos are in Score Book, page 6, and are to be played on simulated gammas, played with hand. Fast Ela-Lay is separate on TAPE for convenience and score in Score Book, page 6 (with Sallp) and in this Teacher's Book, page 31. Clapping ostinato to be played by pupils while singing.

16. Listen and answer Listening Sheet for Idaw of Kalinga Tribe. Idaw is in Score Book, pages 7 and 8, and on pages 34 and 35 of this Teacher's Book. Idaw is page 10 of Pupil's Book and all information is given.

Answers to questions for Idaw:

1. Paldong mouth flute. Bamboo. Resonance differs from an instrument made of metal, for example, a western flute. 2. Free rhythm used and melody is pentatonic, etc. 3. Sullbao is drum, banglbang are musical sticks. Sometimes both instruments play same rhythms and sometimes they have separate parts. The tempo is faster. 4. Battle or hunting.

17. Pupils perform Banga dance (BARNG - AR), and provide accompaniment. Directions for Banga, (as observed . , .A42 A34 377

SB7

IVAW

Kali nga

PALDONG (free,J=c.63) p i i^ i 32- i =f;?p m ^3^^HE JtE r 'r'fL ^ i

iCZi ^ ^

r\ /TN sm.iBAn be & UMI >'^'V^^^^^ •''^ ^J 1R&= ^ f J =132 ^^^''^^^'-^ 1 ^ * a*K i ^ k*. i'i T il iyj-it i J (SULIBAO)

Jtit^Stit'it*2C3 * ^ ^ ^ WHISTLING (rhythm (jnlv)

3z: /> ^ JJJJJJJ ?S

^ ^ ^ KXrk x 3if ?(x •X:AI ;^ A X « X iaP I I I _ ,t o

/ {

^ ^ k: "fe ii- ma V * X X X XZ3E BANGIBANG

^ ^il?tilX

SB8

k n nnpirrnmAND SHOUTS n nnnn:nnnn;^nrnn

yi X K X A X XX: a t ^t^ ^^ A ^ Ai^ it ^'• I 111!

^ X.XXX'^X^XXXXXXXXX|/>Xranrnn^ XX >f XX X I

S (SULIBAO) J =152

^ it }K^i>tA3iA'J^ilrjk^]k.ji*.X])iii mnro X3t X at tf Xv n3t s^ 3 >k XX A X X XX X 12 I •GANSA I

i « « ~^ AND SHOUTS

'^^^ ^ lx3txxxKXxx)r;tXHxi3q • I ij 1 J I ; s i 3t X. _v:. \k t. < it I

..^ .^.. ^ ^ -^ ^ ^ ' accel • I

^ V' « '*' "I 379 A35

SB9

J =184

*•» » jg S XXmX ^ I^ \t ii •ii it it ^ * tf V

BANGA

^ GANSA s s • s s • » 9 4 h d 11

s = Gansa hit with stick h = Gansa hit with hand

SULIBAO 1 iln , >j n V 4

•^ A36

Banga [1}

BANGA

VANCE

Banga is a Kalinga occupational dance. It is performed by women with piles of clay pots on their heads. These are the pots the Kalinga women use to carry water. For the purposes of the classroom, baskets may be substituted if several clay pots are unavailable (baskets are used among the women of many Igorot tribes for carrying food, washing, or earth from the building of the rice terraces.) In Banga dance each girl has piles of clay pots balanced on her head (see later page). There is no stipulated length for each section in this dance as performed by the Kalinga, but the simplified version of the dance given here has some specific time lengths suggested, for ease of understanding and interpretation. 4 The time signature of the music is T. The music has one rhythmic pattern repeated continuously. The dance begins with slow steps, followed by faster steps, which show the skill in balancing many pots. The score for accompanying music is given. Some of the class can play the music while the others dance Banga.

SECTION A:

Enter in straight line, behind the leading girl. Enter USR. Move in direction as shown in diagram below, ending in a straight row (x x x x etc.): 381 A37

Banga {II)

SR SL :)

xxxxxxxxxxxxxxx

step for entry: Lean backwards with hands on hips. Head is held very steady to keep the pots balanced. Eyes downcast. Chin must not be thrust forward in aggressive manner. Slow, minim o steps (2 steps per 4 bar) are used. Stretch and slide R foot forward

(J J), keeping upper torso leaning backward and swaying hips to the Right as R foot extends forward. Slide L foot forward (J J ), keeping upper torso leaning backward and swaying hips to Left as L foot extends forward. This is the entry step and it continues until position and formation is achieved. The overall effect of this entry Section A is slow and rather sinuous.

SECTION B

Form line (x x x x etc.), as in finishing position in diagram for Section A. Stand feet together. Perform the following movements (the feet movements are firstly given and then the arm movements are described, but both are performed simultaneously):

Beat 1 Beat 2 FEET: h Point R Return Point L Return forward R to forward L to across original across original L in position R in position front. and front. and Bend L straighten Bend R straighten knee. knees. knee. knees. A38

Banga {III]

Beat 3 Beat 4 ^ Point R Return Point L Return forward R to forward L to across original across original L in position R in position front. and front. and Bend L straighten Bend R stra ighten knee. knees. knee. knees. After these 4 beats (above), turn a full circle in place using:

Beat 5 Beat 6 J^ ^ Step on Step on L step on Step on L R, bending R, bending R knee R knee si ightly. siightly.

Beat 7 Beat 8

Step on Step on L. Step on Step on L. R, bending R, bending R knee R knee slightly. slightly.

Perform this eight (8) beat pattern four times.

ARMS: Arms are raised sideward at shoulder level with elbows slightly bent (NOT stiff or rigid arms). Palms face outward, fingers together but in a relaxed position, finger-tips pointing up. Holding angle of arms correct, arms dip downward on each first half of beat ( P) and up to starting position (shoulder level) on each second half of beat (.^). Move smoothly, not stilted or stiff: move arms in a flowing manner. Arm movements are:

^ ;» • > > > ^ • J> • Down Up Down Up Down Up Down Up etc A39

Banga {Iv)

This arm pattern is used simultaneously with the feet movements above. Continue for length of Section B (i.e. 8 bars of J).

SECTION C

From the straight line position (x x x x etc.), leader walks to form a circle of girls, taking two steps per crotchet beat (i.e. one step each quaver):

xxxxxxxxx from here

thus

While walking to circle, L hand is on hips/waist and R hand is held up beside pots, with palm facing sky. Hips move as before. Take 8-16 (or as many as necessary) beats for all dancers to arrive at circle formation. Head, pots, arm and palm position are given in the illustration on the next page. A40 384

Banga (v)

Keeping arm, palm, hips and feet movements correct, walk in a tight circle for a further 8 beats.

SECTION D

Leader breaks circle and leads off to exit SR. All use the same arm, palm, hips and feet movements as at end of Section C. When walking off, each girl removes the pots from her head and continues, in serious manner and with correct movements, to exit. (In some performances of Banga observed, the final girl, as she takes the pile of pots from her head, removes the top pot and smashes it to the ground. This A41

Banga {vl) is to demonstrate to the on-lookers that the pots are balanced and breakable!)

ACCOMPANYING MUSIC: BANGA

Banga is accompanied by gansa with, sometimes, sullbao added. The following accompaniment patterns are repeated as often as necessary. Both instruments play simultaneously.

GANSA s s s s s =Gansa hit with stick f i ^ = Gansa hit with hand. • h h h SULIBAO: t." '.1 rj-n •'.^'

Note: Aurally, what is heard from the gansa are two separate rhythms, played on the one instrument and by the one person. The 'gansa hit with stick' rhythm is: I | \ ^J \\ The *gansa hit with hand' rhythm is:i ^ K N

o o o o o o o o o o o o A42 386

by the author) begin on page 36 in this Teacher's Book, numbered Banga {I) - (vl). Banga is shown in Philippine Tribal Illustrations (page 24 of this Teacher's Book), and accompaniment, 9, Score Book.

18. After dancing Banga, pupils write brief description of Banga in their books (page 10 of Pupil's Book).

19. Scales and rhythms improvisation by pupils ends the Tribal section. Use simulated instruments for Tribal rhythmic instruments and improvise with given rhythms. Use simulated wind instrumental sounds for pitch/scales given. Call on knowledge of Tribal music to improvise stylistically.

11M1IlI1l1IM^111If^111l1I111I111I111I1I1I^1ITIlI^1I1I^^^11111l^1I1I111If1I111I1l1I1l1111ffl^ §§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§ 387 A43

MUSIC AND DANCE OF THE MOROS IN THE PHILIPPINES

1. The Philippine Moros live in the island of Mindanao and follow the religion of Islam. Moro is a term given by the Spaniards to the Muslims of the southern Philippines. These Moros have a music and dance tradition completely different to any other section of the Philippine population. Moros are divided into sub-groups of Yakan, Maguindanao, Maranao, Tausug, Samal and live in Mindanao, Sulu, Jolo and Basilan Island. Moros form approximately 8% of the Philippine population.

2. Play Vuyog (TAPE) as an introduction to the sound of the music of the Moros. There is no Listening Sheet nor score at this stage for Vuyog.

3. Listen and read information for Instftumznts oi tkz Mofios (Pupil's Book, pages 11 - 18: beginning next page in this Teacher's Book). Pupil's Book contains all information. Instruments on TAPE in exact order as in Pupil's Book.

4. Listen to Blnallg (TAPE but no score). Information is in Pupil's Book, page 19. The listening to Blnallg excerpt at this stage is merely to prepare the pupils to play another version of Blnallg for classroom kulintang ensemble.

. . ,A52 Moro: See note page 159. A44 388

Pupil's Bk. - 11

MUSIC AND DANCE OF THE MOROS IN THE PHILIPPINES

InitfLamenti 0)$ the HoAoi

GABBANG The gabbang is similar to a western zylophone, both in appearance and in the way in which it is played. The keys are usually made from bamboo, and there may be from 5 to 9 keys. The resonator box/frame is often decorated, using oklt designs. The tuning is versions of the pentatonic: for example. 1^ < * ¥ The gabbang varies between 40 cms. to 70 cms. long, by approximately 30 cms. wide and 25 cms. high. It is played with two mallets (or beaters). Listen to the gabbang and follow the score below:

fe^^iO>.njjJ',n?ji^>J~a^ J tj. 3JD).' i^^

GABBANG The gabbang may be played as a solo instrument, or in Moro ensembles.

KUVVAPI The kadyapl is a string instrument, with the body made in the shape of a boat. It is sometimes called the 'boat-lute' for this reason. This 'boat-lute' title is not completely correct, as a closer investigation of the kadyapl shows that the head and tail resemble a bird-like figure. The reason for this 'bird' shape is that the Philippine Moros believe in the good fortune of the iaxlmanok bird (see illustration at end of Moro section), and use ian.lmanok designs and motifs in many ways. The kadyapl is a two-string instrument, with a drone string. Listen to the kadyapl excerpt, noting the range and style of playing. The scale is a version of the pentatonic. The kadyapl demands great skill and expertise to play. Among the Moros, the kadyapl is often considered as a communication instrument, as they can understand the meaning of what is being played as clearly as if they were talking to each other. The sound of the kadyapl is very different to our western musical instruments. A45 389

Pupil's Bk. - 12

InitfLamenti oj the ^oioi (continued)

KUVVAPI

SULING The iallng is a Moro flute, made from bamboo. Sallng is played by blowing through the mouth and the instrument is held vertically. It has four finger-holes. The blowing end of the iallng is encircled with a thin rattan ring to create a mouthpiece. Listen to the iallng excerpt and note the wide range and style of blowing. This piece for iallng is played by a Moro from Maguindanao.

Ring creating mouthpiece of the iutlng. Top of iullng.

(CUBING The kabl ng 1 s a Moro ba mboo jaw's harp. It is played by exhaling and inh aling t hrough the centre, while the thumb gently v ibrates the sle nder end-piece in desired rhythms, It is po ssible t 0 Chang e the pitch by using different methods of blowi ng. Listen t 0 the ma n from Maguindanao playing the kublng. This instrume nt is of ten use d to convey messages and the player demonstr ates how the feufa-tng plays a certain sentence. The man says the sen tence a nd then plays it on the feub^ng. He plays th e first word se veral times and then the second section of words Final ly he s ays it all and plays it on the kublng. It is ea sy to he ar how a person could send messages by playing the kabl ng. Sentence: Tlnambak a Tlnadtad. 1.: Tin - am - bak. 2. : A Tin - ad - tad.

Holding and playing position of kublng. Okil decoration on Moro kublng. A46 390

Pupil's Bk, 13

ImtKamenti of, the MofLOi (continued)

(left) TWO KUBING

(Below) Vibrating action of KUBING

BABANPIL The babandll is a bossed go ng. This means that the gong has a type o f knob in the c entre which is usually the part of the gong that is played, However, to play the babandll, the player s trikes the rim of the gong with a hard mallet, producing a sharp, metallic sound. The babandll , together with the dabakan drum, the gandlngan gongs, the 1arg e agong gong and the pitched kallntang gongs form the most famous and wi dely used Moro instrumental ensemble: th e KULINTANG ENS EMBLE (called ba^a^an). It was the baialan (kallntang ense mble) which played Vayog at the beginning of this segment. The babandll often opens a piece for kallntang ensemble and announces th e rhythmic mode for the piece. The babandll is the highest pitched of the rhythmic gongs of the kallntang ensemble. 0 ccasionally, a piece uses two babandll. Listen to th e babandll from Maguindanao and identify the following tw 0 rhythmic moti fs:

(a) JJJ • (b) .nm} The baban dll is suspended sometimes from a fr ame. It has a shallow or narrow rim (see diagram of proportio nate sizes of Moro gong s). The babandll may be highly and i n t r cateli y decorated , using favoured Moro designs. The baban dll in the picture ( left) features the boss and shallow rim (whic h unfortunately cannot be observed I).

BABANPIL A47 391

Pupil's Bk. - 14

InitfLamenti of, the Moioi (continued) PABAKAN The dabakan is a drum, played with two sticks. It is approximately 60-70 cms. high, with a head of animal skin. The dabakan is the drum of the kallntang ensemble. As with most Moro musical instruments, dabakan may be decorated and the picture shows a dabafian inlaid with mother-of-pearl. Listen to the dabakan excerpt, played by a Moro from Maguindanao. The two beaters, alternating, play the following rhythm quickly: J rp pR D

PABAKAN '^'^'^ifi^^^^

GANPINGAN

The gandlng an IS a set of na rrow-rimmed, suspended gongs. There may be thre e or f our g andlngan in a set for the kallntang e nsembl e. Ea ch of the gongs is of a different pitch, and one pi ayer p lays the gandlngan with a soft mallet. Th e gong s are playe d alternatively, depending on the mode of th e piec e. Listen to t he gan dlngan exce rpt from Maguindanao and identify th e numb er of gongs comprising the gandlngan (to do this, li sten t 0 the diffe rent pitches of the gongs), Gandlngan m ay be suspen ded s ide-by-side (see diagram of gongs) , mayb e su spende d Sid e-by-side with bosses all facing fron t or m ay be suspe nded one beneath the other (see picture of two ga ndlnga n in decorated frame). As with other Moro instru ments , any of the gandlngan gongs may be elaborat e ly de cerate d

Oriia te

( V i i>w |).i ijr s i d e w a'y s to 1 d'enti fy) A48 392

Pupil's Bk. - 15 Initiumenti oj the Uoioi (continued)

-«•

AGONG The lar ge, deep- soundi ng , suspended agong i s the lowest of the rhythmi c gongs of the kul Intang ensembl e. 11 i s made of cast bronze (as are all Moro go ngs). The agong h as a wide rim and a large boss. Listen to the exc erpt of a single stroke from th e agong, followi nga fragmen t of melody from the gabbang Agong may be suspended from a frame, hangi ng parallei AGONG to each other. Some Mo ros , for example the Yakan, suspend the agong from a single point.

AGONG (Yakan) A49 393

Pupil's Bk. - 16

InitfLamenti o^ the MofLOi (continued) BABANPIL, AGONG and GANPINGAN: proportionate si zes.

BABANPIL

AGONG

GANPINGAN

KULINTANG ^^i^j^^is^igWkv^k^^s^^^J^:^^ Thefea£-cn;tang is a set of seven or eight bossed gongs, which together form a scale. The gongs are set on a stand, in order, from highest to lowest. The kallntang plays the melody (tune) in music for kallntang ensemble. It is played by one person, usually a woman, using two beaters. The beaters may be soft or hard, depending on the style of kallntang playing needed for a piece. The smallest and highest gong is approximately 16 cms. in diameter, and the largest and lowest gong is approximately 21 cms. in diameter. The remaining gongs graduate between these two sizes. The eight, shallow-rim, bossed gongs of the kallntang are made of cast bronze. Each gong in a set may be decorated using okll designs, as may the stand holding the kallntang gongs. Each village has a kallntang ensemble (kallntang, babandll, dabakan, gandlngan, agong) and the tuning is slightly different for each set. Moro kallntang mode or tuning, although varying with some kallntangi , usually comprises tone-minor 3rd-tone-tone-tone-tone-tone. The kallntang plays the gong-melody and usually begins with the low gong pitches and moves through the higher gongs as the music progresses. It ends a piece with rapid descent from the top gongs. Listen to the three excerpts for kallntang. Ex. 1: low gongs, ending with this pattern: J—n riH J~} r~: 3 333433454 (gong number in set) Ex. 2: high gongs, using three patterns: (a) n8 8 m8 7 8 (b) rrr: FT}7 8 (c) f37 n 6 j>6 A50 394

Pupi I 's Bk. - 17

InitfLamenti o {^ the UofLOi (continued)

Ex. 3: all gongs, demonstrating the player using two gongs to form a chord. Occasionally, the lower gong acts as a type of drone. These three excerpts are played by Moros of Maguindanao, in di fferent vi 11 ages.

A single kulintang decorated gon 9.

Moro girl pi ayi ng KULINTANG.

KULINTANG

KULINTANG ENSEMBLE The illustration on the next page shows the full kallntang ensemble. It is a very elaborate, highly decorated set of instruments. The kallntang ensemble is used by Moros in Mindanao, especially the sub-groups of Maguindanao, Maranao, Tausug, Samal and Yakan. A51 395

Pupil's Bk. - 18

InitfLamenti oj the Uofioi (continued)

KULINTANG ENSEMBLE 396 A52

5. Play Blnallg for classroom kulintang ensemble. Blnallg is in Score Book, pagelO, and on pages 53 and 54 of this Teacher's Book. There is a part for kulintang, which should be simulated by dampening a glockenspiel or metallophone (an electronic keyboard could be set to the desired sound). If using glockenspiel or metallophone, damped, use wooden beaters or felt beaters. If no pupil can play the kulintang part for Blnallg, the Teacher should play the part. Do not be concerned that there are no regular 'bars' nor a consistent time signature. The accompanying parts for Babandll, Vabakan, Agong and Gandlngan are given on second page of Blnallg score. Simulate the babandll by using two hard beaters on small cymbal (damped); simulate the dabakan by beating a drum or tambour; simulate the agong by using two large, damped cymbals (or any other low-sounding metal item), hit with two SOFT beaters; simulate the gandlngan by using three damped cymbals (or gongs, etc.) of different pitches of high, medium and low and hit gandlngan with SOFT beaters. Recall the sound of the original kulintang ensemble when simulating sound. If the number and variety of pitched gongs for babandll, agong and gandlngan are unavailable, use one gong for each and play ostinato rhythms as directed.

6. View the video of Slngkll. Answer questions written in Pupil's Book, page 19.

Answers to Video Answer Sheet for Slngkll:

1. Moros. Maranao. 2. Moro chant and kulintang 3. Bells, Ankles, 4. Kaplll Sa Munsala. 5. Four.

. .A56 A53 397

SBIO BIWALIG

Moro

Fast

R. H. ^ ? KULINTANG L.H. }l}l}l}'} ^

ftlF 1 A f)li m-!^^ 1 • f « » T;±3I^ ! IK ' {" 1 ._— Efe flfl| J J id -• « » J -i,u_ai iHlH

r^i Transition n -• ^ 1U lt» A I ! N gi ?!» g> ^ 31* ^ JJi >

i w t a' rf ^i Transition Conclusion A—f—^—•__p—t, . 9 . ^... g ^ . • • • 1 j • ' L- U J r? ^ M

IkL r r r T ^'r r 1 L^ 1 |L^ •

J • • A54 398

SBll

Fast BABANDIL Intro.: I I J I ,1 I I J J J ostinato : [^^J^J^

R. 2 Beaters r^imi L. JL± » t iMi tA DABAKAN Intro. J J J J |J JJJ I Ostinato

R. 2 Beaters L. ft » • UL t*.

(Note that Babandil and Dabakan ostinato patterns are the same.)

AGONG Intro.: Ostinato : n ni m m, dm •• • m •• m dm •^ H. 2 Gongs , : viir\n^ [^1 . -4 GANDINGAN Intro.:

Ostinato : nmnini.II H. % 3 Gongs M. JtfL L. \n a A55 399

Pupil's Bk. 19 BINALIG

Blnallg is for kallntang ensemble, Blnallg is an entertainment melody.

SINGKIL Video Answer Sheet Slngkll is a royal dance of the from At the opening of the dance, there is a procession of the prince, princess and attendants. What accompanies this procession? , The name Slngkll is derived from the worn around the of the princess. In this video performance of Slngkll, there are three Moro dances combined, namely, slngkll, Vallng-Vallng (with fans) and How many bamboo poles are used for Slngkll! What instruments accompany Slngkll'? What is the story of the origin of S-cngfe-t^? 8. The poles start very slowly and then get faster/get slower. (circle correct) 9. Describe the clothing for Slngkll: 10. Notice that the attendants never raise their eyes to see the royal couple. Give examples of other ways in which the attendants are dutiful to the royal couple:

11. The princess wears a on her head and uses aplfL (which are ) 12. Descrioe some of the complicated movements between the poles: 13. In Slngkll, the poles move in time signature of 3 4 (circle correct). 4 4

KAPIIL SA MUNSALA Moro Dance Briefly describe this dance;

TAMING BAILA Listening Sheet (^ Tahlng Balla is a dance performed by the Yakan Moros to describe the movements of Why do the Yakan have a dance like this? Give 3 musical ideas that suggest the type of dance of Tahlng Balla: There is a slight stop near the end of the piece. In the dance what is this for? What instruments play Tahlng Ballal

PANGALAi' Listening Sheet » Listen wwhil e the teacher plays Pangalay. Briefly describe this music. 400 A56

6. Kulintang ensemble. 7. A Moro princess walking through moving rocks caused by earthquake and she moves through without harm, much to the annoyance of the bold spirit, Vlwata, who caused the earthquake (Aquino V 1978: 101). 8. Get faster. 9. Elaborate, strong colours, panel in front of all dresses, etc. 10. Wait until Princess stamps her foot to start poles at opening; carry princess, etc 11. Saftlmanok bird. Aplft fans. 12. The answer for this may be whatever the pupils see. 4 13. 4*

7. Pupils perform and accompany the Moro dance, Kaplll Sa Munsala (KAR - PEAL/PE - IL SAR MON - SAR - LAR) (freely adapted and reinterpreted, as observed, from Aquino I 1978:45). This dance was seen as one of the dances backing Slngkll on video. Directions for Kaplll Sa Munsala dance follow, in this Teacher's Book, and are numbered Kaplll {I) - Kaplll [vll]. The rhythmic instruments' accompaniment is on Kaplll {vl). The kulintang part for Kaplll Sa Munsala is on page 63 of this Teacher's Book and in Score Book, page 13. Kaplll illustration on page 65: Philippine Moro II lustrations.

Pupils briefly describe the dance and music of Kaplll Sa Munsala after performing the dance (Pupil's Book page 19).

9. Listen and answer Listening Sheet to Taking Balla (TAPE). There is no score for this particular Taking Balla. Taking Balla (TAR - HING BY - LAR) is page 19 of Pupil's Book.

. .A66 A57

Kaplll {I)

KAPIIL SA MUNSALA

VANCE

Kaplll Sa Munsala is a Moro dance from Maranao in Mindanao. It is often referred to as the 'handkerchief dance' as the dancers hold a large, fine handkerchief in each hand, which they flip, wave and flourish in time with the music. Kaplll Sa Munsala is performed mainly by girls, but boys may also dance it. There is no strict sequence of movements or music for Kaplll Sa Munsala, as performed in Maranao. However, in the simplified version for the classroom (which follows), movements and music are stipulated for ease in 2 learning and interpretation. The time signature is ^. Kaplll Sa Munsala is a languid, beautiful dance. It is accompanied by the kulintang ensemble. A simplified transcription of the accompanying music is given and some students may perform this music (on simulated kulintang ensemble) as accompaniment to the dance.

SECTION A

Hold the body 'tall' and straight, with the back leaning slightly backwards and the head held proudly. Hold the large, coloured handkerchiefs (scarves may be substituted), one in each hand, at the corner, between the thumb and first finger. Dancers perform the dance in a row, one behind the other, or one beside the other (depending on direction taken). A58

Kaplll {ID

Enter USL using change step, one behind the other, with handkerchiefs hanging and held steady at waist level in front. Take eight change steps (8 bars) to arrive at back stage centre.

Change step

Step R Bring Step R Bring in front. L to in front. L to behind behind R (on R (on ball of ball of L foot) L foot)

Move hips gently (as feet move)

SECTION B

This Section uses same feet movements but different handkerchief movements. The handkerchief movements are given after the steps and direction information. Using change step (as before) and following one another (as before), move down the stage area in the direction indicated by the diagram. Take 2 bars to complete each direction movement.

SR SL

The change step should be as smooth as possible and the bodies should not be jerky or bouncey. Handkerchief pattern: Hands in front and both to the Right, slightly higher than waist level. Elbows out from body in comfortable position. Handkerchiefs remain stationary until final beat of bar 2, when they are flicked as high as possible. A59

Kaplll {III) i n rn « • ^^ • • • • still flick To R.: hands remain m n • • To L.: hands rema in still flick

When feet direction changes to Left, hands and hand­ kerchiefs go to Left, and so on through the Section.

SECTION C

From final position of Section B, move to a row across front stage. Use change step (as before) and same handkerchief movements as for Section B. Take as many 2-bar patterns as necessary to form an ordered line across front stage, with space of one meter between dancers.

SECTION D

Dancers are now in a line across front stage. Remember to keep facial expression serious and posture of slightly leaning backwards. Each dancer will now move in a circle of their own. Use change step and move clockwise for eight bars and counterclockwise for eight bars: (gl (gi (g5 Handkerchief pattern: Each pattern takes 2 bars, one movement for each crotchet beat. Hands go in opposite directions simultaneously: A60

Kaplll {Iv)

RIGHT: Drop R arm from previous (Section C) position. Starting with R arm extended down R side, raise arm (and handkerchief) higher on each crotchet beat. On final beat of bar 2, arm should be straight and above head. Flick hand­ kerchief high into air on this final beat. LEFT: Raise L arm from previous (Section C) position. Starting with L arm above head, drop L hand (and handkerchief) lower on each crotchet beat ( J J IJ ). On final beat of bar 2, arm should be down by L side and pointing to back. Flick handkerchief to back on this final beat. Reverse directions of arms and handkerchiefs every 2 bars.

SECTION E

Remain in line across front stage. Place hand­ kerchiefs on shoulders, one on each shoulder. Using change step, pivot in place, taking 4 bars to complete one pivot. Perform two pivots (i.e. 8 bars), going in clockwise direction. Hold hands so that the palms are facing front always, the elbows close to waist, fingers straight and close together. Fingertips of Right hand point downwards and fingertips of Left hand are pointed upwards. Take 2 bars to reverse position of the hands, turning wrists. Hands and fingertips direction- movement form two semi-circular arcs at each side of the body, moving in opposite directions: R ( } Perform these hand movements with the two pivots by feet (hands will reverse four times: 8 bars). Repeat Section E, pivoting in counterclockwise direction A61

Kaplll {V)

SECTION F

All turn to follow the leader (all turn in direction of SR). Making an elongated 'S' pattern, move through the main stage area to exit USR. Use change step and take a minimum of 16 bars for leader to reach exit spot. A new handkerchief pattern is performed simultaneously, and will be explained after the direction diagram: 3 SR c SL ) cxxxxxxxxxx x

Handkerchief pattern: Each movement takes 1 bar (2 crotchet beats). Remove handkerchiefs from shoulders and hold correctly, one in each hand, at chest level with elbows away from body. Bar 1 - Raise R arm and flick handkerchief high. Bar 2 - Raise L arm and flick handkerchief high. Bar 3 - Cross both arms in front, at chest level, and flick handkerchief high. Bar 4 - Extend both arms out sideways, R to right and L to left, and flick both handkerchief high. Repeat handkerchief pattern as often as necessary. A62

Kaplll {vl)

ACCOMPANIMENT MUSIC: KAPIIL SA MUNSALA

KULINTANG ENSEMBLE

All rhythmic instruments - dabakan drum, agong large gongs, babandll gongs, gandlngan gongs - play the following rhythms cleanly, loudly and strictly. If the school has different pitched gongs for agong, babandll and gandlngan, divide the rhythms between those gongs for each set. If simulating on one instrument for agong, one for babandll and one for gandlngan, play rhythms as written. Rhythms are given in sectional format, as number of repeats of a pattern will vary according to number of dancers and size of stage area (see Section C and F). The sectional format does not suggest that there is a break in the performance of the music. Where indicated, accent strongly.

Tempo MM j = 88 SECTION A play four times 4 •n • I \n J

SECTION B: J~] fl |n ] P^^^ ^^"'^ ^^""^^

SECTION C: PI n|n play as many times as necessary.

SECTION D: J J |^n play eight times

SECTION E: J^ 71111 J play eight times

SECTION F play eight times (or as n) in j| many times as necessary) A63 407

Kaplll [vll]

KULINTANG

ii ^ #» 4^ m -# ^-#- 19-19 r -g—g -.

i\ ji J d "^ TP* 'yp

«< ^^n 1^i^^fff r *» "Ifl'li^ B ^ C - Improvise on scale 3 - Improvise on scale: ^^ . . . ' ^'^''-^ is .#. • i^ i > «*l« ^

& IT 1^1 # > tf^ f d I

000 00000 000 o A65 408

Kaplll Sa Munsala

Philippine Moro Illustrations A66

Answers to questions for Taking Balla:

1. Fish/fishes. 2. Because they live by the sea and earn their 1iving from fi shing. 3. [This will vary according to pupil's answers.] 4. The dancers strike an exotic pose and 'wiggle' their heads like fishes! 5. Kulintang ensemble.

A" illustration of part of the dance Taking Balla is on page 67 of this Teacher's Book (Philippine Moro Illustrations). The costume is elaborate, with many coloured pieces hanging from various parts of the costume. Head covering is worn to disallow any male-female recognition. Hands and leg movements are angular but very fast. At one stage one dancer (one 'fish') leaps over the prostrate other dancer. Tahlng Balla is a fast, exciting and skilful dance.

10. Play the transcription of Taking Balla (another, simplified version) for three agongs., Simulate the agongs* sound as before. Several pupils could play each part. Make sure that wooden and felt mallet instructions are followed. This Taking Balla to play is in Score Book, page 14, and on page 68 of this Teacher's Book.

11. Teacher plays the piece of the Sulu Moros, called Pangalay (page 69 of this Book, not on TAPE, 15 in Score Book). Play Pangalay on any simulated Moro instrument, to allow pupils the opportunity to listen and describe the music in Pupil's Book, page 19.

12. Listen to Moro gabbang instrument (TAPE). This is the same excerpt as was used to illustrate gabbang

.A70 410 A67

Taking Balla

Philippine Moro Illustrations A68 411

SB14

TAHIWG BAILA

Yakan

J =13 8 THREE AGONG:

(±B» High (±G) Medium accel .... J= 160 1-168

(±D) Low a ftj *

H.

M. ull Ar 1.1 y

L. JLd 4_JL irmrmuT]> ^ •, J> 7 >J] At ,J.n J77l.rrn.rm

M. ill. iHi yii Hi L. Jli ^•,>',>J7X7>

H. ••.>/] rrnrnumh± ? ( M. ivL •.J7-. .1 L. mi ? > li'i

J = Hit with wooden mallet = Hit with felt mallet A69 412

SB15

PANGALAY

Sul u J =6 0

il) n n—r^^^^^^i—F=^ NULllNIMINb nu\ ^ • • • —^. . «

, _=_ = = ==

119^* ••' « • • •• "^ -^ Hi»f ^ •> al 1 J

j^_« •! • 1 MJU m—Jks 0—,

1

k ^ * ti ^ s •^—a n ^ ' \ I k lr4-^ m wb: k m 3^ « •- 4^^< 1^ i

liJ J i II n MM! m I ih^ nt A70

on page 11 of Pupil's Book. It has been placed on the TAPE again for you to recall the sound of the gabbang for the pupils. The reason for this is because the next pupil-activity involves the gabbang. (Score Book, page 19.)

13. Pupils play Yakan Wafiftlofi's Vancz, a piece for gabbang. Wafifilofi's Vancz is in Score Book (pages 16-17) and on pages 71 and 72 of this Teacher's Book. Wafiftlofi's Vancz is Presto or even faster!! Simulate gabbang by using zylophone with soft mallets. Have several pupils to each part and, if music is too difficult, play part of Section A and part of Section B. This is an exciting piece of Moro music if fast tempo can be attained.

14. After playing Wafifilofi's Vancz, pupils briefly describe this music (page 20, Pupil's Book).

15. Listen and answer Listening Sheet for Sagayan Sa Kulong (TAPE). Sagayan Sa Kulong is in Score Book, page 18, and on page 74 of this Teacher's Book, Questions are on page 20 in Pupil's Book.

Answers to questions for Sagayan Sa Kulong:

1. Man. 2. Vzndz 0 Vzndz. 3. Kulintang. 4. For description, see Pupil's Book, page 16, 5. Preparation for battle/war dance/warriors' dance. 6. Final section for Vabakan and Gandlngan. 7. To pray for victory. 8. - 9. Moro. 10. Kulintang, dabakan, gandlngan, chant, agong not strict rhythm, etc.

...A75 A71 414

SB16

WARRIOR'S PAWCE

Yakan Presto

GABBANG li^^l \ m\ IP • • hi J] n .fi s ;.m.n (>=>) IS • • f ol(^>)r^ t4 iS -• »= \lH n ,n n ,o'n;n ^ ^ -• •- J m? p • p J %i i J

^ W=B s ^-r •-^ ¥-#^ -•-•• ±* *—•-•m #

#—•• i i^ f ^^

^ fe J 1.1 I J ,1 iJ J^

1^

^^M -• • m • m 1^ A72 415

SB17

I • ^ ^ ^^^

s3^ ^ ^ ^ f^ \ J :¥=fe1 ¥\ r r r ir r r r i^ r r ^

i>1t >-• ^ ^ ^

i -^j—•- ISr •' ^ r ir

^^ ^ ^ ^ %

(ftf r f ^ ^

^ ^ si^W •^^'

^ ^ I% r r r r

^ fe ^ ,.^- ;.n .ri .n .Q

J \%\ ^^^n^^^^^^

if^ \ r r ^^ m A • • J O" f nnfl n;.i j^.i ^la4jr A73 416

Pupil's Bk. 20

VAKAN WARRIOR'S VANCE Briefly describe this music:

SAGAVAN SA KULONG Listening Sheet Who sings the opening chant? What is the name of this famous Moro chant? What accompanies the chant? Describe this instrument: What type of dance is Sagayan Sa Kalongl 6. What suggests this in the music? 7. What is the purpose of the chant? 8. The dabakan and gandlngan play the final section of Sagayan Sa Kalong. Draw these two instruments in space provided: I -9. Sagayan Sa Kalong is an example of Tribal/Moro/Christian Philippine music (circle correct). 10. Give two reasons for your answer to Question 9:

TMM FOUR MORO VOCAL PIECES Listening Sheet (1) TALAWI (2] BANG APHAN 1. When is this song sung? 1. When is this song sung? 2. 11 i s sung by a 2. It is sung by a 3. Comment on the breathing: 3. Comment on the breathing:

4. Comment on the pitch: 4. Comment on the pitch: 5. Does the singer use any 5. Does the singer use any of these vocal styles: of these vocal styles: vibrato vibrato gl issando gli ssando tremolo tremolo nasal singing nasal singing glottal stops glottal stops

(3) RAPJA INPARAPATRA (4) BUNGBUNG MANGMANG 1. Why is this song sung? 1. When is this song sung? 2. It is sung by a 2. It is sung by a 3. Comment on the breathing: 3. Comment on the breathing: 4. Comment on the pitch; 4. Comment on the pitch; 5. Does the singer use:Vibrato 5. Does the singer use:Vibrato ; glissando ; ; glissando ; tremolo ; nasal sing- tremolo ; nasal sing­ ing ; glottal stops ing ; glottal stops. A74 417

SB18

SAGAVAN SA KULONG

Maranao J =c.69, accel. to J =84 AGONG CHANT 'Dende 0 Dende' (free) nnuu uu P P f ffl=4 Den-de QDen-deDen- de 0 Den - de Den - de 0 Den-de ?'J .HJ n } .rj accel. ^^ Den -de 0 Den- de Den -de 0 Den A ma-ma-na ma-wa-lak-u ^m ^mv^« r Lrr r ^m bet-sa-lay de da-tu Den- de 0 Den -de Den -de 0 De^mn - de ^m zn r uuuuu Den -de 0 Den Ma in-ding sa-i it sa-ingit saMa-guindanao 17'r rrr r m Den-de^3 Den-de Den - de 0 Den - de Den -de 0 Den Den-de^3 Den-de W§ 1 •' •' ^ rt i^^m Den-de 0 Den- de Den -de 0 Den A ma-ma-na ma-wa-luk-u

^ p f m ^mbet-sa-lay u n de da-tu Den-deieO Den -de Den -de 0 Den -de

^^ m n n -JOL Den- de 0 Den, Den -de 0 Den -de Den- de 0 Den DABAKAN AGONG DABAKANJ =c.l44

-xr \U i

^ m « /DABAKAN Q ^3 H. ' GANDINGAN iii } i M Q i u u —' o A75 418

16. Listen and answer Listening Sheet for four Moro vocal pieces: Talawl, Bang Adkan, Radja Indaftapatfta and Bungbung Mangmang (TAR-LAR-WE; BARNG-ARD-HARN; RARD - JA IN-DAR-AR-PAR-TRA; BOONG-BQONG MARNG-MARNG): TAPE. The four pieces are in Score Book, pages 19 - 21, and on pages 77 - 79 of this Teacher's Book. No words are included for Bang Adkan. Radja Indaftapatfta is a field recording and consequently there are extraneous noises on the recording (for example, rooster and motor boat). Summary questions for four Moro vocal pieces are on page 20, Pupi1's Book.

Answers to questions for Moro vocal pieces:

Talawl: 1. During the Islam Ramadan (Maceda 1961:7). 2. Man. 3. [As heard by pupils]. 4. Many repeated notes, sliding pitches, tremolo, limited range, etc, 5. 2,3 and 5,

Bang Adkan: 1. During the Islamic Friday Noon Service (Maceda 1961:7), 2. Man. 3. [As heard by pupils]. 4. Narrow range, ascends then descends in melody, etc. 5. 1, 3, 4 and 5.

Radja Indaftapatfta: 1. To recount an epic of the Moros. 2. Man. 3. [As heard by pupils], 4. Wider range than Bang Adkan, sliding pitches, tremolo, etc, 5. 1, 2, 3, 4 and 5.

Bungbung Mangmang: 1. Lullaby (Maceda 1961:8). 2. Man. 3. [As heard by pupils]. 4. Narrow range, repeated notes, tremolo, etc. 5. 1,2,3 and 5,

...A76 A76 419

17. Pupils sing and accompany Vallng-Vallng. Vallng- Vallng (DAR-LING DAR-LING) is a Moro courting song and dance from Sulu. It is danced with fans and it was seen in the video of Slngkll as one of the dances in the background. Vallng-Vallng is in Score Book, page 22, and on page 80 in this Teacher's Book. Information is on page 21 of Pupil's Book. Pupils sing Vallng-Vallng and add the rhythmic accompani­ ment. If a pitched instrument is needed to aid pitch, DO NOT USE PIANO, but a simulated Moro instrument (for example, damped metallophone, zylophone with soft beaters). Words are sung by two lovers when courting.

18. Listen to Slnulog (TAPE). There is no score for Slnulog, as it is to be listened to in order for pupils to be prepared for next pupi1-activity. Information is on page 21 of Pupil's Book.

19. Pupils play transcription of Slnulog, for classroom kulintang ensemble. Simulate kulintang ensemble as previously (Item 5, page 10 of this Teacher's Book) and proceed in similar manner as with Blnallg. Slnulog is in Score Book, page 23, and on pages 82 - 85 of this Teacher's Book. The score for Slnulog is for playing only and is not the score for the Slnulog example on TAPE.

20. Listen and answer Listening Sheet for Kapa Malong- Malong (TAPE). There is no score for Kapa Malong- Malong, which describes the malong or clothing of the Moros. Questions are on page 21 of Pupil's Book

...A86 A77 420

SB19

TALAWI

Magui ndanao

Free ( =c.96)

Os .-se-der mkf-kA >|». km >» AP"^ ta stTsTr-nmg tol<- Ta-ia- wi ke-wa-ke-wa-ka te-te-oo kewokumo mmb^-, ^U mar "La '^a luo (words not decipherable) m QMi -mii - tu-wa la-kul-rla-kui-ji vTv?*ing-k^ a lae 0 ma-mo-^rr-sa t • ^ » » ^ m ^ lu-sa-lu-ing_a ser-in-a IHa-n a 0 ma -mo-sa lusaluing aserin 'rm lo4^ ^ ^ a Ha-na r—- 0 ma-mo-sa lu-sa lu-ing a ser-in-a kom-in a M *fi( MM ^ 1 ha-bib no se pi-no wa de no (du-kri-no-mo da- a Ha - na)

GABBAWG

/^

»* illwm i^W -•^ IbJ* ^ i^j jbJJ^ii "^ rirjbj i A78 421

SB20

BAWG AVHAN

Magui ndanao

J=c. 66

^bfi fe JMLV-k m1» ' • ^yA.y^, # 1^""^ m P3O J I u m i^

^ ^

^'TT.!'* *•- * •- ^ s ^

0—•- -#^—•-^ ^

RAW A IWPARAPATRA

Maguindanao Slow g •0- -0^' A-ur sa ya [rqos4jeiJ E^ Pi ing- a a na e?^ [motor boat] > .>f -^^-x,,^ ^I O- i rad-ja In - d'rar - pa - tra la-a No-ra na la no ra • f g lot ^ na SI Diy^^ing coT-i-ne ime ba tTne su ra tan ng gi da't m \ CO - la ma gu. A79 422

SB21 BUNGBUNG MANGf.iANG

Maguindanao

J= 76

cc m W -'^''r k •L! #. Mang - ma ng an at ku-mum-u gu't bok tu —^ saE «: m ^ ,.«£. «> •- lu ge "•hi dat-ra-da - la - ta

ca buk

BEE •/"^w^ ^ i izznGzizszr!^^ P r • mo A lu't tu eu- tu gud-in ^^ f ** eu u- na dum bo - nu mang - a. A80 423

SB22 VALJNG'VALJNG

Sulu

Slow J=72 A.W- } i.n^^ k May da-ling da- ling sa may da - ling da

i ling Tag - nah nili ' - 'lla nail - qgaa - lay Tim - ik

•' ^ 5^ iJan i g lal - lay lal- -•'lay He in - da ma - ti - wal

• m •' •• i ^ * lay Di con - te - san man - ga - lay May da i^ i 5 k da - ling sa may da - ling da sf/ V"e3 '' ling.

SCALE - * ^\ li ==¥^

DABAKAN n,i .i>,.n.n J. > BABANDIL GANDINGAN AGONG n n n j_n i^nn in nn• •' • J n nn n i I n M • i J> 1 i A81 424

Pupil's Bk. - 21

VALING-VALING Vallng-Vallng is a song from Sulu. It may also accompany a courting dance, performed with elaborate fan movements. It is accompanied by dabakan, gandlngan, babandll and agong. The scale for Vallng-Vallng is a typical Moro scale.

SINULOG Slnalog is a piece for kallntang ensemble. It is an example of Philippine Moro music of the southern island of Mindanao.

KAPA MALONG-MALOWG Listening Sheet 1. This listening example is a short excerpt from a longer piece called Kapa Halong-I^along. What does this title mean? Describe: 2. Name the instruments playing: 3. This piece is an example of Tribal/Christian/Moro music of the Philippines (circle correct). 4. Give 3 reasons for your answer to Question 3: 5. Briefly describe this music: tempo mood other

TAGONGGO X Tagonggo is a Moro piece for kallntang ensemble. It is played at times of sickness. Sometimes it is played as a kallntang solo.

VUVOG Listening Sheet 1. What instrumental ensemble plays Vayogl 2. Name the set of gongs which plays the melody: 3. Name the drum of this ensemble: 4. The three other instruments in this ensemble are the babandll, the and the 5. Comment on the style of playing by the kallntang:....

This piece, Vayog, is from the Maguindanao Moros. Name one other sub-group of Philippine Moros: , Name 2 Philippine Moro dances: Name 3 Philippine Moro instruments NOT heard in Vayog: The illustration (right) is Moro iafLlmanok, the bird of good fortune. In what Moro dance did you see a iaxlmanokl 10. What religion do the Philippine Moros practice? 11. Which of the following Moro music was NOT for kallntang ensemble: (circle answers): Blnallg - Vayog - Pangalay - END: MUSIC Tagonggo - Slnalog - Vakan AND DANCE WafLfLlofL'i Vance - Talawl. OF THE MOROS 1 A82 425

SB23 SINULOG

As fast as possible

R.H. ^ KULINTANG L.H. }ihh}t S 7 iw __—...... ^*—r * 1 / • ^ » r •

w i^ 1—^1 1—^ 4—^ • * yJ ^ ^1—J— J

f "/ W • P m m i

=ii=?= w P

• •• .,»•• f^K II il). f p ^w • •

it d #' -MJC

3E 3 > •

3t 3t3C A83

SB24

^ u ikw —r-' • X- ..,• ^ • • w-r-

—0—• —^—^^ J—• • • 4 •' ^ f^ KV Transition ii p p I » * U m » "» ^ ir> m rlfr- • ^ • • • • 1 » (1 • »^"-

•' •— !#= -^il —J— ^k III I^ 3fb^li > if ^r *\ ^\ *r^ -•—•- ii jt»' J P J 1 »i ?&i' J J ^ J g ^ itpj^ j^ fr ., jtp ^ffr fr , ^

p J jTtf J =!^ i•^— » i§ -•-••

1^ il ^.» itf fr ^ j»r > f k g=^ W •' t<* J 5y S -#-•'• A84 427

SB25

Transition . j^jif t jpjiar > ii ^ 9 1 -m • 9 1 —^""T'—"—rf"'

• fli » J J-—•U #—tiU— >' a • • • j/ k Concl us ion

• . pji 1• "J rTf— » 1 1

" • 1 J « • ^ •' • ^ J J

. > lif itf > * • M i1 3f # i i [^ J J J J J .^

^ SCALE . ^ »* » • IE • • A85 428

SB26

As fast as possible BABANDIL Intro, J J J J iJ J J J i.AiJvJ Ostinato mnin n\TT\ nj> fnHin 2 Beaters A4 dM. JtJk MJL i DABAKAN Intro. J J J J J J J J Ostinato nmnhjnmnn. i^ m/^ni) m Q. 2 Beaters •• •^ • 09 9 A «

(Note that Babandil and Dabakan ostinato patterns are the same.)

AGONG Intro.

Ostinato . fl m n h • d m dd m m d m' ' Rnk H, rjjn izJi nt» ' nf 2 Gongs L.

GANDINGAN Intro. Ostinato nmn^mn} ,QJ

H. Ift 0

3 Gongs M.: » f f • • fl • T "^ f • L. • 1 * • 1 t: jlr y.• A86 429

Answers to questions for Kapa Malong-Malong:

1. Wearing a malong, which is a wrap-around piece of fabric which is worn as skirt by women and coat-like garment by men of Moro regions. 2. Kulintang ensemble. 3. Moro. 4. Instruments, changes in rhythm, etc. 5. Tempo is slow but changes often; mood is exotic and sensuous, etc.

21. Pupils play transcription of Tagonggo, for classroom kulintang ensemble. These three pieces for classroom kulintang ensemble represent three modes or types of kulintang ensemble music of the Moros. Tagonggo is in Score Book, page 27, and on pages 87 - 89 of this Teacher's Book. Information for Tagonggo is on page 21 of Pupil's Book. Simulate for kulintang ensemble as previously (Item 5, page 10 of this Teacher's Book). Tagonggo is played as fast as possible.

22. The final piece for music and dance of the Philippine Moros is Vuyog (TAPE). Vuyog was briefly played at the beginning of the Moro section, but now there is a Listening Sheet to answer. This Sheet also acts as a summary to Moro music and dance. There is no score for Vuyog, which is another mode for kulintang ensemble.

Answers to questions for Vuyog:

1. Kulintang ensemble, basalan (Maceda 1961:1). 2. Kulintang. 3. Vabakan. 4. Gandlngan and Agong. 5. Fast, uses high and low parts of the set of gongs, sometimes two gongs played together, etc.

A90 A87 430

SB27 TAGONGGO

As fast as possible R.H. m KULINTANG L.H. i^7 S •• 1 JL ^ T'' r r •— m m w "•- "" ^

M *. * V- • • P** P P II T—TT 1»—1 — ii-E = l^^^-fLpp «p * m ^ • p p • Q ^ r rr—0 —«— F rr=•—- — "" ^_-

IT' ^---d-0 0 m .«- •'J 'p • fcF 1 \Q-.m 0 ^_# ,P— • rf-^r P—w— I j # *

F—0 J^B 0 _ m-^ m p -1—1»—j r~*T '

rj p • J p p J A88 431

SB28

tir- n^ 1 W"' ~'* • *_ 1 • • 1 ' '4

« '—i^ 4 •

^-^ ' 1 • ' 1 j» * i» - r

> l^ 9 P p 0 p p p • r - -^ Transit ion 1 » • • • •• ^ -• ^ f ' —»—j 9 p- • i

1 • 0 J 0 p J p •* W

• • a 1 • 1 ^ •

> «3E^ P P P J p ' 4 J. *«i p^ • 0 Conclus ion

• • • ~"f f f" ^

^ djd P P" p p 4i p *- **

__^^l_itll ^t 4^.-."i''M

SCALE

• m •-

4 ^ A89 432

SB29

7 8 As fast as possible

BABANDIL Intro. Ostinato rsnin>pmn^>^ R. 2 Beaters n\fT\r\ ii.m.rRj-Rj, L. • •• dd ft • •• •# ftft DABAKAN Intro. mrsrRj> Ostinato nmn>\n^.n:nip^ R. ni.n j> .mn\ 2 Beaters mi L. JLffl

(Note that Babandil and Dabakan ostinato patterns are the same.)

AGONG Intro.:8

Ostinato :8 ni rp rn , m rn ni. d dd • dm • d m \ d »m d mm m ddM

PP 0 #P P PP * ff f ffI 2 Gongs :6 L. 8 a

GANDINGAN Intro.

Ostinato

H. IB it .m in 3 Gongs M. L. A90 433

6. Yakan, Maranao, Tausug, Samal. 7. Kaplll Sa Munsala, Slngkll, Vallng-Vallng. 8. Gabbang, kudyapl and kublng. 9. Slngkll. 10. Islam. 11. Pangalay, Wafifilofi's Vancz, Talawl.

§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§ ######################################################################## MiinniiiiiiiiiiiiiiiiiiniiiiiiiiifMiiiiiMiiMiiMniiiiiiiiflflflii^MiinifMniiniiiiiiiiMiiiiii^^ 434 A91

MUSIC AND DANCE OF THE FILIPINO CHRISTIANS

1. The Spanish came to the Philippines in 1521 and the Philippines was a colony of Spain until the end of the nineteenth century. After the Spanish-American War, the Philippines came under American rule, until gaining independence after World War II. During these centuries of foreign rule, the Philippines was converted to Christianity. The only people who resisted conversion were the Moros and the pagan Tribes whose music and dance have already been studied. The Filipinos took on the traditions of the colonizing power, particularly Spanish and Euro­ pean. Consequently, their music and dance reflects this influence. What must be understood is that, although they took on the Spanish traditions, the Filipinos mixed this with their own feelings and traditions. Thus, the music and dance in this Section sounds European but with an Oriental folk- tradition blend. It is simple, wonderful music which repays careful study.

2. Listen to Pandanggo Sa Haw. Pandanggo Sa Haw (TAPE) is in Score Book, page 30, on page 92 of this Teacher's Book and page 22 in Pupil's Book. The score is simplified for ease in following, in that the repeats of Sections are designated A2, B3, 02 and A3. This means to go back to that Section and follow score. Pandanggo Sa Haw (PARN-DARNG-GO SAR E-LAU) is

. . .A95 A92 435

SB30

PANDANGGO SA I LAW

Luzon and Visayas Allegretto Intro.

P ,O.U.I J I m ^^^ • # a' • m P* ^ P INTERLUD E Slow rit. j y. _>'^'p^m' '^>' " *' ^ molto rit u"i—_^a ^moo ^ A'vJ ili*~^ '•-»• • I .©L

-OL. il ^ « « i •—•—•.n.ni' • '# j jfrinl d 1 • 6 ii i y -p-, ^ v V ••• "^

32 ^^ i ^ »-;^ •' ^ p' •»'—^ 1. /B2/ 2. /C/ 1 * * ^a ^ •if^^* _•!

^^ 0—^ A93 436

SB31

ib il P p m.J . p .^ i ii,n,\[]i J1] jjij, ni

14 15 16 i^^ S ;/A2/ IBS/ /C2/ ^/||

CHITCHITRITCffIT

Luzon: Tagalog

Fast and lively

^ li ^ Jn *' *' *' i-«—_i-

^

z. s A94 437

Pupil's Bk. - 22 MUSIC AND DANCE OF THE FILIPINO CHRISTIANS

PANVANGGO SA I LAW Listening Sheet 1. What is the English meaning of this title? 2 3 4 What is the time signature? 444 (circle correct) What Philippine musical ensemble plays this piece of music? Name the instruments of this ensemble, from highest to lowest: In the Interlude of Pandanggo Sa Haw, the string instruments are joined by two percussion instruments (one melodic and one rhythmic). What are they? In Section A, the whole ensemble plays. However, in» Section B two high instruments play the melody (tune] as written on the score. What are they? 7. At bars 5 - 8 of Section B, another instrument plays a counter-melody. What is it? 8. At the end of Section C (bars 15 - 16) one instrumen t of the ensemble plays chords to the rhythm of What is this instrument? 9. At Section A2, the high string instruments play the main tune. What playing technique are they using? 10. At Section A2, an electric instrument is added to the fLondalla ensemble. What is it? 11. At Section B3, a percussion instrument is heard. Th 1 s instrument is sometimes added to this Christian/Euro pean- influenced musical ensemble. Name the percussion instrument. 12. At Section 02, low counter-melody is played agains t the main melody. What instrument/s play (a) the mel ody ...(b) the counter-melody 13. At Section A3, name all the instruments that you can hear.

14. There are five main instruments of the Philippine fLondalla ensemble. Sometimes other instruments are added. For Pandanggo Sa Haw, give: (a) the five fLondalla instruments: (b) the 3 added instruments What is the tonality of Pandanggo Sa Ilawl (circle correct) (a) major (b) major-minor (c) minor 16. Where does the word Pandanggo come from? 17. Pandanggo Sa Haw is an example of Philippine Christian and European-influenced music. Give reasons, that you can hear, for this:

Listening Sheet

»1. Where is this song from? 2. What musical ensemble accompanies the singers? 3. Name 3 instruments of this ensemble: 4. What is the time signature? (circle correct): 2 3 4 4 4 4 5. What is the key? (circle correct): G major D major 6. Does Pamallnawen remain in this key all the time? ... 7. Describe the mood of this song: 8. Who sings this song? (circle correct): girls, boys. both, 9. This song is an example of Moro/Christian/Tribal (circle correct) Philippine music. 10. Give 2 reasons for your answer to Question 9: A95 438

Nowadays in the ftondalla the Western double bass is used as the bajo dz unas (see illustration page 23 Pupil's Book), However, in olden times, the bajo dz unas was an indigenous bass fiddle with fretted fingerboard and played with a caftabao-horn plectrum (or fingers).

Answers to~questions for Pandanggo Sa Haw:

1. Dance (Fandango) of Lights/Candles. 2 3 ^' 4 3. Rondalla ensemble (RON-DARL-YA) 4. Banduftftla,^ Laud, Octavlna, Gltafta, Bajo dz Unas. 5. Glockenspiel and snare/side drum. 6. Banduftfila and laud (LOUD). 7. Octavlna. 8. Gltafta. 9. Tremolo. 10. Electric Guitar. 11. Snare drum. 12. Melody: Banduftfila and laud. Counter- melody: octavlna. 13. Bandufifilas, lauds, octavlnas, gltafias, bajo dz unas. Added: glockenspiel, electric guitar, snare drum. 14. Banduftfila, laud, octavlna, gltafta, bajo dz unas. Added: glockenspiel, electric guitar, snare drum. 15. (b) 16. Fandango from Spain. 17. Tonality, ^, ftondalla, harmony, etc.

3. Listen and answer questions for Pamullnawzn (TAPE). Pamullnawzn (PAR-MU-LIN-AR-WEN) is from the large island of Luzon, in which one region is Ilocos. Pamullnawzn is in Score Book, page 32, on page 97 of this Teacher's Book and on page 22 in Pupil's Book. Pamullnawzn is a folk-song and the title is a term of endearment.

Answers for Pamullnawzn:

1. Ilocos, Luzon (Ilocano folk-song) 2. Rondalla. 3. Any three ftondalla instruments. 4 2 ^' 4 5. D major.

..A98 A96 439

Pupil's Bk. - 23

lu -u r CO ^

—( l-u -J c^i -i 2 o l-u 2 O Ci

"a

<

Id

C3

i'i^-...••'<•• •!*hi CO A97 440

SB32

PAMULIWAO/EW

Luzon: Ilocano

Lively Iii ^ ^^ I t •*. •^ i Pa - mu -li - na - wen. Pu - ifi^n n sok in- de-ngam man, Toy u -mas-a

^ a m -0 0- ' sug Ag -ra' _ J/o'i-ta sa - diam.

^^ ll »• * 0 i * F F F m Pa -nu-no - tem man. Di - ka pag-in-tu bul - 1^ i m? ^ ngan, Toy a-ga - yat ag fe 0 0 F l^r r r ^ ra -yo'i-ta sa - diam. Es - sem a -diac ka-li - • J\ 5=T=1 a - tem, Ta-na su - di u - nay a - na - gan, U

*' 0 j^ \n .n ^ ray sa - din ta yan, U - ray sa - di - no

PEz: F—^ man Taka - li - pa - tem ta - na su - di u

J itJ JE ^ -«-p?r ^ nay a - na - gan. W ma -la-

^ gip ka pu - sokti ma-bang -a - ran. 441 A98

6. No. 7. [Pupils' choice] 8. Both. 9. Christian. 10. [Pupils' choice]

4. Listen and answer Listening Sheet for Ckltckltftltcklt (TAPE) (SIT-SIT-RE-SIT). Ckltckltftltcklt is in Score Book, page 33, page 99 of this Teacher's Book and on page 24 of Pupil's Book. Ckltckltftltcklt is from another region of Luzon namely, the Tagalog region. (Note: Tagalog is also the name of the national language - TAR-GAR-LOG.)

Answers to questions for Ckltckltftltcklt:

1. Nonsense words to imitate the noise of 1ocusts. 2. Rondalla. 2 3. 4 4. E flat major. 5. Christians. 6. [Pupils' choice]. 7. Any rhythm pattern of Ckltckltftltcklt. 8. I, IV, V.

5. Listen to the words of Ckltckltftltcklt as said on TAPE. Repeat words after they are spoken.

Pupils sing Ckltckltftltcklt and add guitar accompani­ ment. (As an alternative, pupils may sing with TAPE, using only opening 8 bars melody and words, and joining with the singers on TAPE at all sections where melody fits. )

7. Play simple arrangement of Ckltckltftltcklt, page 93 of this Teacher's Book. This simple arrangement could be played as an Introduction to singing Ckltckltftltcklt (change key) or as a piece by itself. . . .AlOl A99 442

SB33 CHITCHITRITCffIT

Luzon: Tagalog

Fast and lively B^7 ^ 0—0 w—m m •7^3^ Chit-cmt-rit - chit A-li - bang - bang Sa -la-qin

S)^T? J. •' J J 0—* m z: in* to't Sa-la -gu - bang, Ang-ba-ba - e sa Ian- sa It I 1—1—I Bt7r—ra r—» afT g^vrwr ngan Kung-gu-mi -ri'y pa-rang tan - dang. Chit-chit-rit- 3: al -• 0- 10 ^ 0- SE V^jL/ 4 dang. Ma -ma -ma ma na-ma mang ka pa sa - ka - Ab B^7 ^ te 0 0 0 11 m a 0t, yirf Ia n'n g ba - ta Pag - da - ting sa May - ni

0 m-m • 0 ac=S • 0- , la, i - pag-pa - lit ng kut sin ta A - le, A - At

iTH^ 0 0 ^ wn TeT na ma- ma - yong Pa su- ku - bir =ya-ring sang- m wf—w gol Pag-da ting m sa Ma - la - bon i-pag -pa - i Ft, a -• 0- 1^ 0m •' 3:z: 3E i lit ng ba -go ong. Chit-chit-rit-chit a-li -bang tBl» 7 EU »•• a* •» !• • 1^m K£ m 3=a=z bang Sa -la -gin to't sa -la - gu - bang, Ang ba -ba- Bk.

1 I f • ^ —^—•^ ::: m1 >^g ^^ 1 z • sa Ian - sa - ngan Kung gu- mi -ri'y pa-rang Tan AlOO 443

Pupil's Bk. - 24

CHITCHITRITCHIT Listening Sheet 1. What does the title of this song mean? 2. What Philippine musical ensemble accompanies the singing i n ChltchltfLltchltl „ - . 3. What is the time signature? (circle correct): 444 4. What is the key? (circle correct): C major. E flat major. 5. ChltchltfLltcklt is an example of Philippine music of the Tribes/Moros/Christians (circle correct). Give 2 reasons for your answer to Question 5: 7. Two rhythm patterns are prominent in ChltchltfLltchlt. Gi ve one : 8. Only three chords are used to harmonise this song. What are they?

POLKA TAGALA to music of POLKABAL Briefly describe this dance:

MAGLALATLK Briefly describe this music:

PAHIL SA IVO Listening Sheet Name the instruments playing the main melody/tune: 2. Name the instruments playing the single-note accompaniment figures: 2 3 4 3. What is the time signature? (circle correct) 444 4. What is the key of Vahll Sa lyo? (circle correct): C major C minor. E flat major. B flat major. 5. Vahll Sa lyo is representative of Philippine Christian/ Moro/Tribal music? (circle correct). 6. What are all the instruments playing Vahll Sa lyo made from? 7. Give one reason for your answer to Question 5: 8. Name the musical ensemble playing Vahll Sa lyo:

KOHVANSOV Listening Sheet 1. Name the instrument playing Kondamoy: 2. Where is this instrument situated in the Philippines?.., 3. From what is this instrument made? 4. Give 2 interesting facts about this : 5. Give 2 reasons for Kondamoy, as played here, being representative of Philippine Christian/European-influenced musi c: 6. What is the key of Kondamoy? 7. What is the time signature of Kondamoy? 8. The bars are numbered for you to name the bar number where the organist uses different 'stops' to achieve different effects. Give the bar number and describe the effect. 9. Can you explain why the organist adds these effects at these actual points of Kondamoy? AlOl 444

The arrangement is for guitar chords (or use other instrumental chords, PROVIDING THAT the pupils understand that guitars are the instruments used in the Philippines) and melodic instruments (preferably strings: an electronic keyboard could be pre-set for strings; or use other melodic instruments PROVIDING THAT pupils do not believe that you are simulating, for example, a zylophone to sound like a banduftfila \ ).

8. Pupils perform the Spanish-influenced dance, Polka Tagala {Polka from Tagalog region) to the music of Polkabal (TAPE). Polkabal is ONLY to accompany Polka Tagala and not to be used as a Listening piece. Dance instructions for Polka Taga^a(freely adapted and re-interpreted, as observed, from Aquino III 1977:75) follow: Polka Tagala (l) - { iv ). Ill ustration of Maftla Clafia costume for Polka Tagala is on page 106 of this Teacher's Book: Philippine Christian Illustrations.

9. Pupils describe Polka Tagala dance in their books, page 24.

10. Listen to Maglalatlk I (TAPE). There is a score for the Teacher (on pages 107-109 in this Teacher's Book) but the pupils are only to listen to the coconut rhythms used to accompany the ftondalla. Before listening, explain to pupils the background to Maglalatlk. Maglalatlk is a famous Philippine folk dance, in which the men dancers wear coconut- halves attached to various parts of their body. They perform the fast and energetic dance while beating these coconuts in strict rhythms. (For coconut placement, see Maglalatlk 11, following.) Score is in Score Book, pages 34-36.

. . .Alio A102

Polka Tagala {I)

POLKA TAGALA

PANCE TO MUSIC POLKABAL

Polka dances came to the Philippines at the time of the Spanish colonization. There are numerous polkas still danced by the Filipinos and Polka Tagala is a simplified version for the classroom. The music to accompany Polka Tagala is called Polkabal. This is a famous piece for ftondalla and the simplified version of Polka Tagala is based on this music. Polkabal, as the name suggests, is also derived from the original polkas of European origin. Polka Tagala is a very fast dance. The time signature is ». There are 8 sections (each of 16 bars), a long Introduction (slow then fast) and a short Coda.

INTRODUCTION: A SLOW 'paszo' section for ftondalla opens the Introduction. The tempo then changes to fast (2) (4) for 18 bars. During the Introduction, dancers enter in pairs and get ready for the dance, waiting upstage. Any formation permissable.

SECTION A

Bars 1 - 8: Partners join inside hands. Take (starting with R) four heel-and-toe polka steps forward. Diagram shows the heel-and-toe polka step for first two bars (it is then repeated three more times): A103 446

Polka Tagala {ID

J ^ ^ R heel R toe R forward L up R alongside forward behind cl ose to R.

Bars 9 - 16: Turn in place, dropping hands. Perform same step as in Bars 1-8, going back to original places (the backs will be towards the audience for bars 9 - 16).

SECTION B

Repeat all of Section A, turning in place to alter direction.

SECTION C

This 16-bar section comprises two different patterns, Both are very simple. Partners remain with joined inside hands. The steps for Section C are given in diagram form (16 bars):

1 1 1 1 1 1 • • • • • • J* .^ J Slide Bring Slide Bring Slide Bring stamp Stamp Stamp R to up L. R to up L. R to up L. R. L. R. Right. Right. Right.

J J J J

Hop on L Reverse posi- Hop on L and Reverse position and point tion of feet: point R in of feet: Hop R in front. Hop on ^1 and front. on R and point point L in L in front. front. A104 447

Polka Tagala {III)

\ \ 1 1 1 1 • m • • • • • • • Slide Bring Slide Bring Slide Bring Stamp Stamp Stamp L to up R. L to up R. L to up R. L. R. L. Left Left. Left.

1 o J J J Hop on R Reverse posi­ Hop on R and Reverse position and point tion of feet: point L in of feet: Hop on L in front. Hop on L and front. L and point R in point R in front. front.

SECTION D

Repeat all of Section C.

SECTION E

Partners join both hands. Stand with right shoulders near each other (i.e. with both R shoulders adjoining: girl facing one direction and the boy the other). Perform step of Section A, taking 8 bars to make a circle, moving clockwise. Turn left shoulders together and go counterclockwise, using same step as before, for 8 bars (16 bars in all).

SECTION F

Repeat all Section E.

SECTION G

Repeat all Section A A105 448

Polka Tagala {Iv)

SECTION H

Repeat Section A, bars 1-8. Section H is the final Section. For bars 9-16 of this Section, perform the following: Partners remain with joined inside hands, girl standing to the Right side of boy, facing front. Girl turn under boy's raised arm, taking 2 bars to complete the turn. Turn four times (8 bars).

CODA

Perform a saludo. A saludo is the final, graceful 'bowing' or curtsey. The girl comes out of the final turn for Section H and kneels on one knee. Boy stands with hands on waist.

Throughout Polka Tagala, girl holds her skirt with one hand and boy has one hand always on his waist, with back of hand (not palm) on waist. Polka Tagala is usually performed during town fiestas. The girl wears Maftla Clafta costume and the boy wears black trousers and Bafiong Tagalog.

o o o o o o o o o o o o o 449 A106

Maftla Clafia Costumes

Tlnlkllng

Philippine Christian Illustrations A107 450

SB34

MAGLALATIK Luzon: Tagalog

Lively/very fast

INTRODUCTION : For listening (Example I) = ^28 bars.

INTRODUCTION : For Dance and/or Coconuts (Example II) = A 16 bars. Followed by: i^S ^m m iff.rnn li ,n ir^i if rn n ii a m wm m ^m M P: m p pf m p—0

^ Jl iJ n \

3t •

^r*- ^ g

•ZZ3 ^ S g I A108 451

SB35

F jg' U^ J ^ •p- • p r=^ i

6^^B =^^

-•-•--0^^-^ -f^tt f i P P »'—fcSP S r* »p r f -^ p p p* »«_ f* III I f

$

» 0 II # pi NO REPEAT EX. II Mz ^ •——• ^ 8E ^ •I . iJ J ^ £ £

^M 5 F »' s ^ ^ EX.II:to * * •j>f J j J l> J r !•' J JjJ 0-0—0—0

,1 iJ r « 1^-p—^ g| ¥

^"•1 I I II r P—P

• p fi Ji » ^ g ?= A109 452

SB36

* * m ^^ i i!iii.Uj.'~ .n ifsn a a

.•at I3 J ,I*^J = 0' 0m m

il^P pfp • iP P f" IP P»P f" I'F m m If LLILT If U ILMU i| •' J H' 2. ^ I 453 Alio

11. Pupils perform Maglalatlk dance (or Maglalatlk coconut rhythms only) to Maglalatlk II (TAPE). Instructions for Maglalatlk 11 follow: Maglalatlk II {I) -(Xx). I^aglalatlk dance is adapted and re-interpreted, as observed, from Aquino( II 1976: 55), while Maglalatlk rhythms were discovered, by the author, during several field recording sessions in various parts of the Philippines.

12. Listen and answer Listening Sheet for Vakil Sa lyo (TAPE). Vakil Sa lyo score is on page 120 of this Teacher's Book and page 38 in Score Book. Pupil's Book page 24 has the Listening Sheet for Vakil Sa lyo. Vakil Sa lyo (DAR-HEAL SAI-YO) is played by the Pangkat Kawayan (Page 25 Pupil's Book, following) or 'bamboo orchestra'. All instruments in the Pangkat Kawayan are made from bamboo, and include the mafilmba; a single piece of bamboo with a blowing hole capable of producing one note only and called bungbong, and bamboo ^lutzs. There is also the tlpanklung, similar to the Indonesian angklung but the tlpanklung has the entire angklung assembled together in a large frame to enable one person to play the instrument.

Answers to questions for Vakil Sa lyo:

1. Mafilmba and tlpanklung. 2. Bungbong. 4 3. 4 4. E flat major (inform pupils if necessary) 5. Chri stian. 6. Bamboo. 7. [Pupils' choice]. 8. Pangkat Kawayan.

13. Listen and answer Listening Sheet for Kondansoy (TAPE). Kondansoy refers to drinking tuba wine. Kondansoy is in Score Book, page 39, page 122 of

A123 Alll 454

Maglalatlk II {I)

MAGLALATIK

VANCE

Maglalatlk is one of the most famous of the Philippine folk dances. It is performed only by men but, for classroom use, girls may also perform the dance. The dance is fast and very energetic. A simplified version is given for the classroom. If, however, the dance proves too difficult, the pupils may simply perform the various coconut rhythms for the different Sections, to the music of Maglalatlk 11. Accompanying music is played by the ftondalla. Maglalatlk is presented firstly with a diagram showing coconut shell placement on the body. Following this are the coconut rhythms essential to the authentic Maglalatlk. Finally, a simplified version of the dance Maglalatlk is given.

mi^mmmmmm^mm A112 455

Maglalatlk II {II)

MAGLALATIK DANCERS A113 456

Maglalatlk II {III)

MAGLALATIK: COCONUTS

high on back shoulders

high on chest (just under front shoulders)

back of waist

on each knee

RIGHT SIDE LEFT SIDE OF BODY OF BODY

one in each hand: R,L.

Diagram showing placement of coconut shells on body, with linking ties to keep coconut shells in position. A114 457

Maglalatlk II {Iv)

MANNER OF HITTING COCONUTS: Every sequence of 8 coconut hits follows the format below, regardless of rhythm employed (R = coconut held in Right hand; L = coconut held in Left hand):

1 2 3 4 R hits A. L hits B. R crosses to hit F. L crosses to hit E.

5 6 7 8

R goes over L goes over R goes to back L goes to shoulder to shoulder to of waist to back of waist hit G. hit H. hit C. to hit D.

Coconut rhythms begin on next page A115 458

Maglalatlk II { v)

MAGLALATIK COCONUT RHYTHMS:

Time signature: J

Intro. - 16 bars (coconuts silent); Oars I^JlJJlOlJJlUlj.'liJjjjj

A - rn P] I n n I Repeat this rhythm pattern eight times = 16 bars.

B - t ^ n I ri jn 1 Repeat this rhythm pattern eight times = 16 bars.

C - n '^ I n Til Repeat this rhythm pattern 0 0 9 010 0 0 0ll "ij-j^* ir"i

eight times = 16 bars.

D - 8 bars (coconuts silent) E ' n nin mi Repeat this rhythm pattern four times = 8 bars.

F " 4 ^ J Ml Repeat this rhythm pattern ^ " • " for sixteen (16) bars (wait for ^).

G - ? I I n I n nil Repeat this rhythm pattern ^ • * . .1* • . ;il g^g^t times = 16 bars.

H - V n nin nil Repeat this rhythm pattern 7 . . . . I w • J J\\ f^^^ ^^.j^gg ^ 8 bars.

I - n rni n nil Repeat this rhythm pattern four times = 8 bars. A116 459

Maglalatlk II {v I)

DANCE FOR MAGLALATIK:

Boys group in pairs, each wearing a kerchief or coloured cloth to distinguish the opposing forces. Manner is high spirited.

INTRO.: Enter running and shouting (16+8 bars), in pairs

SECTION A

Facing front, perform the following feet movements with the coconut rhythms for A:

Beat 1 Beat 2 R L •R nL step on L. Step R Step on L Step R forward in place. backward

Repeat this movement for all 16 bars.

SECTION B

Jump forward, both feet together, on first quaver of bars 1, 3, 5 and 7 of Section B. Perform coconut rhythms for Section B. Jump backwards, both feet together, on first quaver of bars 9, 11, 13 and 15, performing coconut rhythms as before.

SECTION C

Perform the same feet movements as for Section A. However, this time the direction has changed. Those 460 A117

Maglalatlk II {vll)

partners on SL move in the direction of Left and those on SR move in direction of Right. Turn body so that it faces the desired direction.

SR SL

Performing step A and using coconut rhythms for Section C, face outwards (as above) for 8 bars. Turn and face centre (and therefore, the partner) and perform step A and coconut rhythms for Section C for 8 bars. (Section C is 16 bars. ) Diagram for whole Section C:

1 - R ^f* •v -^ SR SL 1 r V . V ^ 9 - i 0 X '

SECTION D

All face the front. No coconut rhythms for these 8 bars. The feet perform the same steps as for Section A, towards the front. The arms perform the kayon-kayon. Hayon-kayon is a Filipino term which means to place one forearm in front of the body at waist level with palms facing inward and fingertips pointing down, while the other forearm is at the back at waist level with palm facing outward and fingertips pointing down. The arms reverse position every bar and the body is held slightly bent forward. Make the movement of the arms rather aggressive. (If it is too difficult to perform feet and arms simultaneously in Section D, omit the feet movements, performing only the kayon-kayon.) A118

Maglalatlk II {vlll)

SECTION E

Exactly the same as for Section A, using Section E coconut rhythms (which are also the same as Section A coconut rhythms). However, it is for eight (8) bars only in Section E.

SECTION F

The music now changes to ^. All dancers form a large circle, leaping on every first beat, moving around the circle. Play Section F coconut rhythm ( 4. ^ J J ) by hitting the two coconuts, held in the hands, together. Hit coconuts together above right shoulder for first bar, then above left shoulder for second bar. Continue alternating in this manner for entire 16 bars. A 'show-off boy could perform leaps and tricks in the centre of the circle to add more vigour and authenticity to this Section. Three or four boys could play the game luksong tlnlk (see il1ustration on the next page) in the centre of the circle.

SECTION G

Exactly as for Section A: 16 bars.

SECTION H

As for Section B, but for 8 bars only.

SECTION I

Using Section I coconut rhythms, run/leap/walk to exit for 8 bars. A119 462

Maglalatlk II {Ix)

LUKSONG TINIK (A game: for optional inclusion in Section F of Maglalatlk 11)

o o o o o o o o o o o o A120

SB38

VAHIL SA IVO National

f7\ /7\ fT\ k m s: J d • p^ A121 464

Pupil 's Bk. - 25 A122 465

SB39

KONOANSOV

Visayas

/A/ i^ S ^ r I-'' r r m ^ J •' r i

8 I W • ^ •&^

10 11

^ -•—•

13 m4f=m: ^ . 15 16 . /B/ 17

$ E=^ M

19 ^ 20 ^ m r T r r liCj .n. 22 i m J •' Tr ^ r ^N . 27 , p-i 28 ^=^

31 'N=M •ccr:

•^

^^ 466 A123

this Teacher's Book and page 24 of Pupil's Book. Kondansoy is played by a bamboo ofigan, pictured on page 25 of Pupil's Book.

Answers to questions for Kondansoy:

1. Bamboo ofigan, 2. Las Pinas, outside Manila. 3. Bamboo. 4. 950 bamboo pipes; began in 1818 by a Spanish Augustinian priest and completed in 1821; several repairs since that time (Las Pinas 1970:1). 5. [Pupils' choice]. 6. E flat major. 7 3 '' 4 8. Bar 9: bells; Bar 25: bells. 9. For variety on the repeat of the melody.

14. Listen and answer Listening Sheet for Lulay (TAPE). Lulay is in Score Book, pages 40-41 , pages 125-126 of this Teacher's Book and page 26 of Pupil's Book. Lulay is a courting song from the Tagalog region of Luzon. (Note: In the score, at the B Section, the men's part is slightly different to that sung on the TAPE.)

Answers to questions for Lulay:

1. Males and females. 2. Yes. 3. Men sing in parts, starting after the girls 4. Rondalla. 5. M i n 0 r. 6. Christian; Spanish/European influenced. 7. 3 Three crotchet beats to the bar. 4 8. Pause. 9. I (Major and minor), IV(minor) and V7. 10. [Pupils' choice]. 11. To be completed after dancing Lulay.

15. Listen to words of Lulay as spoken on TAPE. Repeat words after they are said on TAPE.

. . .A127 A124 467

Pupil's Bk. 26

LULAV Listening Sheet 1. What voices are heard in this song? , 2. Is Lalay sung in parts? 3. Explain what happens in the singing of Section B: 4. What musical ensemble accompanies the singing of Lalay? 5. What is the tonality of Lalay? (circle correct): major. minor. 6. Why does this type of Philippine music have tonality? 7. What is the time signature? Explain: 8. What does mean? 9. How many different chords are used in Lalay? , 10. Give 3 reasons for Lalay being representative of Philippine European-influenced or Christian music:

11. Briefly describe the dance Lalay:

LERON LERON SINTA Describe the music, LefLon LefLon Slnta:

ATIN KU PUNG SINGSING Listening Sheet 1. Name the Philippine musical ensemble playing Atln Ka Pang Slngilng: 2. In the spaces provided, draw and name three (3) instruments of this ensemble:

Give 4 (or more) reasons for this piece of music being representative of Philippine Christian/European-influenced music: Name the instruments playing the melody (tune) in Sections A and B: Name the 2 instruments playing an accompaniment pattern (keeping the 3 pulse) in Sections A and B: 4 Name the instrument playing the tune in Section C: Describe one playing technique used by this instrument in Section C: Name the instrument playing the counter-melody in Section D: 9. Name the two main instruments which play tunes simultaneously in Section E: 10. Briefly describe Atln Ka Pang Slngilng music: A125 468

SB40

LULAV

Luzon: Tagalog

Allegretto Intro.. A7. Am n jcn ^y iH] \ Dnt JN. 1 A7 £ i ir; Dm I ^ -"ogg la-king hi - ^ao kun_g • f. i 5 ^ —« pa - ka SI pin ang •ga^-wang u A7 ft i i^=^ i^^N^ mi -big sa ba - ba eng ma hin-hin D ^ T ^•'*p^l • —tr0£ ^ i Lu-mu-lu-hod ka na av di ka pa . man if.. j.| II r^m ^ t xlin pan-sin sa hi-rap-i - kaw'y kan-yang A126 469

SB41

Dm * S m i m^ P i Sak-dal- i Ang ia- la - ga ni. m nam ya. Dm k\i A7 J. i ^ m J ya y Di ma-tu-tum - ba sa ka H il^ i m J hin-di-nan hi Ta nging ka-ya - ma K""Difr 1 J2rnA7 i •»s p nan - Li - ga - nging ka-ya - ma IDE I nan r

**§ Alternative version A127

16. Pupils sing Lulay and add guitar accompaniment

17. Perform the dance Lulay. Instructions for Lulay dance follow: Lulay {l) - (Iv) (freely adapted, re­ interpreted, as observed, and simplified from Aquino c II 1976:49). Lulay dancers wear rural clothing, as in il1ustration for Tinikling, page 106 in this Teacher's Book. Lulay dance fits with song, page 125. Lulay dance should be accompanied by some pupils singing the song Lulay and accompanying song with guitar.

18. Listen to instrumental/vocal version of Lzfton Lzfton Slnta (TAPE), following score in Score Book, page 42. Lzfton Lzfton Slnta is on Page 132 of this Teacher's Book. Lzfton Lzfton Slnta is also from the Tagalog region of Luzon and the words are in the Tagalog language, referring to 'My Loved One Leron'.

19. Learn words of first verse only of Lzfton Lzfton Slnta, by listening to song sung slowly on TAPE. The rhythm used by this singer in the slow version of Lzfton Lzfton Slnta is slightly different to score, as, in any folk-song, rhythms can be varied a little at the performer's discretion.

20. Pupils sing Lzfton Lzfton Slnta to instrumental/vocal version on TAPE (first example of Lzfton on TAPE). Sing first verse words always, unless capable of adding second and third verse words with the singers on TAPE.

21. Play simple arrangement of Le-^on Lzfton Slnta on classroom instruments. Score for arrangement is in

A134 A128 471

Lulay {I)

LULAY

VANCE

SECTION A:

Partners line up, on side of stage, girls on SR and 3 boys on SL. This Section has 16 bars, « time (8+8 bars) Girls and boys will exchange places during Bars 1-4 and return to original places Bars 5-8:

-^ B

SR SL

Bars 1-4

> < : G B G SR < SL >.

< >>

Bars 5-8 A129 472

Lulay {ID

Step: Facing front and starting with the inside foot (L for girls and R for boys), take twelve sideward steps to get to partner's position, one step per crotchet beat. Girls pass in front of boy partner. Girls hold skirt and boys with backs of hands on waist. Repeat (Bars 5-8) returning to own original position. Sideward step:

) J « J Step L Cross R Step Cross R to Left. across L to behind in front. Left. L at back. 1 Alternative: Bars 9 - 16: Repeat bars 1-8.

SECTION B (Repeat of Music A)

Bars 1 - 16: Break into designated pairs, each pair using waltz step to go to positions for Section C. Girl is immediately in front of boy partner and boy follows her closely. Boy claps the following rhythm over her Right shoulder and Left should alternatively: 4^j J| As boy claps rhythm over her shoulder, girl turns her head to look at him (turns her head over Right shoulder when he claps at Right, and over Left shoulder when he claps at Left.) Girl holds skirt and turns body slightly as she looks at boy. This continues for bars 1 - 15. Bar 16: Words of song - Ll-ga: Boys assume kneeling position for Section C, but do not kneel firmly on floor until first beat of Bar 17 (words of song - ya). A130 473

Lulay {III)

SECTION C

Bars 17 - 32: Pairs formations

G G G f 1 1 SR G B G B G B G SL f 1 f f B B B B

G G G f f f G B G B G B G f f 1 1 B B B B

Stagger the arrangement of pairs, to allow space for movement for this Section. Boys kneel and maintain clapping the rhythm:*^--! watching the girl at all times. Girl, using waltz step, circles the boy, taking Bars 17 - 20 to complete the circle clockwise, finishing in front of boy. She watches boy at all times. Girl holds skirt and sways a little as she moves. Endeavour to perform waltz step lightly on balls of feet. Bars 21 - 24, girl reverses and circles the boy (as before) in counterclockwise direction

Bars 25 - 32: repeat 17 - 24 A131 474

Lulay {Iv)

SECTION D

Repeat of bars 17 - 32 music. Boy stands and follows partner, as in Section B. Moving in any direction, partners take the whole of this Section's music to exit from dance area. The boy^ follow-girl-clapping-movement is the step used.

o o o o o o o o o o o o o A132 475

SB42 LERON LERON SINTA

Luzon: Tagalog

Fast and lively Intro. iF G7n n i^^m » » • « i f^ P Le -

p 0t al ^f \n n ron Le - ron Sin - ta, Bu - ko ng pa - pa mi-sing ka Ne -neng, Ta - yo'y ma - nam- pa ko'y i - bi -gin mo't La - la king ma - ta

k JKZ ^ J yava . Da - la - da - la'y bus - lo, Si lok. Dal - h i n mo ang bus - lo't. Si pang. Ang bar - il ko'y pi - to. Ang

*: gl sid -Ian ng sin - ta; Pag - da -- ting sa du sid -Ian ng hi - nog; Pag - da -- ting sa du sun -dang ko'y si - yam; Ang la la kar in

te JEZ k lo'y Na - ba - li ang san - ga. Ka lo'y La - lam- ba •- lam -ba - yog. Ku lo'y Par - te ng din - u - lang. I

5Z oz.

pos ka - pa - la ran. Hu man ap ng i - ma - pit ka, Ne sang ping-gang ha A133 476

SB43

it ^TT G7 0^ ^ ba. 2.Gu neng. Ba - ka ka ma - hu - m ^ ^ log. 3.A- uot, AngP a -king ka - la -

ban!

LERON LERON SINTA

Luzon: Tagalog SECOND SECTION Fast and lively

^ g ^ 2., P m G7 i f ^kS

i A134

Score Book, page 43, and on page 133 of this Teacher's Book. The arrangement is of the second section of Lzfton Lzfton Slnta.

22. Sing Lzfton Lzfton Slnta, using first verse words and using the arrangement as Introduction. Accompany bars 1-8 with guitars and then add arrangement to accompany bars 9 - 16. Arrangement can then be repeated as Coda.

23. Pupils describe Lzfton Lzfton Slnta in their books, page 26.

24. Listen and answer Listening Sheet for A;t^n Ku Pung Slngslng (TAPE). The title means searching for a lost ring. Atln Ku Pung Slngslng score is in Score Book, pages 44-46, and on pages 135-137 of this Teacher's Book. The score is presented with the main melody and the rhythms of interludes. This music is from Pampango in Luzon. (Pupil's Book, page 26.)

Answers to questions for A^^n Ku Pung Slngslng:

1. Rondalla 2. - 3. [Pupils' choice]. 4. Banduftfila and laud. 5. Gltafta and bajo dz unas. 6. Octavlna. 7. Tremolo. 8. Banduftfila {or laud is acceptable). 9. Octavlna and banduftfila (or laud). 10. [Pupils' choice].

25. Listen to instrumental/vocal version (TAPE), and follow vocal score (page 139 of this Teacher's Book and in Score Book, page 47) of Atln Ku Pung Slngslng.

A138 A135 478

SB44

ATIW KU PUNG SINGSING Pampango

Allegretto

|L 1IIntroI cr u .. .n \f .' J m I^IJ ir r r p » « St 3r nPii nninnn ^ /A/ i\ ^=F ^^ i^^ S t=4

^ -0S •- -• 0- * m /7» ^ a: B P 5'M n n 11 n n 11 ^^=^ /B/ ^

**:• ^=^ IS ^ LT If r r nir J J 1.1 n $ f Ok s w~~w i^^N -0—•- B P J 1.1 n n A136 479

SB45

Jn k n II 1 M 1 1 1 1 1 1 li** 1 N n 11 1 11 1 1 11 1 1 ji —_ : :

'•=T=* 1#;—^ 0 J 0—^ Lj^ir LJU' /w sX' X . X I Jt ^X JH. a 5 ^ ra

**-»• i^ -f 4=: 1^^ ^. p' J J 'J Z± ' k)t»i 1 1 II L li^^nn 1^ Ki A K— —

•p—:j: mm ^ p ^

p p p ^ p ^ *• * «• JC" ^ i /E/ fc J 1. !• i XXX tzg ^

5^ #=^ #=^ (BE ^ ^^

p •' #s » ^^ M ilf ^m n A137 480

SB46

It ». % H *. tnn » -ir-Yu 11 11V, X jl I I II ^ « « i

ATIW KU PUNG SINGSING Pampango D lO- M- 1. ite n: n: P

^^^ • •'

s i ^ ^ Pte 4- / K^ 6 o* ^ i^^ ^-^ ^ a 2.j^ -0-0 4=M ^^mm iS i

1. i3 : * a:

-ii^y ^ i A138 481

26. Listen to words sung slowly of A;t^n Ka Pang Slngslng.

27. Pupils sing and accompany with guitar the folk-song Atln Ku Pung Slngslng.

28. Play simple arrangement of Atln Ku Pung Slngslng, for classroom instruments (page 137 of this Teacher's Book and in Score Book, page 46).

29. Perform A;t.c.n Ka Pang Slngslng, singing and accompany­ ing with guitars. The simple arrangement may be used as Introduction, accompaniment and Coda.

30. Listen to Magtanlm Ay VI Blfto (TAPE). This is an instrumental version of the song whose score is on page 141 of this Teacher's Book and in Score Book, page 49.

31. Listen to the words of Magtanlm Ay VI Blfto as spoken on TAPE. Repeat the words to learn pronunciation.

32. Sing the song Magtanlm Ay VI Blfto and answer Song Answer Sheet (page 27 Pupil's Book). Accompany the song with guitars.

Answers to questions for Song: Magtanlm Ay VI Blfto:

1. Planting rice. 2. Rural. 3. Christian. 4. [Pupils' choice]. 5. 2. 6. (a) 7. Bar 28 (or Bar 12 of Section B). 8. Bamboo oftgan. 9. To be completed after dance. ...A143 Ai39 482

SB47

ATIW KU PUNG SINGSING Pampango

Allegretto - Lyrical Intro, IIP'JJJIJ J J m ^

tin ku pung sing sing, Me -tung yang tim pu su-kal ning lub ku. Su - suk- dul ban u

i\im i kan, A - ma na ke 1 ti, Keng in a, Pi- ku rus kung ga mat. Ba-bo i dung i - bat -a— Sang-kan keng sin - i an; ning la - me sa; Ni -no mang ma - na

Keng me - tung a ka - ban. Me •- wa kit. Keng sing-sing kung ma - na. Ka •- lu A140 483

SB48

i D J la ya i - t i, t- ku ka - ma - la- lung, pu - su ku. Mang-in - u - ya ke-

1 12?=^ m ^^ '•-Tk "d— s I 2.1ng- yan, A141 484

SB49 MAGTAWIM AV VI BIRO

Luzon: Tagalog SONG

Moderate (J = c.80) gIntro.^_i Bb, Bk

^ m IN m -Tf w Ta- yo na sa bu - ki nn ang lu m Fk • »• T a ay bung - ka - ^lin at"*" ta - yo ay "tnag - ta - Bk. fc * q^ qfL •# -P^ • •• nim Ang ba - yan pa un la - nn Ang ma t m -^ g -^- =r :»:^ s- v nga ma na na - Tiim m^ sa - yang nag- ta - ta

-pr- •P ,n IJ # nim hi rap ay hin- di pan - sin , sa mag B^ "m _. FF>stJ=12(^ mT-qt • #v ^!—^ m ' na - pong pag- ta - nim Ha - li - na* ha* IJ IS i li na sa ka - bu - ki- an i • 0-0-^'-W n" ^T lu pang kad lu - an ng a -ting"*bu

IT ^ hay Pa sa* - 'ga - na in vV .n .n I i I ^ 1 ang a-ting ba-yan ng ang 1i ga - ya'y iF7>7.. -8^ ii ^1 ** 0 ^ ma ••kam - TPtan. Ha - ma - "*T< am ^tan A142 485

Pupil's Bk. - 27

MafLla Claxa dress, TefLno, man's BaKong Tagalog, UaAla ClafLa dress, TefLno (left to right).

MAGTANIM AV VI BIRO Song Answer Sheet What is the English meaning of this title? , Would this song be found in the rural/urban parts of the Philippines? (circle correct). Magtanlm Ay VI Blfio is an example of Tribal/Moro/ Christian Philippine music and dance, (circle correct). Give 3 reasons for your answer to Question 3: In Section A of this song, there are very few different chords used. Are there 2 or 3 chords? (circle correct) Listen while the teacher plays melody of Section A (bars 1 - 8) on the piano with chords. Choose the correct chord pattern: B> BI- B> F7 F7 F7 F7 B> (a) I I I V7 V7 V7 V7 I (b) BV F7 F7 F7 F7 B> BV BV I V7 V7 V7 V7 I I I In Section B {"Hallna"), there is a new chord added. At what bar does this first happen? 8. When you listened to the recording of Magtanlm Ay VI _>.,BlfL0 what was the instrument playing? 9.'.T. Briefly describe the dance Magtanlm Ay VI BlfLO:

TINIKLING

Describe the famous Philippine dance, Tlnlkllng:

END: MUSIC AND DANCE OF THE FILIPINO CHRISTIANS

-00000- A143 486

33. Pupils perform the countryside dance, Magtanlm Ay VI Blfto: instructions Magtanlm {I)- {vll), (adapted, re-interpreted, combined and simplified from Aquino c V 1978:81, with several original observed practices added). Accompany the dance with the song Magtanlm Ay VI Blfto.

34. Listen to Tlnlkllng (TAPE). Follow the song score in Score Book, page 50, and on page 151 of this Teacher's Book.

35. Sing song Tlnlkllng and accompany with guitars (or simulated guitars). Tlnlkllng il1ustration is on page 106 of this Teacher's Book: Philippine Christian Illustrations.

36. Perform the famous dance, Tlnlkllng. Dance instructions for Tlnlkllng {I) - { "^ ) follow, based on numerous observances of Tlnlkllng and by many participant performances of Tlnlkllng by the author. Perform the dance to the instrumental version (TAPE) or to pupils singing and playing.

37. Pupils describe Tlnlkllng in Pupil's Book, page 27 The harvest dance, Tlnlkllng, brings the study of Philippine music and dance to an end.

Salamat po.

..A157 A144

Magtanlm {I)

MAGTANIM AY DI BIRO

VANCE

This dance has been formed to fit with the song Magtanlm Ay VI Blfto. The dance shows several aspects of rice planting and harvesting in the Philippines. The dance is a compilation of many folk dances based on rice planting and harvesting themes. The song is of 32 bars, with the final 16 bars being repeated, making a total of 48 bars, falling into 8-bar phrases or sections. The dance has 6 sections: 1. Planting 2. Harvesting 3. Threshing 4. Airing 5. Pounding 6. Winnowing

Separate groups of pupils may learn each section of the dance and put it together with the song; or the whole class may learn the dance. It would be most authentic to have some pupils sing the song with guitar accompaniment while the remainder perform the dance. In the Philippines it is customary, after the work in the fields is over, to dance, sing and celebrate by means of performing dances and songs with themes based on the work undertaken. A145

Magtanlm {II)

Working clothes are worn for this dance: Boys: coloured pants, shirt, kerchief, salakot hat and bare feet. Girls: ballntawak dress, apron, head-scarf, bare feet.

Field working implements are used and these could be simulated or imagined by the pupils: Baskets of palay (rice plants), knives or scythes, piece of log or stone, shallow baskets, large troughs, long bamboo poles.

The movements for the dance are given corresponding to the bars and beats of the song. The manner for this dance is carefree, happy and lively.

TIME SIGNATURE: ^

Bars 1-8: Planting. (Moderate tempo, c. MM J = 80) Dancers form two rows, facing the front. Each dancer (boy and/or girl) holds palay seeds in basket in L hand (or palay seeds in L hand). 'Planting' is executed with R hand. Begin with feet together, down stage front.

- R foot backward. Bend forward. Plant the seed in the ground with R hand. (Bend low.) 1 - very - L close to R (that is, the dancer is moving backwards with this movement). R hand take __ the palay seeds from L hand.

- R foot backward. Bend forward. Plant the seed in the ground with R hand. (Bend very low.) 2 - - L close to R (that is; the dancer is moving backwards with this movement). R hand take the palay seeds from L hand.

Bars T- Repeat the first two bars (that is, the four 3-8 H {' movements above) three more times. A146 489

Magtanlm {III)

(NOTE: If the movements are too fast for the puoils, each movement may take a minim. In this case, there would be four plantings only.)

Bars 9 - 16: Harvesting. (Tempo as before.) By this time all dancers should be in two rows near back of stage. Imagine that each dancer has planted the palay seeds in a row, thus: X X X X X X X X Now it is time to harvest the grown rice. To do this they will move sideways down the line of grown plants. Each dancer will now be facing stage left. The direction for these bars is: (Back of stage) X X X X SR SL X X X X (Audience or front of stage.)

- Turn to face stage left. Bend forward with knees slightly bent. 9 - - Grasp stalks of grown palay with L hand (remain in bending position). A147

Magtanlm {Iv)

- Remove knife or scythe from belt and cut stalks forcefully, with a large, swinging movement. Drop cut stalks on ground. 10 - - Remain facing stage left and move sideways right. To do this, slide R foot to the right and bring up L foot close to R foot.

- Bend forward with knees slightly bent. 11 -| - Grasp stalks of grown palay with L hand (remain ___ in bending position).

- Cut stalks forcefully, with a large, swinging movement. Drop cut stalks on ground. 12 H - Remain facing stage left and move sideways right To do this, slide R foot to the right and bring up L foot close to R foot.

Bars j- Repeat the 2 bar sequence of movements (bend - { grasp - cut - move) twice more. Bars 17 - 24: Threshing. (Faster tempo, c. MM J = 120 or faster) The workers (dancers) now have to thresh the palay. They must gather it and thresh either by stamping on the stalks or by striking the stalks on a log or stone. This section of the dance combines these two types of threshing techniques. Dancers remain in the positions at which they ended Bars 9 - 16.

- Put down (imaginary) knife or scythe. Sweep with R foot sliding inward to form a heap of 17 -I stalks. Move in a clockwise circular direction to gather the stalks into the heap with the R foot.

18 t - Do the same with the L foot

19-20 -| - Stamp on the heaped palay, R - L - R - L, one f stamp per crotchet beat. A148 491

Magtanlm {v)

- Bend low and gather the stalks, using big, •t sweeping arm movements. 22 - - Strike the palay stalks on the ground or on the log or stone. Strike once for each crotchet beat.

23 - - Shake the pa£at/stal ks in front of the body, at waist level. Shake three times, twice on first crotchet beat and once on second crotchet beat. (Rhythm for shaking stalks: J~^ J ).

24 -L. ~ Strike the palay stalks (as before, for Bar 22)

This section may be summarised thus:

^ I 1 ) 4- J J J J J Sweep into Sweep into Stamp Stamp Stamp Stamp heap with heap with R L R L R L ^ ^ 1 m • Bend and Strike Strike • • • Strike Strike gather Shake,shake,shake

Bars 25 - 32: Airing. (Same tempo as Bars 17 - 24.) The rice, palay, must now be aired. One way to do this is by 'pouring' the grains from one basket held aloft to another lower basket. Usually the women do this task, but in the dance, males and females may perform the airing movements.

25 - - Leave (imaginary) stalks, from previous dance section, on the ground. Each dancer take a basket. This section is performed with the dancers working in pairs. One partner stands holding basket full of grains. Other partner sits on heels, on the ground, with empty basket on lap. A149

Magtanlm {vl]

26 Pour some grain from full basket, held high, f down to empty basket on lap.

27 - Partner standing with full basket shakes the basket in order to bring the grain towards the rim.

28 - Pour the grain from full basket, held high, down to lower basket on lap. All grain is now held in lower basket.

Bars Reverse position of partners, so that lower 29-32 person, with the, by now, full basket, stands up and the original standing partner (now with an empty basket) sits on heels. Repeat airing movements as for Bars 25-28.

Repeat of Bars 17 - 24: Pounding. (Same tempo as original.) The pounding of the palay is often done with long bamboo poles. For this section of the dance, form circles of four-to-six dancers. Each hold (imaginary) long bamboo poles.

17-24 • - Form the circles around (imaginary) large troughs, which are filled with grain. With long bamboo poles, pound the grain in the trough while walking vigourously around and around the trough. Take one step per crotchet beat, moving in clockwise direction. Pound the grain once each crotchet beat, so that the pounding movement and the step coincide.

Repeat of Bars 25 - 32: Winnowing. (Same tempo as original.) The husks must be separated from the pure grains. This is accomplished by winnowing. A150 493

Magtanlm {vll)

25 -{_] - Lay poles down (from previous dance section)

26 -C - Collect baskets.

27-28 -T- Each dancer fill hi s/her basket with grains L from the trough.

29-31 H - All winnow the rice. To do this, stand in one spot and twist and turn the basket until the husks fall to the ground, leaving the pure grains in the basket. Shake the basket continuously with short, sharp shakes.

32 Collapse on ground, to rest after the strenuous 1 work!

A thanksgiving or festive dance may follow this occupational dance (for example, Tlnlkllng or Blnasuan).

o o o o o o o o o o o o o A151 494

SB50

TINIKLING

Visayas SONG Allegro

m ^ ^ 0 .J.— Ah- Tn -1 nga sa - yaw an nga - ran ti-nik - M i! ^ ^^ ling • :#r An bi- nu- bu - hat la an 1^^ ba - ro- ba- king - king kingking man-han ^

^ ^ to - 0, kin^ - king man -han wa - la ^\ nn F . +. C7 s J jf -"—1»—'~:;j^ luk-so hin-du ru - yog ma lak - si ang ki n 2— £ • 0 m m i^:a. ^i wa- An in -1 nqg

0^-= ^•* ^m J ^a - waf*an * ti - il kung d i mag'^ Dm, , A7 dm FT fe m —^ p » 4 ru - yog nga wa"* ay su - mi - kil - ray su - IT |^=^y=J J J J if An du-ha nga kil- A152 495

Tlnlkllng {I)

TINIKLING

OAWCE

Tlnlkllng dance requires two long bamboo poles (other poles may be substituted), resting on a small piece of wood. Two operators sit at either end of the poles and the small wood enables them to grasp the poles firmly but lightly. The poles CLOSE TOGETHER on beat 1 and OPEN on beats 2 and 3.

INTRO.: Poles begin moving 8 bars before song begins.

SECTION A (Song begins)

16 bars. Girl at one end of poles and boy at other end of poles, on opposite sides, facing each other:

girl

boy

Bars 1-4: Putting weight on outside foot (R for boy and R for girl), quickly place L foot inside poles on beat 2. Make the movement appear as if the girl and boy are afraid to put their feet between the clashing poles. Repeat this movement for four bars. A153

Tlnlkllng {II)

Bars 5 - 16: Using normal Tlnlkllng step, move across and back between the poles for 12 bars. As boy and girl are standing on opposite side of poles, they will be moving in opposite directions for this pattern.

Tlnlkllng step: 1 (for: ^ x 3 bars, step on R Step L Step R making 9 beats. ) outside inside inside poles. poles. poles, lifting

Step L Step R Step L outside inside inside other side poles. poles, of poles. lifting R

8 Step R Step L Step R outside inside inside other side poles. poles, of poles 1 ifting (original starting point). L

Tlnlkllng step continues in manner. The first beat of every bar is ALWAYS outside the poles. In Tlnlkllng step, the weight immediately goes on the leg designated: that is. Step L means that weight is all on L and R is raised and free. The lighter the step, the easier it is to perform Tlnlkllng step.

SECTION B

Repeat of first section of song. 16 bars A154 497

Tlnlkllng {III)

Bars 1-4: Boy stands aside and girl goes across and back between the poles for 4 bars. Boy may perform pivots and turns outside poles

Bars 5-8: Girl stands aside and boy goes across and back between the poles for 4 bars. Girl may perform pivots and turns outside poles

Bars 9 - 10: Boy stands aside and girl goes across and back between poles for 2 bars. Boy as before.

Bars 11-12 Girl stands aside and boy goes across and back between poles for 2 bars. Girl as before.

Bars 13-16: Both get ready for next Section

SECTION C

Second section of song. 16 bars. Bars 1 - 16: Repeat the following step for entire time Boy and girl may alternate if they wish, or perform some solo bars. The step is not difficult if the weight is properly distributed.

Step Beat 1 - Step R outside poles. Beats 2 & 3 - Step L inside poles on toes and pivot on this Left foot, so that body faces opposite direction.

Beat 1 - Step R outside other side of poles, facing opposite direction to that of starting position.

Beats 2 & 3 - Step L inside poles on toes and pivot on this Left foot so that body faces opposite direction. A155 498

Tlnlkllng {Iv

Beat 1 Step R outside other side of poles, facing original starting-position di rection.

Beats 2 & 3 as before

Beat 1 as before (and continue in like manner)

SECTION D

Repeat of second section of song. 16 bars. Bars 1-2: Boy move up to girl and girl move to boy, so that both are at middle of poles, on right side. Boy stand behind girl. Girl raises her arms and holds boy's hands (above both heads). Girl and boy are both facing same direction, that of front (the girl's back is to the boy's front).

Bars 3 - 16: Both perform normal Tlnlkllng step (see Section A) simultaneously, both going in same direction at the same time. Still holding arms (high), bend the body to the right when stepping to right; then to the left when performing the Tlnlkllng step in direction of left. As the body bends in direction of step being performed, lower the pair of held hands (reverse for opposite direction).

SECTIONS E - H

Repeat entire song and perform Sections A - D of dance again.

SECTION I

After the song is finished, and the music is played. A156 499

Tlnlkllng Iv)

the boy claps I j H | J H |J H | J H 1 at a much faster tempo than the music previously. This clapping acts as the conductor to the pole operators. They take the new tempo (as set by the boy) and work the poles in time with this new tempo. 4 bars of poles at new tempo. Dancers then perform normal Tlnlkllng step for 16 - 24 bars (depending on skill). This skilful, fast Section completes the dance.

o o o o o o o o o o o o o A157 500

^gj^stiwrwu" i.-^mmfwffm&m^

Winnowing Rice as in Magtanlm Ay VI Blfto.

§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§« 501

A N INTRODUCTIO

TO >*••«•'>

PHILIPPINE

MUSIC and DANCE

^J

Philomena S. Brennan il w^^Ss?' \<

PUPIL'S BOOK 502

CURRICULUM A and CURRICULUM B

PUPIL'S BOOK

INDEX

Page (Pupil 's Bk.)

Music and Dance of Tribes in the Philippines §§B Supplement (i), (ii)

Music and Dance of the Moros in the Phi 1ippi nes 11 §§B Supplement (iii), (iv)

Music and Dance of the Fi1ipi no Chri sti ans 22 §§B Supplement (v), (vi)

[Pupil's Bk. denotes Pupil's Book pages.]

§§§§§§§§§

Sources of materials in Curriculum A and Curriculum B Pupil's Book are listed in Acknowledgement of Sources, Volume 2. 503

MUSIC AND DANCE OF TRIBES IN THE PHILIPPINES

HUNTING THE BOAR

This music is from the Bontok in northern Luzon. It depicts the hunting and killing of a wild boar. Yells, shouts, shields and sticks are heard with the instruments. (mm^

PHILIPPINE TRIBAL INSTRUMENTS

GANSA

The g am a i s the most impo rtant instrument to those Tribes 1 i vi ng in the mountai nous regions of northern Luzon. The metal gama i s a flat gong , ranging in size from 25 cms. to 40 cm s . i n d iameter . It h as a handle made from tusks or jaw-b ones of animals . The gama is played by striking with a sti ck or be ating wi th th e palm/fingers of the hand, Somet imes the two met hods of playing are used at the same time, with th e gania resti ng against the knees of the player. as he sits on the gro und. The gansa is usually played by the m en of th e vi1 lag e. Liste ti to the excerpt for several gamai, and notice the sti ck and han d method of p laying. You will hear different pitch es from the gam ai , a s they are of different sizes.

GANSA

Playing the GANSA

SULIBAO

The iallbao is a drum. It is a very important instrument to the Tribes of northern Luzon. The iallbao is conical in shape and the length varies between 28 cms. and 95 cms. The diameter varies between 8 cms. and 20 cms. The iallbao is made from a hollow log and the skin on top is often pig-skin. The skin is stretched tightly across the top of the drum and attached with braided twine. The iallbao is played with the hands (and not with a beater). Li sten to the short excerpt of the iallbao playing. 504

Pupi1's Bk. - 2 Philippine TKlbal InitfLamenti (continued)

N.

^^^nm

• i- nv*" ft

MAP OF THE PHILIPPINES SULIBAO (showing the three main regions: Luzon, Visayas, Mindanao. The areas of the northern and southern Tribes are indicated by the arrows.)

>CALLELENG The kalleleng is a nose flute. The kalleleng is made of bamboo and the sound is produced by blowing through one nostril. The sound is very soft and haunting. It is a very difficult instrument to play, as the stream of breath must be gently centered to a tiny hole at the top of the kalleleng. Q i\L ower Cut ahead of node in bamboo. Top ^Cut through node

'Nose hole' drilled in centre of node of bamboo.

Playing the KALLELENG 505

Pupil's Bk. - 3 Philippine TfLJbal InitfLamenti (continued) The kalleleng has three finger-holes in the front and a thumb-hole at the back. Listen to the excerpt for kalleleng (sometimes also called baIZngg.cng) nose flute, and notice the trills, short phrases (owing to constant breathing required to play a kalleleng) and overblowing on some notes.

(left) Igorot girl pi ayi ng KALLELENG

(below) GANSA, 2 SULIBAO and 2 KALLELENG:

*:'H'-'"S^

AFin; The a^lw is a metal jaw's harp. In the northern Tribes the a^lw metal jaw's harp is used and the southern Tribes use the bamboo jaw's harp (similar to the kablng of the Moros). The metal a^lw is played by blowing through the middle of the small instrument, while, at the same time, vibrating the attached 'tongue' with the thumb. Listen to the excerpt for a^lw and notice the many different pitches obtained by changes in the breath expelled. The rhythm is achieved by manipulating the "tongue". AFIW with ' tongue' cut from same piece of metal. 506

Pupil's Bk. - 4 Philippine TfLlbal InitfLamenti (continued) BANGIBANG and KALUTANG

Musical sticks are called banglbang in the northern Tribes and kalatang in the south. Musical sticks are played in pairs, striking one against the other. Different sizes produce pitches. The method of holding the sticks reduces or increases the resonance. Some Tribes suspend several sticks in a row and strike them with a beater. Listen to the excerpt for banglbang, which is very short (there is also a iallbao heard in this excerpt).

KALUTANG

See note page 350

PALVONG

Paldong is a mouth flute, made from bamboo. The number and spacing of finger-holes depends on the scale used. Soft blowing is required to play the bamboo paldong. Listen to the two short excerpts of paldong, one demonstrating the low register and the other being in a higher register.

TWO types of PALVONG

BUNKAKA The bankaka is a split bamboo 'buzzer', so called because of the quality of the sound made when the split ends are hit against the arm or hand. Bankaka is often nick-named the devil-chaser (again owing to the sound). Bankaka vary in size from 40 cms. long with 3 cms. diameter (low pitched) to 36 cms. long with 2 cms. diameter (high pitched). 507

Pupil's Bk. - 5 Philippine TfLlbal In^-t4.affiew-t^( conti nued) Listen to the example of two bankaka playing. The deeper pitched bankaka is not only beat on the arm in certain rhythms, but a thumb-hole (near the base) is covered and uncovered, producing another timbre from the bankaka.

BUNKAKA

KOLITONG

The kolltong is a pluc ked instrument. made from a single thick piece of bamboo. from which strings are carved. These strings are made from the actual piece of bamboo itself. The tube acts as a resonator. Kolltong is held in both hands and the strings are pluc ked with thumbs and fingers of both h ands. There are betw een 4 to 6 strings. which are tuned by moving the small we dges. The kolltong in the picture is 60 cms. long with a diameter of 10 cms. Listen to the melod y as played on the bamboo kolltong, accompanied by a slit bamboo tiny drum hit with a thin stick.

KOLITONG (shown on the ground. To see playing position, turn page sideways.)

Some BUNKAKA and KOLITONG 508

Pupil's Bk. - 6 WWMM\ BONTOK WAR PANCE Listening Sheet 1. Give the Filipino and English names of the instrument playing at the opening of this piece: 2. How many sections does this instrument play in the enti re piece? 3. When this instrument plays, is the rhythm strict and easy to follow? (circle correct answer): Yes No 4. Give one reason for your answer to Question 3: A chant follows, sung by a Comment on the chant's rhythm: and the chant' pitch (or tune): Name the rhythmic, metallic-sounding instruments play before the 'Vong Vong Ay' section: 7. This instrument is important to the music of the northern/southern Tribes (circle correct). 8. Where do the Bontoks live: north/south Philippin (circle correct). 9. 'Vong Vong Ay' is a ialldamay. What does this me 10. Name the drum that plays near the end of the piece: Briefly describe: 11. Bontok WafL Vance ends very softly, with the instrument called (a bamboo ) playing.

MUSIC OF THE HANUNOO Listening Sheet The Hananoo are a Filipino Tribe living in the south, on the island of Mindoro. They have a music tradition of their own, different to the northern Tribes. Li sten to music of the Hanunoo and answer the questions. 1. KALIPAy (Merrymaking): Circle the instruments which you can hear in this excerpt: drums - gongs - string instruments - wind instruments.

LANTW^ solo; Lantay is a bamboo mouth-blown transverse flute. Follow the score and then describe the sound and playing technique of lantay.

{,j 1 J.nriJ ^m^ \*i,i/ff*i/-i*f*i Describe the lantay 3. I/AyA (Lullaby) Comment on the singing style of this lullaby:

KASKAS and TIMPARA: This solo is played by a kadyapl, a general term for a 6-string plucked instrument, from 38 cms. to 75 cms. in length. After listening and following the score, explain the meaning of Kaikai: and TlmpafLa:

Hanunoo KUVVAPI 509

Pupil's Bk. - 7 MUSIC OF THE HANUNOO (continued) tTrTTIJy^iriMJ^^r-io,jS: p •^3

5. KALUTANG: What are kalatang? Follow the score for kalLLtang. WhMftW

6. UWI_: The Hanunoo call to each other as they walk along the jungle and forest trails. 7. AMBAHAN: Courting song with GITGIT string instru ment accompaniment. The illustration (right) shows Ambahan words for song ESSE BBS: carved into a bamboo node. After listening and following the score below, describe the music for Ambahan:

rrs fill ujoiif uf IS liJoyUM SiK/4S UiOFmtJ: m 1 I ' 'f U 'I gt'"^'*^---i^:,*-^^^^^ \V ^ir^ir.^'\ T?/^,^,, Tf' *' , . ^1 fUj LUlli^ 8. CALLING ANIMALS: A Hanunoo man tells his nephew to call the animals. Listen, then list the animals you think that the boy is calling:

9. SINIPSIRUy {Gltglt solo): The gltglt has 3 strings and is very small, being approximately 36 cms. long and 6 cms. wide (at widest part). It is played with a bow of human hair. Score:

:e:Ui*.±li^, mm^m'm^{l[i^

Pupil's Bk. - 8 FALIMAC - BILAAN Listening Sheet This piece is from the Bilaan (or Blaan) Tribe in the southern Philippines. Three instruments are important in this music, which accompanies a dance imitating birds. Firstly, there are the small bells worn around the dancers' ankles, which provide a continuous accompaniment as the dancers move. The second instrument is the 2-string p^aglong, illustrated below. One string is the string and the other string is suspended over small frets and it is on this one string that the is played.

PEAGLONG:

The third instrument heard in Falimac-Bilaan is the tagungguan, eight pitched gongs suspended in a frame. Each gong has a knob or boss in the centre, which is struck with a soft mallet. The tagungguan plays another in Eallmac-Bilaan.

TAGUNGGUAN (actual height approx. the height of a man, as the lower - and bigger - gongs can be 45 cms. wide. The frame is usually made from bamboo). Illustrated below is one single big gong of tagungguan:

Z. Comment on the style of Eallmac-Bllaan

VUGSO Dance Briefly describe the Vagio dance, from the southern Tribe called Bukidnon: 511

Pupil's Bk.

IFUGAO GANSA and WEVVING VANCE Listen to the gamai, as played by the Ifugao of the northern Philippines. Play the transcription for 3 gamai, called Wedding Vance. Comment:

BUGAN This song is sung by the Ifugao and mm^mtells the story of Bagan, a beautiful young girl. This song is difficult to sing: why is this so?

^^m BICBIC Listening Sheet 1. Blcblc is sung by the Kalinga, in the north, at times of death. Give reasons that suggest this theme in the song: 2. Comment on the vocal style (i.e. the way of singing):

ALSIG Listening Sheet @ ^ 1. The Kalinga witch sings Alilg. Give examples in the song that suggest this:

2. Comment on the rhythm of Alilg: and comment on the melody of Alilg:

ULLALIM Listening Sheet 1. The Kalinga sing their epic folktales relating to the deeds and feats of their heroes by singing the Ullallm. Give several vocal techniques heard in Ullallm:

ELA-LAi' Listening Sheet This is a different type of Kalinga singing. It is a song of rejoicing, and is rather similar to Ela- Lay in Sallp (see later). Comment on this slow Ela-Lay and follow score: rhythm: melody (tune) .... voices:

SALIPUMAV MANG-ANI Listening Sheet ^^ This is a ialldamay of the Kalinga. Name another northern Tribe who sing a ialldamay: This Kalinga ialldamay is sung at harvest time. Comment on the melody (tune): the rhythm: voices: 3. This is the fifth Kalinga song that you have heard. Briefly summarize Kalinga vocal style: 512

Pupil's Bk. 10 SALIP and ELA-LAV Listening Sheet Name the two instruments in the Introduction of this Kalinga wedding music: How many different pitched gama do you hear as the music progresses? What methods of playing the gama are used? , Does the iallbao continue playing with the gama? ... 6. DraDescribw thee iallbaowhat thean iallbaod gama playsin spac: e provided:

The fast Ela-Lay song completes Sallp. Comment on the rhythm: the voices: the melody (tune): the accompaniment: Sing and accompany the rejoicing song, Ela-Lay.

I PAW Listening Sheet Idaw is music from Kalinga in the northern Philippines. Name the instrument which opens this piece: From what is this instrument made? Does this effect the quality of the sound? How? 2. Describe the melody (tune) played by the first 3. instrument in Idaw: Sullbao, whistling and banglbang follows. Describe the music and explain these words: 4. Towards the end, when the tempo becomes fast, what do you think the music is describing (circle correct): death - wedding - battle - hunting.

BANGA Dance (Kalinga) Briefly describe this dance, Banga, and mention the accompaniment.

SCALES and RHVTHMS Improvise, stylisti cally , on these Tribal scales, using the given rhythms: Rhythms: Ifree rhythm jj >J >J i J} J3 13 J3 IJ jj Idaw: Kalleleng: Alilg: '-^^%.^>-'\\\-,v. -'• "^ \l ^ Ela-Lay: Bagan: Vong-Vong Ay: £ i^.i...^-ii'y. = Lantay: I yaya •• Ka£a;tang; , %-^-^=^t^^^ a^ END: MUSIC OF TRIBES IN PHILIPPIN ii^ wK 513

B SUPPLEMENT (i)

MUSIC AND DANCE OF TRIBES IN THE PHILIPPINES

Summarize slides illustrating Tribal culture:

m

X/A"' 514

B SUPPLEMENT (ii)

MUSIC AND DANCE OF TRIBES IN THE PHILIPPINES

Summarize the culture of Philippine Tribes:

.jxsi0>h.,;w- 515

Pupil's Bk. - 11

MUSIC AND DANCE OF THE MOROS IN THE PHILIPPINES InitfLamenti oj the MofLOi

GABBANG The gabbang is similar to a western zylophone, both in appearance and in the way in which it is played. The keys are usually made from bamboo, and there may be from 5 to 9 keys. The resonator box/frame is often decorated, using okll designs. The tuning is versions of the pentatonic: for example.

l£ • * m ^^ The gabbang varies between 40 cms. to 70 cms. long, by approximately 30 cms. wide and 25 cms. high. It is played with two mallets (or beaters). Listen to the gabbang and follow the score below:

GABBANG The gabbang may be played as a solo instrument, or in Moro ensembles.

KUVVAPI The kadyapl is a string instrument, with the body made in the shape of a boat. It is sometimes called the 'boat-lute' for this reason. This 'boat-lute' title is not completely cor rect, as a closer investigation of the kadyapl shows that the head and tail resemble a bird-like figure. The reason for this 'bird' shape is that the Philippine Moros believe i n the good fortune of the iafLlmanok bird (see illustrat ion at end of Moro section), and use iafLlmanok designs and motifs in many ways. The kadyapl is a two-string instrument, with a drone string, Listen to the kadyapl excerpt, noting the rang e and style of playing. The scale is a version of the p entatonic. The kudyapl demands great skill and expertis e to play. Among the Moros, the kadyapl is often considered a s a communication instrument, as they can understand the meani ng of what is being played as clearly as if they were talk ing to each other. The sound of the kadyapl is very different t 0 our western musical instruments. 516

Pupil's Bk. - 12

InitfLamenti o{i the MofLOi (continued)

KUVVAPI

SULING

The iallng is a Moro flute, made from bamboo. Sallng is played by blowing through the mouth and the instrument is held vertically. It has four finger-holes. The blowing end of the iallng is encircled with a thin rattan ring to create a mouthpiece. Listen to the iullng excerpt and note the wide range and style of blowing. This piece for iullng is played by a Moro from Magui ndanao.

Ring creating mouthpiece of the iullng. Top of iullng.

KUBING The kublng 1 s a Moro bamboo jaw's harp. It is played by exhaling a n d inh aling through the centre, while the thumb gently vib rates the s lender end-piece in desired rhythms, It is poss ible t 0 cha nge the pitch by using different methods of blowi ng Listen to the ma n fro m Maguindanao playing the kublng. This instrument is of ten u sed to convey messages and the player demonstrat es how the kublng plays a certain sentence. The man says t he sen tence and then plays it on the feub^ng. He plays the first word several times and then the second section of words. Final ly he says it all and plays it on the kablng. It is easy to he ar ho w a person could send messages by playing th e kubl ng Sentence: Tlnambak a Tlnadtad. 1.: Tin - am - bak, 2.: A Tin - ad - tad.

'~:^ Holding and playing position of kublng. Okll decoration on Moro kublng. 517

Pupil's Bk. 13

InitfLamenti 0(i the MofLOi (continued)

(Left) TWO KUBING

(Below) Vibrating action of KUBING

BABANPIL The babandll is a bossed go ng. This means that the gong has a type of knob in the c entre which is usually the part of the gong that is played, However, to play the babandll, the player strikes the rimo f the gong with a hard mallet, producing a sharp, metallic sound. The babandll, together with the dabakan drum, the gandlngan gongs, the large agong gong and the pitched kallntang gongs form the most famous and wi dely used Moro instrumental ensemble: the KULINTANG ENSEMBL E (called baialan). It was the baialan {kallntang ense mble) which played Vayog at the beginning of this segment. The babandll often opens a piece for kallntang ensemble and announces the rhythmic mode for the piece. The babandll is the highest pitched of therhythmi c gongs of the kallntang ensemble. Occasionally, a piece uses two babandll. __^^_Listen to the babandll from Maguindanao and identify the followi ng two rhythmic motifs: (a) JJJ (b) nn]} The baban dll is suspended , sometimes from a frame . It has a shallow or narrow rim (see diagram of proportio nate sizes of Moro gong s). The babandll may be highly and intri cately decorated , using favoured Moro designs. The baban dll in the picture ( left) features the boss and shallow rim (whic h unfortunately cannot be observed!).

BABANPIL 518

Pupil 's Bk, 14

InitfLamenti oj the MoKoi (continued) PABAKAN The dabakan is a drum, played with two sticks. It is approximately 60-70 cms. high, with a head of animal skin. The dabakan is the drum of the kallntang ensemble. As with most Moro musical instruments, dabakan may be decorated and the picture shows a dabakan inlaid with mother-of-pearl. Listen to the dabakan excerpt, played by a Moro from Maguindanao. The two beaters, alternating, play the following rhythm quickly: J rw |-T^ fl

-^;.L£^tadMMHHHiiH^l^^^ka_

1 ^\ .••'*'. ^ A 4> •' t ^m ^^^•^.:V.^.V^^-J

-^^^^^ PABAKAN

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GANPINGAN

The gandlng an 1 s a set of na rrow-rimmed, suspended gongs. There may b e thre e or f our g andlngan in a set for the kulintang e nsembl e. Ea ch of the gongs is of a different pi tch, and one pi ayer p lays the gandlngan with a soft mallet The gong s are playe d alternatively, depending on the mode of th e pi ece . Li sten to t he gan dlngan exce rpt from Maguindanao and identify th e numb er of gongs comprising the gandlngan (to do this , 1i sten t 0 the diffe rent pitches of the gongs), Gandlngan m ay be suspen ded s ide-by-side (see diagram of gongs) , may be su spende d Sid e-by-side with bosses all facing fron t or m ay be suspe nded one beneath the other (see picture of two ga ndlnga n in decorated frame). As with other Moro instru ments , any of the gandlngan gongs may be elaborat e 1 y decerat e d

Ornate OANPINi^AW

s i dewa'ys to 'J S'en t i fy 519

Pupil's Bk. - 15

InitfLamenti o^ the MoKOi (continued)

<

AGONG

The large, deep- sounding, suspended agong is the lowest of the rhythmic gongs of the kulintang ensemble. It is made of cast bronze (as are all Moro gongs). The agong has a wide rim and a large boss. Listen to the excerpt of a single stroke from the agong, following a fragment of melody from the gabbang. Agong may be suspended from a frame, hanging parallel to each other. Some Moros, for example the Yakan, suspend the agong from a single point 520

Pupil's Bk. - 16

InitAamenti oj the MofLOi (continued) BABANPIL, AGONG and GANPINGAN; proportionate sizes.

BABANPIL

AGONG

GANPINGAN

The kallntang is a set of seven or eight bossed gongs, which together form a scale. The gongs are set on a stand, in order, from highest to lowest. The kallntang plays the melody (tune) in music for kallntang ensemble. It is played by one person, usually a woman, using two beaters. The beaters may be soft or hard, depending on the style of kallntang playing needed for a piece. The smallest and highest gong is approximately 16 cms. in diameter, and the largest and lowest gong is approximately 21 cms. in diameter. The remaining gongs graduate between these two sizes. The eight, shallow-rim, bossed gongs of the kallntang are made of cast bronze. Each gong in a set may be decorated using okll designs, as may the stand holding the kallntang gongs. Each village has a kallntang ensemble (kallntang, babandll, dabakan, gandlngan, agong) and the tuning is slightly different for each set. Moro kallntang mode or tuning, although varying with some kallntangi, usually comprises tone-minor 3rd-tone-tone-tone-tone-tone. The kallntang plays the gong-melody and usually begins with the low gong pitches and moves through the higher gongs as the music progresses. It ends a piece with rapid descent from the top gongs. Listen to the three excerpts for kallntang. Ex. 1: lowJ— gongsn, endin rrig witr:h thi sm pattern : 3 333433454 (gong number in set) Ex. high gongs, using three patterns: (a] n rr] (b) rm m (0 n n 878 8787878 8 7 8 6 6 521

Pupi I 's Bk. - 17

ImtKumenti oj the MofLOi (continued)

Ex. 3: all gongs, demonstrating the player using two gongs to form a chord. Occasionally, the lower gong acts as a type of drone. These three excerpts are played by Moros of Maguindanao, in di fferent vi 11 ages.

UlINTANG

KULINTANG ENSEMBLE The illustration on the next page shows the full kulintang ensemble. It is a very elaborate, highly decorated set of instruments. The kallntang ensemble is used by Moros in Mindanao, especially the sub-groups of Maguindanao, Maranao, Tausug, Samal and Yakan. 522

Pupil's Bk. - U

InitfLamenti o^ the MofLoi (continued)

KULINTANG ENSEMBLE 523

Pupil's Bk. 19 BINALIG Blnallg is for kallntang ensemble, Blnallg is an entertainment melody.

SINGKIL Video Answer Sheet Slngkll is a royal dance of the from At the opening of the dance, there is a procession of the prince, princess and attendants. What accompanies this procession? The name Slngkll is derived from the worn around the of the princess. In this video performance of Slngkll, there are three Moro dances combined, namely, Slngkll, Vallng-Vallng (with fans) and How many bamboo poles are used for Slngkll? What instruments accompany Slngkll? What is the story of the origin of Slngkll? 8. The poles start very slowly and then get faster/get slower, (circle correct) 9. Describe the clothing for Slngkll: 10. Notice that the attendants never raise their eyes to see the royal couple. Give examples of other ways in which the attendants are dutiful to the royal couple:

11. The princess wears a on her head and uses aplfL (which are ) 12. Describe some of the complicated movements between the poles: 13. In Slngkll, the poles move in time signature of 3 4 (ci rcle correct). 4 4

KAPIIL SA MUNSALA Moro Dance Briefly describe this dance;

l/^ TAHING BAILA Listening Sheet 1. Tahlng Balla is a dance performed by the Yakan Moros to describe the movements of 2. Why do the Yakan have a dance like this? 3. Give 3 musical ideas that suggest the type of dance of Tahlng Balla: 4. There is a slight stop near the end of the piece. In the dance what is this for? 5. What instruments play Tahlng Balla?

[jfj-^^^ PANGALAV Listening Sheet 'Listen while the teacher plays Pangalay. Briefly describe this music. 524

Pupil's Bk. 20

VAKAN WARRIOR'S PANCE Briefly describe this music:

SAGAVAN SA KULONG Listening Sheet 1. Who sings the opening chant? 2. What is the name of this famous Moro chant? 3. What accompanies the chant? 4. Describe this instrument: 5. What type of dance is Sagayan Sa Kalong? 6. What suggests this in the music? 7. What is the purpose of the chant? 8. The dabakan and gandlngan play the final section of Sagayan Sa Kalong. Draw these two instruments in space provided: L 9. Sagayan Sa Kalong is an example of Tribal/Moro/Christian Philippine music (circle correct). 10. Give two reasons for your answer to Question 9: mm FOUR MORO VOCAL PIECES Listening Sheet (1) TALAWI (2) BANG APHAN 1. When is this song sung? 1. When is this song sung? 2. It is sung by a 2. It is sung by a 3. Comment on the breathing: 3. Comment on the breathing;

4. Comment on the pitch: 4. Comment on the pitch: 5. Does the singer use any 5. Does the singer use any of these vocal styles: of these vocal styles: vibrato vibrato glissando glissando tremolo tremolo nasal singing nasal singing glottal stops glottal stops

(3) RAPJA INPARAPATRA (4) BUNGBUNG MANGMANG 1. Why is this song sung? 1. When is this song sung? 2. It is sung by a 2. It is sung by a 3. Comment on the breathing: 3. Comment on the breathing: 4. Comment on the pitch; 4. Comment on the pitch: ... 5. Does the singer use:Vibrato 5. Does the singer use:Vibrato ; glissando ; ; glissando ; tremolo ; nasal sing- tremolo ; nasal sing­ ing ; glottal stops ing ; glottal stops. 525

Pupil's Bk. - 21

PALING-PALING Pa£-c.ng-Pa£-cng is a song from Sulu. It may also accompany a courting dance, performed with elaborate fan movements. It is accompanied by dabakan, gandlngan, babandll and agong. The scale for Vallng-Vallng is a typical Moro scale.

SINULOG Slnalog is a piece for kallntang ensemble. It is an example of Philippine Moro music of the southern island of Mindanao.

KAPA MALONG-MALONG Listening Sheet ^ 1. This listening example is a short excerpt from a longer piece called Kapa Malong-Malong. What does this title mean? Describe: 2. Name the instruments playing: 3. This piece is an example of Tribal/Christian/Moro music of the Philippines (circle correct). 4. Give 3 reasons for your answer to Question 3: 5. Briefly describe this music: tempo . mood other

TAGONGGO X Tagonggo is a Moro piece for kallntang ensemble. It is played at times of sickness. Sometimes it is played as a kallntang solo.

f- PUi'OG Listening Sheet What instrumental ensemble plays Vayog? Name the set of gongs which plays the melody:.... Name the drum of this ensemble: The three other instruments in this ensemble are the babandll, the and the Comment on the style of playing by the kulintang:

This piece, Vuyog, is from the Maguindanao Moros, Name one other sub-group of Philippine Moros: Name 2 Philippine Moro dances: , Name 3 Philippine Moro instruments NOT heard in Vayog: The illustration (right) is the Moro iafLlmanok, the bird of good fortune. In what Moro dance did you see a iafLlmanok? 10. What religion do the Philippine Moros practice? 11. Which of the following Moro music was NOT for kallntang ensemble: (ci rcle answers): Blnallg - Vayog - Pangalay - Tagonggo - Slnalog - Vakan WafLfLlofL'i Vance - Talawl. 526

B SUPPLEMENT (iii)

MUSIC AND DANCE OF THE MOROS IN THE PHILIPPINES

Summarize slides illustrating Moro culture; 527

B SUPPLEMENT (iv)

MUSIC AND DANCE OF THE MOROS IN THE PHILIPPINES

Summarize the culture of Philippine Moros: 528

Pupil's Bk. - 22 MUSIC AND DANCE OF THE FILIPINO CHRISTIANS

PANVANGGO SA I LAW Listening Sheet What is the English meaning of this title? What is the time signature? 2 3 4 ^ ^ ^ (circle correct) What Philippine musical ensemble plays this piece of musi c? Name the instruments of this ensemble, from highest to lowest: In the Interlude of Pandanggo Sa Haw, the string instruments are joined by two percussion instruments (one melodic and one rhythmic). What are they? In Section A, the whole ensemble plays. However, in* Section B two high instruments play the melody (tune) as written on the score. What are they? 7. At bars 5 - 8 of Section B, another instrument plays a counter-melody. What is it? 8. At the end of Section C (bars 15 - 16) one instrument of the ensemble plays chords to the rhythm of What is this instrument? 9. At Section A2, the high string instruments play the main tune. What playing technique are they using? 10. At Section A2, an electric instrument is added to the fLondalla ensemble. What is it? 11. At Section B3, a percussion instrument is heard. This 1nstrument is sometimes added to this Christian/European- i nfluenced musical ensemble. Name the percussion instrument 12. At Section C2, low counter-melody is played against the main melody. What instrument/s play (a) the melody (b) the counter-melody 13. At Section A3, name all the instruments that you can hear.

14. There are five main instruments of the Philippine Kondalla ensemble. Sometimes other instruments are added. For Pandanggo Sa Haw, give: (a) the five fLondalla instruments: (b) the 3 added instruments What is the tonality of Pandanggo Sa Haw? (circle correct) (a) major (b) major-minor (c) minor 16. Where does the word Pandanggo come from? 17. Pandanggo Sa Haw is an example of Philippine Christian and European-influenced music. Give reasons, that you can hear, for this:

Listening Sheet »1. Where is this song from? 2. What musical ensemble accompanies the singers? 3. Name 3 instruments of this ensemble: 4. What is the time signature? (circle correct): 2 3 4 4 4 4 5. What is the key? (circle correct): G major D major 6. Does Pamallnawen remain in this key all the time? 7. Describe the mood of this song: 8. Who sings this song? (circle correct): girls, boys, both. 9. This song is an example of Moro/Christian/Tribal (circle correct) Philippine music. 10. Give 2 reasons for your answer to Question 9: Pupil 's Bk. - 23

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s. o CQ Q. o i. D- 530

Pupil's Bk. - 24

CHITCHITRITCHIT Listening Sheet What does the title of this song mean? What Philippine musical ensemble accompanies the singing i n ChltchltfLltchlt? 3. What is the time signature? (circle correct) 4 4 4 What is the key? (circle correct): C major. E flat major. ChltchltfLltchlt is an example of Philippine music of the Tribes/Moros/Christians (circle correct). Give 2 reasons for your answer to Question 5:

7. Two rhythm patterns are prominent in ChltchltfLltchlt. Give one: 8. Only three chords are used to harmonise this song. What are they?

POLKA TAGALA to music of POLKABAL Briefly describe this dance:

MAGLALATIK Y/l, Briefly describe this music;

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VAHIL SA IVO Listening Sheet 1. Name the instruments playing the main melody/tune: 2. Name the instruments playing the single-note accompaniment figures: 2 3 4 3. What is the time signature? (circle correct) 444 4. What is the key of Vahll Sa lyo? (circle correct): C major C minor. E flat major. B flat major. 5. Vahll Sa lyo is representative of Philippine Christian/ Moro/Tribal music? (circle correct). 6. What are all the instruments playing Vahll Sa lyo made from? 7. Give' one reason for your answer to Question 5: 8. Name the musical ensemble playing Vahll Sa lyo:

KONVANSOV Listening Sheet 1. Name the instrument playing Kondamoy: 2. Where is this instrument situated in the Philippines?.. 3. From what is this instrument made? 4. Give 2 interesting facts about this musical instrument: 5. Give 2 reasons for Kondamoy, as played here, being representative of Philippine Christian/European-influenced music: 6. What is the key of Kondamoy? 7. What is the time signature of Kondamoy? 8. The bars are numbered for you to name the bar number where the organist uses different 'stops' to achieve different effects. Give the bar number and describe the effect. 9. Can you explain why the organist adds these effects at these actual points of Kondamoy? Pupil 's Bk. - 25 532

Pupil's Bk. 26

LULAV Listening Sheet 1. What voices are heard in this song? 2. Is Lalay sung in parts? 3. Explain what happens in the singing of Section B; 4. What musical ensemble accompanies the singing of Lalay? 5. What is the tonality of Lalay? (circle correct): major. minor. 6. Why does this type of Philippine music have tonality? 7. What is the time signature? Explain: , 8. What does mean? 9. How many different chords are used in Lalay? , 10. Give 3 reasons for Lalay being representative of Philippine European-influenced or Christian music:

11. Briefly describe the dance Lulay:

LERON LERON SINTA Describe the music, LefLon LefLon Slnta: 4^

ATIN KU PUNG SINGSING Listening Sheet 1. Name the Philippine musical ensemble playing A^^n Ku Pang Slngilng: 2. In the spaces prpvided, draw and name three (3) instruments of this ensemble:

3. Give 4 (or more) reasons for this piece of music being representative of Philippine Christian/European-influenced music: 4. Name the instruments playing the melody (tune) in Sections AandB: 5. Name the 2 instruments playing an accompaniment pattern (keeping the 3 pulse) in Sections A and B: 4 6. Name the instrument playing the tune in Section C: 7. Describe one playing technique used by this instrument i n Section C : 8. Name the instrument playing the counter-melody in Section D: 9. Name the two main instruments which play tunes simultaneously in Section E: 10. Briefly describe A-t^n Ka Pang Slngilng music: 533

Pupil's Bk. - 27

Maftla ClafLa dress, Teftno, man's Bafiong Tagalog, MafLla ClafLa dress, TefLno (left to right).

MAGTANIM AV VI BIRO Song Answer Sheet 1. What is the English meaning of this title? 2. Would this song be found in the rural/urban parts of the Philippines? (circle correct). 3. Magtanlm Ay VI Blfio is an example of Tribal/Moro/ Christian Philippine music and dance, (circle correct). Give 3 reasons for your answer to Question 3: , In Section A of this song, there are very few different chords used. Are there 2 or 3 chords? (circle correct) Listen while the teacher plays melody of Section A (bars 1 - 8) on the piano with chords. Choose the correct chord pattern: BV B^ Bk F7 F7 F7 F7 BV (a) I I I V7 V7 V7 V7 I (b) BV F7 F7 F7 F7 BV BV BV I V7 V7 V7 V7 I I I In Section B {"Hallna"), there is a new chord added. At what bar does this first happen? 8 When you listened to the recording of Mag;tan-t.m Ay VI f.,BlfLO what was the instrument playing? 9.'.^•Briefly describe the dance Magtanlm Ay VI Blfto:

TINIKLING

Describe the famous Philippine dance, Tlnlkllng:

END: MUSIC AND DANCE OF THE FILIPINO CHRISTIANS

•00000- 534

B SUPPLEMENT (v)

MUSIC AND DANCE OF THE FILIPINO CHRISTIANS

Summarize slides illustrating the culture of the Filipino Christians :

"^,.,,. -iji^^j,' ..^p^iflJifc'^'^ • 535

B SUPPLEMENT (vi)

MUSIC AND DANCE OF THE FILIPINO CHRISTIANS

Summarize the culture of the Christian Filipinos

•.: lU 4 v-.«.\;a.; * i-^^.'t AN INTRODUCTION

PHILIPPINE

MUSIC and DANCE CURRICULUM A and CURRICULUM B

SCORE BOOK

I N D E X Page (SB) Bontok Waft Vancz 1 Vugso {Bzlls) 2 I^^ugao Wzddlng Vancz 3 Bugan 4 Alslg 4 Ela-Lay I 5 Salldumay Mang-Anl 5 Sallp, Ela-Lay 11 6 Idaw 7 Banga 9 Blnallg 10 Kaplll Sa Munsala 12 Taking Balla 14 Pangalay 15 Vakan Wafiftlofi's Vancz 16 Sagayan Sa Kulong 18 Talawl 19 Gabbang 19 Bang Adkan 20 Radja Indaftapatfta 20 Bangbang Mangmang 21 Vallng-Vallng 22 Slnulog 23 Tagonggo 27 Pandanggo Sa Haw 30 538

CURRICULUM A and CURRICULUM B

SCORE BOOK

INDEX (conti nued) Page (SB) C kit c kit flit c kit (a) 31 Pamullnawzn 32 Ckltckltftltcklt (6) 33 Maglalatlk 34 Vakil Sa lyo 38 Kondansoy 39 Lulay 40 Lzfton Lzfton Slnta 42 Atln Ku Pung Slngsl ng 44 Magtanlm Ay VI Blfto 49 Tlnlkllng 50

[SB denotes Score Book pages.]

§§§§§§§§§

Sources of scores in Curriculum A and Curriculum B Score Book are listed in Acknowledgement of Sources, the final section in Volume 2. 539

SBl

BONTOK WAR VANCE

Bontok

KALLELENG (J =60) ll4-4» £E ^QT"' ^yr^^

Je --sa tag-ka-da-ga- no-mo GANSA (J=C.144) L- Iff 1 k—J .J 1 P=l— fe^ t S ^ •S..^ I IK - tf TTTlTt

y~y n J Jl y ^ ^ SOLO (J=c.80) 5F=f ^ ^ .^ vc tf: jcia: ^ Dong dong ay i CHORUS m B i^g bp- f .ES i dong i - lay Dong dong ay i -donDngg 1i -lay in sa - li - du ^M W=if i &=fB ^ S may di-wat In du - ru a po -ra - sa 1n sa -li - du- 540

SB2

CHANT (free) E J^r Jy] ^fFWe may di wat Ha -da-lo no-da-la ni mey - e pa - la- da r-^'^ JT] iJM ma -gua ni-na-ma 1i na dalk ta. - da CHORUS m ?6* da- la- no- mo Qi-i ,Oi-i,Oi-i,Qi-i,Oi-i,Qi-i,Oi-i,Oi-i.Qi-i SULIBAO KALLELENG -jrwr ^>^^,y^^^^w^^>vv^>^^>^^..^^v'•^^^rv,>'^^w^^^^^^^.^^v^^^P'^ il

Att/ t i id»F=^g- ^ t^ ^

VUGSO

BELLS Play each pattern eight times.

A x X X. n * »—r • *. *• t A It ^t «

I 3 I 3: k k k I b: m X X xn Vt X 1

i * * >t i

tin I Kn X X—K f, X mn n.1

§§§ In this Score Book, /w is used to approximate a slight movement around a given pitch. It does not necessarily denote a mordent. 541

SB3

WEVVING VANCE Ifugao

Fast JJ= =15i 2

GANSA 1. (High) - hit with stick GANSA 2. (Lower) - stick (s); hand (h) 4 •li GANSA 3. (Lower) J J J j_i - hit with hand •• J .M >J J J J J J Jn repeat continuousl / (as ostinato) J J ] r repeat continuousl / (as ostinato)

ii_li 7^^— Z^ n>j >j 7^ J J J .1 7^ 7^ .—^ J J J J J i >n n / >j 7^

X 7^ 1: 542

SB4

BUGAW Ifugao

J= 66

man

ALSIG

Kalinga

.' =96

Ui *5± ^ \\ bJ|»] ^ Hay-i Hayri A lig-gu'og gwa-non 9 ^ 2_ ^& •U-lriUi. 5 JCC i xs •ST J ma-wa-an si-an ng tu-bi de Heu-oi^

^^ ^B £ $ rnyy ]S i32 1 Heu-01 Hay-i A-lig-fle't ga-ka- me ga-mo-

^ E !•# ,.h 5 :il J no \ Hay-i A lig-gu'og gwa t'an-an ng

^ gg 22 I tu-bi deX Heu-o? ^ Heu-oi Heu-oi ^ 543

SB5 ELA-LAV

Kal inga

J = 63 i-iiriB. -0-^' i El - a - lay la'el-a 1 -aTT'- ^a\ r^^ i a la el-a el -a - lay. Inm^ ta pu ra^ gra'ts ^ ^ rW- i i na ong su - r^ a -lay, la W-M.¥-iy.ei-a #-#-1 ay 1^ mB psp ^ lael-a el -f - 1 ay- i*^ El -a -la•lav lael-a w i WTi S lay 1 lay. la el-a el- a- lay.

SALIVUMAV MANG-ANI

Kalinga

J = 88 \i ^.fTJ J ^n g •^ ^ T Donodong ay, Dong dong ay si dong e-lay in- se - da - li 1 Repeat X3 dong dong ay ay ung sa - li -du-may. 544

SB6

SALIP

Kalinga J=c. 160

GANSA and SULIBAO Introduction - J three bars

.57 bars

ELA-LAV

J =120 A i,\UU! hn f S * ^. d. El -la-la e-la-la e- la-la e-la-lay, e -la-la el-a-lay. I 1-1 -la-ia e-id-id e- la-ia e-ia-iay, e -la-ia ei-a-lay, e - 4J]J1J >\>y>y^ >\Dy}\ § la-lael^a-lay. El -la-la e - la-la e - la-lael-a-lay, e >|.f>J >>J >| — • * J • • ^4—' •' 0 _. w - •» la-la elTa-lay,e-^- la-la el-f-1 ay, e-la-la e-la-la e s m h ^i^rji > W~9 *-* la-lael-a-lay, e^- la-lael-a-lay, e'^-la¥ - lael-a-lay, e - ^ >J >>j >|Jl.f^ li •»7 s 0 0' ^ .J. &» la-la e -la-la e - la-lael-a-lay. f. la-lael-a -lay , fe >|J>J Ml >|J^ g g ^ m^ * ' ^ *• 1H ^ mla-la el-J-l ay. El -la-la e - la-la e -la-lael-a-lay, "*e- IMJJ .N.M J- i\ •' *f •j' * •' # * ^ «* la-laela - a-lay, e -la-lael- a-lay. El -la-la el -la-la I ^-0-.—^f * •' • J •'. i-4 * • •J <^ la-lael-a-lay, e"^-la-la el-^-lay, e"*"-la-la el-^-1la y it ii ^ I s \-mm g^ OSTINATI: Clapping Gansa 1 (hand) Gansa 2 (hand) 545

SB7

IVAW

Kali nga

PALDONG (free,J=c.63) Mm :a izi

tf^ m ^^P k k^ M^ 1£ I ^^

TZi ^^tet^ ^^

* 1 ;N /TN •SULIBAO ^ =ih^ |u(| >^^ V%^ v»^ s ^ J =132 ->^"^'^->^'"'v^''-v->-'>^^"

^ ^ }t^^*^^»•^^^^t t ^ WHISTLING (rhythm (Inly)

3z: 7^ r JJJJJJJ ^ S > y nnmnii i ^ ^ ^ X //

fTT »' »

/ C >t -it ^ St X. X X x P V * •* n BANGIBANG

^ iS:jfcifc3feixzzsz3czx= ± tiy—t AlfelfeAx t A>t.j!Li l 546

SB8

AND SHOUTS

A X 3t k A' -j'f klZ' K k A.XX X. XXX X:.:

^^ -^^ ^^ >^ jJ 3^ j^ i^ ^-Tt- inn;^nmn

st'AitjtAsLr'JrU-^^ A ' m I

^^ £ H ^ S Ait*<^tAX»XJt*>tXXi;cjt|XitJf •y. at it" ».>t ifc >t I

(SULIBAO) J =152

^ ilt Ajt ^>V.*s:i'iir>tj^ik.)ti^A|^ ]i.}i.± it tf Av 3t •>

'GANSA

ti* « >f ai AND SHOUTS 3 ^ ^ ji:itjtA>t>t*}tA>ryit>tX»-*-| I

* ^c H ^ ^1? X J< a: N

t ^ ^ ^^ ^ ^ -^ accel • I i i i. sir' iif 4f •{ 547

SB9

J =184 m X "x X k s M * «^ ^

3CIZfc3=ZZ3ZIXIISt s * tf i

BAWGA

^ GANSA s s 1 s s • » » 9 0 4'\> 4 fl h i X

s = Gansa hit with stick h = Gansa hit with hand

SULIBAO 4 ^ 4 :n y! n , A 548

SBIO BINALIG

Moro

R.H.

KULINTANG L.H, }y)7.Kh

(^ , , m • i_L_i| •^"'f 1 »-[> ff^-—]

r^k Transition II I 0 0 ^ i

9 9 i 0 0

1)F llf itp ^ jf itr i^p *

il a' g g w Transition Conclusion I rp' r u I 7^ iri^ it*—i— f^-T, '—U. I_L_ L, 1 l_p K

#= l^f' J ^ --=^ fl « • 549

SBll

Fast BABANDIL ^"'™- J J J J tJ J J J JJ J J ostinato : 1X^171^ .„

R, 2 Beaters r^ff^.^ MA • V 3 MA DABAKAN Intro.: |J J J J iJ J V J Ostinato :

R. 2 Beaters : ii • •• d0 jl

(Note that Babandil and Dabakan ostinato patterns are the same.)

AGONG Intro.:

Ostinato :

2 Gongs

GANDINGAN Intro, Ostinato np.n^ni^ H. 0 • g n 3 Gongs M. t • 'II •II L. • • • LiU 550

SB12 KAPIIL SA MUWSALA

ACCOMPANIMENT RHYTHMS

Play four times < * y X X ta

I Play four times, X X X Z3C »g « «

Repeat as often as necessary. S « * y ^^

I a: J 1 in 1 II Play eight times.

lifi n X X y Play eight times

A ^ i^ il I it a^ -^ Play eight times. 551

SB13

KAPIIL SA MUWSALA

KULINTANG A ii ^ 00 ^ -4-0-

ifllij I i^ V^ H ^W >

fcC -Improvise on scale D -Improvise on scale: ^^ Iih ^,' • ^m

• 00 =»=» 0 00 m > -^—» r £ 1^ s ^ •g" > i.J J^TW r *i IWPMP J Wp , 552

SB14

TAHIWG BAILA

Yakan

J =13 8 THREE AGONG:

(±B» High accel. .1= (±G) Medium 160 Ui16 8

(±D) Low J I >i > I M i^j Knri * *

H.

M. nfly K> ^j"]y

L. ..JJ JJJ i..JiJJJLlJJ;>'/'.>v>J^>-/^> , J Jl jm .nm .rjTi M. hi. 1 Ht i>tf JIL M h.^dn^i-r}b

H. .JJJJJJJJ;>,> i

M. >,.! l.il-, J L. dm \i ih 1

* = HiHi t with wooden mallet = Hit with felt mallet 553

SB15

PANGALAV

Sulu J = 60 B KULINTANG m• 9 ••—* ^

i^EfZiilJlI^ J "i/*^"^^ J m ^""^^^^""^ k M DO• ' • •

t ^ ^ 5 * 9 ~ZML k IJ J .'• h 0 g XX k: ^ 5 iax:

i^ •* » ^ «—0 1^

1,1) J > l7-ri •' il I \ 1.1 11 rm TTu I nr^ rF Ci) *' 9 mn 4 I J 4i J J IJ J J •

il * • 554

SB16

WARRIOR'S PAWCE

Yakan Presto

GABBANG A 555

SB17

i ^ ^^

s3gE ^ ^ ^ ^

W=¥^ ;i=F ^^ i 'M ^ 1 r P p F ^ ^ ^ ^ • g U •^—0- 0 0- ^ P

^ ^ ^

J #r r r r ^ ^ W ^ ^ ^

^ ^ I% !r r r r

^ ife ^ .X- LH .0 .n.[]

\%\ ^"^^™^^%*^ (f^Str r f r i^ 3^^m^ 4r AWWvtVH

TS^^ a ^' 556

SB18

SAGAVAN SA KULONG

Maranao J =c.69, accel. to J =84

AGONG CHANT 'Dende 0 Dende' (free) 1^^ rrmira ^^^ Den-de ODen-deDen- de 0 Den - de Den - de 0 Den-de a£££jL ^^j JiJ .n Xi ^pp Den -de 0 Den- de Den -de 0 Den A ma-ma-na ma-wa-lak-u \7uu^0^i art J JIJ 0 bet-sa-lay^j^e da-tu Den- de 0 Den -de Den -de 0 Den - de • 0 ^^ 9'J JIJ -\rg Den -de 0 Den Ma in-oTh^inqg sa-i it sa-inqisa-ingit sasaMa-guindanaf o

g JJJ w J—cf rf{Den-de^ LT3 Den-dr re Den - de 0 Den - de Den -de 0 Den Den-de^A) Den-de

/ 0 0 J V 0 J 0 V d ^^ m Den-de 0 Dens- d^e Den -de 0 Den A ma-ma-na ma-wa-luk-u '^JTjr r rrr r ^m ^mbet-sa-lay un de da-tu Den-de)en-deOO Den -dee Den -de 0 Den -de

\ / J J J X) I n I n ^^ Den- de 0 Den, De•'n -dme ^0 De9t n -dme ^ Denm - dme 0^ Deh n DABAKAN AGONG DABAKANJ =c.l44

^ m $ 4" -j' i * $ ^DABAKAN Q (5

H. GANDINGAN iii ^ i >^ i Q L. H:: u '1 o II 557

SB19

TALAWI

Maguindanao

Free ( =c.96)

1 ^0 ^0 >p. ^0 f>0 >p—tp- su-ng tok - Ta-iTwi -ke-wa-ka umo

mmmar TL^ i ^'ya luo (words not decipherable)

0 b0 ^nV ^jg« ,bg b|Q ^ Jyb|g^t^ g $ ^^ gi -mi - tu-wa la-kuUi ,/s^ing-ka lae 0 ma-ni9-rj-sa • g g » • m»g S ^ ^ lu-sa-lu-ing^•sa- lu-ing^^ca ser-in-a Ha-na 0 ma -mo-sa lusaluing aserin foll- ^ ^ W a Ha - na Mr—- 0 ma-mo-sMa lu-sa lu-ing a ser-in-itj^a kom-i» n a ^ 2 I ha-bib no se pi-no wa de no (du-kri-no-mo da- a Ha - na).

GABBAWG

/<:> iijiBsOrij '^i-H n=^tet ^ ^^

iij JbJJ''jJ"^ J~^ ^ g—• 558

SB20 BAWG AVHAN

Magui ndanao J =c.66 ^s tyfaja b« p rM»^ u m^ ^l^g-^ m t B |g kP Q IjtQl m F=e=

toir. IT 0 9 0 ^ f ly U f UI '

RAV3A INPARAPATRA Magui ndanao Slow m 10 -^* l<^»fg# A-ur sa ya • -JL t > ag^'fgxi SE gi^ i ng-a a ifa e^ ku [motor boat] > .•g •^•^-Ufl^g—

SB21 BUNGBUNG MANGMANG

Maguindanao

J =7 6

p—g • -g i^^ i 0^-0 i •i' #1 Mang - ma ngan at ku-mum-u gu't bok tu

^ «i—# i^« t lu ge "•hi dat-ra-da - la - ta

A lu 't tu eu tu gud-in m ^N It eu u- na dum bo - nu mang - a. 560

SB22 VALING-VALING

Sulu

Slow J =72 j=4q k w—^ 1^ ^9 g May da-ling da- ling sa may da - ling da M i\0 iK^ it ling Tag - nah ni LIla Lnan - iga - lay Tim - ik k - la naF\ - qa •' • • >^ J aani g lal - lay lal- "•Hay He in - da ma - ti - wal

^^* ^^=^ m 0 ^ ^ lay Di con - te - san man - ga - lay May da k »' U' .« -gs i ling da - ling sa may da - ling da §fe ^ ling. i-tHI

DABAKAN i.n n ,J. > I BABANDIL GANDINGAN j n n ji\} n 1 AGONG \n n ij n ^nn , J n i.nr] iJ n 1 J. > ,n f] ,J. J>, 561

SB23 SIWULOG

As fast as possible

R.H.

KULINTANG ^ L.H. IN MM'

•'«» '•' - • ih' . t • 1 i M—M • ^

• JL. ~r^* m 7^—a -^—1—^—J—'—g^ *—^—%-J

f • / t p f ' • •

'-mmal^ "•

•f m J g—J—0—J—'—J 0—g—j-j

/ * —-m • • 1 •; sr» —• i 1 t

u 'f(^_-^ , J—•—-—•—-'—•^ ,1—g—,-,

-Jf = ^ «l m^-^=^ 1 9. |»J1 w .w

Iri-t J * J^~J " •< J ==iU 9 B ^' 562

SB24

.4 F f a B^ g i J T gl S ' f^ \ Transition • g f"

~9 ^

Id*— —slfr- . • —0— • • • I - • 0 it • 0fr'

4=- —gl— •g^ -^ J_ ^K III . <|p» j^ ^ -

5E >i J <> , itpjir i^ m ^m^ fr . ii P 1

1 #=# s i^MVfr- -g g- I

^ ^1**=i: S -g-»^ 563

SB25

Transition p=^ 'itfir lip

^\ itz± -^^ J J • • W

Ir:^ 1 ' - -I ^—^1 1 ^1 ^i_ : " 0 • m - '

^^—0 J J—J^ •-VJ _J j^ • •

/ k Concl US ion m g~" • l^ji j • ' r 1 • 1 g « « ^ * fl m g ^ -gt J'

, g itF 1*1 0 9 f^ 0 m P—pr

li g • 1^ N • '0"0 -^-llrHk SCALE 1^*^ » ' • 564

SB26

As fast as possible BABANDIL I"*-- J J J J |J J J J pAiJvJ Ostinato f'» J J> J J J V . JJ J J J J J J J #-4 . .f^ Rn 2 Beaters mn L. MM. g g oil MM. DABAKAN Intro, J J J J J J J J Ostinato igig.nj>yf]f]j:ji., mmnj) m mn fr^ 2 Beaters MM MA MM- M gl

(Note that Babandil and Dabakan ostinato patterns are the same.)

AGONG Intro.:

Ostinato : n.Dinj'ij g g •4 H. pj3i n} n 2 Gongs . : P • 1. fl •

GANDINGAN Intro.: Ostinato : DjnWfjnn} .uj H. 1ft f p f j0 • 0 3 Gongs M.: • 1» • 0i r 7 . 0 * • L. 0 } f 9 HBS r 1m 565

SB27 TAGONGGO

As fast as possible

R.H. il5 KULINTANG L.H. m7 » \ * tfl r r 1 V • f p \ t •- f—TT 1»—p —

^ ^ ^

^ ,—^» ,^, _—•-• 0^,—

^^_^_—^_j— • fli -#- •• g •

^ il-" g p f-f 1P—H F * f F 1*1* 1r~f — 4 1^1 t — ™r g g • • ^ •

^^fl—J—^—^-» •—,— "'—r—1•ZI»^ » r^T—

W 0 0 J g g g 566

SB28

^ 1 le-" 11 — • • • , • • fl1 W W ^ ' 1 -k te— 0 -J J 4^ g g g

^-ikm ihz ' 1 • • 1 • ' L. r 11 F' ' • ' I < 4= g • 0 • J g « g • Trans ition

HfF— W W, ' ' • ' f • i •0—1 P ^n •

1 IN • ^^^ J fl 0 4 « J *

i^^= 1 f=—r— • 0 1 1

> J Concl jsion fe-—r—• • p M 1^

'^ 1 ' m g J J ^ A- gM .. .a r^^—r^ ~ ^l_iUI |^_i 4,, ^"^i SCALE

IfS 0 -— B -^= 9 0 kj -g- •• 567

SB29

7 8 As fast as possible BABANDIL Intro. + Ostinato

R. 2 Beaters MML DABAKAN Intro, mrsnij> Ostinato mmn>^nin:mp^ nn jy,.rnj^jn> 2 Beaters L. 0

(Note that Babandil and Dabakan ostinato patterns are the same.)

AGONG Intro.:8 6 Ostinato :Q 0 •• nin^ \mnn\^ H* g ggg gf g gg gg g gg g 2 Gongs :6 L. 8 t

GANDINGAN Intro.

Ostinato n\rhn>\mmm}^ H. 15 i mrn i. 3 Gongs M. L. 568

SB30

PANVANGGO SA ILAifJ

Luzon and Visayas Allegretto Intro. /A/

-•—•—•—^~ J IJ. J•W.J ¥ IJ 0- -u- * • J. >i 11 ;^.nij .Gj ij nn k i ^^ _t—^ Hin 1.1 m *^ m NTERLUDE Slow rit, ^ I 1^^ 0 •• ^ 1 ^ molto rit. m?1-^'_ a iemoI o ¥-•8 si ^ * 5 i^3^ ^m•' • •# i^pr-* t 8 * g g g ^ • V -^i • -^ 9

Si S i 1. /B2/ 2. /C/ a 1 ^ -0-^ -0-' —. ^ ••if^* _•!

I j J .J^^ ^^ 569

SB31

-t-^.

im ^ ' d • -4 ^^ m m 15 16 III 'ii :/A2/ ZB3/ /C2/ /A3/

CHITCHITRITCHIT

Luzon: Tagalog

Fast and lively s i^^ S ^

^^ ^ ^

\TXjr r^ ^ -#-» 570

SB32

PAMULIWAWEW

Luzon: Ilocano

Lively i^ 3 I s J. ^ i i Pa - mu -li - na - wen Pu - i^^ *=¥ sok in- de-ngam man, Toy u -mas-a

i m m 0 0- *• sug Ag -ra yo i-ta sa - diam.

^ 0 0 0 ^ ±=M Pa -nu-no - tem man. Di - ka pag-in- u - tul - i ly mp p '' ngan. Toy a-ga - yat ag

0 g •• ifl

PJ= g 0 ^ ^^ ^^ man Ta - li - pa - tem ta - na su - di u

i ^ nay a - na - gan. W maS -la -

1 gip ka puf - sokti ma-banmg -a - ran 571

SB33 CHITCHITRITCHIT

Luzon: Tagalog

Fast and lively 1^ i B^7 Chit-cmt-rit - chit A-li - bang - bang Sa -la-gin

0—• 0 1^ m - 1^ I -^ to't Sa-la -gu - bang, Ang-ba-ba - e sa Ian- sa Bb7r— ^ a liS • =;0s ngan Kung-gu-mi -ri'y pa-rang tan - dang. Chit-chit-rit- m -0 0 im dang. Ma -ma -ma ma na-ma mang ka pa sa - ka - Ak BWI 0 0 0 i\i\r f .n^ 3tl * yin I a n'ng ba - ta Pag - da - ting sa May - ni - IF i ^=^ I 0—•• la, i - pag-pa - lit ng kut sin ta A - le, A Ak i^ W-0 -0-0 mr ^S 7 Te] na ma- ma - yongPa su- ku - bir =ya-ring sang-

1^ * >m: ^L>^ m m gol Pag-da - ting sa Ma - la - bon i-pag -pa - Et 31 -•—• • ^^•K^ •0^ • *» f i li1 itt . nrgm bhaa -g-nor ong. Chit-chit-rit-chit a-li -bang Eb. f fl!* »» •' 1•i- ^ 0 • ^im -w • J 3=2 bang Sa -la -gin to't sa -la - gu - bang, Ang ba -ba- Bk g'' jg 1^ g y f g ^ sa Ian - sa - ngan Kung 'gtr^ mi -ri'y pa-rang Tan 572

SB34

MAGLALATIK Luzon: Tagalog

Lively/very fast

INTRODUCTION For listening (Example I) = ^28 bars

INTRODUCTION For Dance and/or Coconuts (Example II) fl 16 bars. Followed by:

^ ^ m

4'.ran ij n 0—0 m

0^0^ ] J J n in^n i g ' fl i'uju ir u i[^ g g f 0—m g 0 i m »* ^00 m ^ s f^^ B nij ^ f •' g

ifI * •g' -»- M ^ 573

SB35

¥ M fefe i ^ linn ij. ,ik^^ i P A^ f «3g w M g »' I m-f' »# f- f J| g ft i V 9 0 0, .#.Jfc^Hg j ~ ^"^""it lP=P

J -._ •^•F NO REPEAT EX. II

#^ ^m ^

£ ^ ^ ^ l^f/J J ^ If !• f p •' E ^ EX.II:to * |lTt" J J J ^=3^ i f

fl p |» I^S ^ ^ s I m ^ 574

SB36

* *

^ i m ii|ii.nn ii n if^n ii n i ii|;or] IJ n m

0 M^M 0 0 m ^ • IT • • P f mf i^ ^ ^ i 575

SB37 MAGLALATIK

COCONUT RHYTHMS

2 Intro, -d 16 bars (coconuts silent); ^-^ars UJlJJliJUiUJlJJIUJJjl

PI ri I PI ri I Repeat this rhythm pattern eight times = 16 bars.

t fl M I n PI I Repeat this rhythm pattern T ... J I. . ; Jll ^.H^^ ^.^^^ ^ 16 bars.

n PI I ri nil Repeat this rhythm pattern eight times = 16 bars.

D - 8 bars (coconuts silent)

E O niP Pill Repeat this rhythm pattern 0 0 « «! (• • • •Il ^^^^ ^.^^^ ^ 8 bars.

^ ) J I II Repeat this rhythm pattern ^ *• • " for sixteen (16) bars (wait for «).

? PI PI I n Pill Repeat this rhythm pattern 4 . .' . .1. . • Jll e^.^ht times = 16 bars.

«. ^ PI I PI PI Repeat this rhythm pattern 7... •'!•• d aiwii ^Q^^ ^^^gg , 8 bars.

PI PI I n ri|| Repeat this rhythm pattern 576

SB38

VAHIL SA IVO National

IL I f7\ tT\ f7\ I^'i4: J J J m ^m

^ 1^ Q- , I ^j g- kV'J >y P.\ .GiJ 577

SB39

KONVANSOV

Visayas

IN k § ^^ ^ ^ it S i i ^

^ •' g ^ 10 te r 1^' r r i 13 14rn I ^ ^ . 15 16 /B/ 17

^^ ^ il • ^ ^^ 19 \ n ,- 20 ^^ r T r r 22 ^ U^CJ .n J *• « i 25 g ^ P ^^ 28 IJA'-' n,- •1 n J ^ 31 12 ass: ^ ^ ^ -e^

^^ 578

SB40

LULAV Luzon: Tagalog

Allegretto t Intro.iniro.-—, . ^__ A7 •MJd 'N i-n I 1 A7 k Dm iM 1 Dm I ^ -"Qag l.a-king hi - i^ap. "^^"^

-WT I ^ 5 pa - ka - i SI pin ang •ga^-wang u A7 fe i #—?s^^ g ^m T itTis^ni -big: ^sa ba - ba - eng ma - hin-hin Di I I in i :* ^ S g Lu-mu-lu-hod ka na avjr^^ui^, di, ^ «.,i\ka p^Jaa ..mai manl - ^ m n n TJ. > 11 iin pan-sin -sa hi-rap-i - kaw'y kan-yang 15 Cm i J su-ssu- u - bu A -nong la-king jjm^'p li A7 fc ^ ^ Li - ga - ya ng bu

^ ^ i ^ **( Lii -^ga ya ifl iN Dm, 20. A2 hay Ba - ba eng

^ i ^ i Ng bu hay Li - ga 579

SB41

^ ^ ^ g m I s Sak-dal- i nam Ang ia- la - ga ni.

ya. k A7 .. Dm li J i ^ J ya'y Di ma-tu-tum - ba sa ka - ^1 i Q: hin-di-nan ni ya'y Ta nging ka-ya ma "DRT 1 f?(—[ft / I J ii ^^ nan - Li - ga - nging ka-ya - ma

T. nan r

**§ Alternative version 580

SB42 LEROW LEROW SIWTA

Luzon: Tagalog

Fast and lively Intro. 1^LF ^ G7B t f P Le - k

ron Le - ron Sin - ta. Bu •- ko ng pa - pa mi-sing ka Ne -neng. Ta •- yo'y ma - nam- pa ko'y i - bi -gin mo't La •- la king ma - ta

k ^ J va Da - a da la'y bus lo, Si lok, Dal - hin mo ang bus lo't, Si pang. Ang bar il ko'y pi to. Ang

B^ I I r> I '== sid -Ian ng sin - ta; Pag - da -- ting sa du sid -Ian ng hi - nog; Pag - da -- ting sa du sun -dang ko'y si - yam; Ang la la kar in

te ^ lo'y Na - ba - li ang san - ga. Ka lo'y La - lam- ba •- lam -ba - yog, Ku lo'y Par - te ng din - u - lang. I

KK QL -0^ pos ka - pa - la ran, Hu man ap ng i ma - pit ka, Ne sang ping-gang ha 581

SB43

mm1 r G7 ba. 2.Gu neng, BPa - ka ka ma - hu Pi,'?Tm T fi2- mlog 3.A- uot P Ang a -king ka - la 0S 6^ ban!

LEROW LEROW SIWTA

Luzon: Tagalog SECOND SECTION Fast and lively • K .C 1. ^^ fa^ 0^m—•-

¥ i s 3. i^5 G7 i^^ -g^ f P

i 582

SB44

ATIW KU PUNG SINGSING Pampango

Allegretto

^ Introiiiuri . W=-^ n\r J j ij n P tf ^ *

i X X X x: nnin nnn ^m

/A/

^ ^^ ^^ B zr i il ^

.<>j ;i B P P I -g •- -•—• 0 ^ ^ ^^ P /B/ riii f ] 1^ K2 a X X x::g: P

^^ ^fe ^ cj If r r Hir J J iJ jg ^ ^

7 Ml 1 1 ij .HI. • r 1? rr 1 1 w g • ° I' I' • H— 4 g ll"l 11 II r1l, 11 Wfc Bfc,,, JW JeSL. ijri nnii"] -9 r 583

SB45

E^^^^]=F=p [ I I I I I I E #> g ^ I ' J V -J- J. J. J. \}*\ h n 11 1 11 1 1 11 1 =1 Ift— —M—N —M —W —

#—=—#- s^^ .' II uun ^ /D/ 0' f ^ K~y A X I X X AJ"i X X s ^ k>i* 1 1 1 11 III [^ n 11 1=^ fj. 4 ^ ^ -J .. ijj ly

•r^i • BV. g yJ J J If jjii" c^if n.1 /E/

SB46

^.y r JiJ nnu nnu ii n i 3:

^^ « * -^ i ^s

ATIW KU PUNG SINGSING Pampango 585

SB47

ATIW KU PUNG SINGSING Pampango

Allegretto - Lyrical Intro

tin ku pung sing Me -tung yang tim pu - su-kal ning lub ku Su - suk- dul ban u -

kan, A - ma - na ke 1 ti, Keng in a. Pi- ku - rus kung ga mat. Ba-bo

dung i - bat an; Sang-kan keng sin - i ning la - me sa; Ni -no mang ma - na

nup. Keng me - tung a ka - ban. Me - wa kit. Keng sing-sing kung ma - na. Ka - lu 586

SB48

j?*J J J U —^ • k ^-^— la ya i - ti, r- ku ka - ma - la- lung, pu - su ku, Mang-in - u - ya ke-

m10 — fen 2.1nch a — yan. 587

SB49 MAGTAWIM AV VI BIRO

Luzon: Tagalog SONG

Moderato (J = c.80) rJntro. i^a Bb, F7 I i^^ -9 ,- Ta- yo na sa bu ki - rin F ang lu tt m k m Ta ay bung - ka - "^lin 6rf*^ ta - yo ay "tiag - ta B|» k

s -^—•—i^'^—-^^ nim An g ba - yan pa un la - rin Ang ma ¥. g *-^. aP =g= g' ^ 0- nga ma na na - Tiim mar sa - yang nag- ta - ta

# nim hi rap ay hin- di pan - sin ,s a mag t —a • ,Rb| m\ i —9g ^ ^ na - pong pag- ta - rnm Ha - li na''- ha* iln -EZ li na sa ka - bu - ki Ia n k: $ i i *~*—r- ^ lu pang kad lu - an ng a -ting"*l)u Bb tfc hay Pa sa* - 'ga - na in \i^ .n D h' t Ip .n 1^ ang a-ting ba-yan ng ang 1i ga - ya'y t iF_7rT; -e^ ^^—a ^ ^ J ma - "•kam - wtan. Ha - ma - "*!a m - •tan 588

SB50

TINIKLING

Visayas SONG

Allegro

1^^ ^ An- Tn -"i nga sa - yaw an nga - ran ti-nik m ^m ling An bi- nu- bu - hat la an 1^^ ^ ba - ro- ba- king - king kingking man-han ^ M ^ to - 0, kin^ - king man -han wa - la F , C7 ^ m ^mnm^ ^ luk-so hin-du r\x - yog ma lak - si ang ki £_. a E \}i nW 9' 0 m •0^ T0- -Mr- -M- wa- An in -i ng An du-ha nga

^^ ^ ^ ka ho'y guin - i 1 - ro in tok Dm A7

^^

-nga si-na -sa bay - an hin ban - M 0-

~1> -g—V—•9 ^ ¥ dok di -da ha pag in - tok ti Gm. M I d' _ Il n n J ga-waP^n ti - il kung di mag^^ Dm, I A7 m Dmrr ru - yog nga wa^ - r^ siT - 'nm- i - kil- i t 9 m' • •1^ i I An du-ha nga kil- vP H I L I P P I N

MUSIC AND DA 590 APZl

CURRICULUM A

PHILIPPINE MUSIC AND DANCE PUZZLES

INDEX

Puzzle Page No. (APZ)

1 Musicword 1 2

2 Musicword 2 3

3 Pictureword 1 4

4 Pictureword 2 5 5 Odd Word Out 6 Mystery Word Puzzles - Introduction 7 Mystery Word Puzzle 1 - European Influenced Music and Dance 9

7 Mystery Word Puzzle 2 - Mainly Rural Christians' Music and Dance 9

8 Mystery Word Puzzle 3 - Musical Instruments 11

9 Mystery Word Puzzle 4 - Philippine Instruments 11

10 Mystery Word Puzzle 5 - Philippine Songs 14

11 Hidden Titles 15

12 Make Words 16

13 Find the Word 16

14 Match the Word 17

15 General Crossword 1 18

16 General Crossword 2 19

17 General Crossword 3 22 Answers to Puzzles 25

[APZ denotes Curriculum A Puzzle pages.] §§§§§§ Sources of illustrations in Curriculum A Puzzles are listed in Acknowledgement of Sources, the next section in Volume 2. APZ2 591

ID 3Ji 4Ji HH»w^n ^a

^ xE » ritt0'0 i}\\\\\\i"*i'. ^ ^E ISA sn ##W^ • FI ^!ilUU|ILl||iiJUi iMy^-fi^ t^Lffl^UUii«t-

14/1

^ :A ^ ^^ E Ik 10 II ^^ i%w^ ii?r «2. 15 [2k ^ ^^ E J LJ 51 ^^ ^ffi

^^ I^LSA

IZli Q-1

^ 35Z: Fi3^ fei55|fai ^si/ Vjy m w. 6

PUZZLE NO. 1 MUSICWORD NO. 1: To solve the Crossword, name the melodies 592 APZ3

^^ffflJ «fe. IM

^^\i^ va^S i^a ^^T4 s v'> '^a^ ISV! rr ^A lll^ fennhJJl (Mffl^ rm E m E ro 1\w3f^ 14]) TI) 6 a V *FTF * » »—H» ^^mm li

^^ ^^ I3A »r 21> ^m

0tC' ^^ #rTf ^'- \ZA im -y/i a m •^—» B3® M i^S i=tf

1^^ «le7 i^^^ ^ «te. P^

PUZZLE NO. 2

MUSICWORD NO. 2: To solve the Crossword, name the melodies 593 APZ4

PUZZLE NO. 3

PICTUREWORD NO. 1: To solve the Crossword, identify the illustrations. 594 APZ5

PUZZLE NO. 4 PICTUREWORD NO. 2: To solve the Crossword, identify the illustrations. APZ6 595

PUZZLE NO. 5

ODD WORD OUT

Which is the odd word out in each group? Find the word and explain why it is the incorrect word for the group.

(For example Hanunoo, Bontok, Subanon, Manobo, Bagobo The answer is Bontok, as the other words in the group are the names of Southern Philippine tribes.)

1. Kudya Pi. Octavina, Kolitong, Gitgit, Bandurria. 2. Bunka ka, Kolitong, Kubing, Octavina, Paldong. 3. Kul in tang , Dabakan , Agong, Babandil, Gansa. 4. Sulib ao, Gitara, B andurria. Laud, Octavina. 5. Mi nda nao, Mani1 a, Banaue, Pagsanjan, Mount Makilin 6. Cebu, Man i 1 a , 11 0 ilo , Bohol, Dumaguete. 7. If uga 0, T •Boli, Ma guindanao, Luzon, Tasaday. 8. Palo Sebo , Mindana , Luksong Tinik, Sarangola, Sip 9. Chitc hitr itchit, P mulinawen, Tausug, Magtanim ay di Bi ro, Lulay. 10. Alat, Apa t, Dalawa , Isa, Tatlo. 11. S i n g kil , Kulintang , La Jota Caviteno, Binasuan, Palak i s. 12. Tadok . Pi nanyowan, Palakis, Maglalatik, Palok. 13. Tapis , Ba 1intawak, Camisa, Suling, Panuelo. 14. Magla lati k, Kalapa ti, Octavina, Itik-Itik, A La Jota 15. Atin Ku P ung Sings ing, Dandansoy, Leron Leron Sinta, Lulay , Bu nkaka. 16. Kal in ga, Ifugao, B ukidnon, Bontok, Itneg. 17. Singk il. Kapiil Sa Munsala, Pangalay, Agong, Dal in g-Da ling. 18. Kalam ansi , Papaya, Babandil, Durian, Saging. 19. Lumpi a, P ancit, Si ngkil , Adobo, Lechon. 20. If uga 0. Y akan. Bad jao, Maguindanao, Samal. 21. Dende , Al sig, Ulla lim, Sulibao, Pamulinawen.

m mMi^m APZ7 596

22. Kalinga, Subanon, Manobo, Bagobo, HHanuno o 23. Tatlo, Isa, Okil, Apat, Dalawa. 24. Santo Nino, Ati-Atihan, Sampaguita, Black Nazarene, Flores de Mayo. 25. Ensaymada, Halo-Halo, Sio Pao, Bandurria, PancitPancit.. 26. Am-Maga, Buddo-Buddo, Binalig, Kulintang, Ela-Lay. 27. Cebu, Samar, Basilan, Manila, Luzon. 28. Maguindanao, Sampaguita, Daling-Daling, Lulay, 29. Tinikling. Sabongero, Lechonero, Puto Vendor, Chitchitritchit, Lavandera. 30. Santacruzan, Moriones, Magtanim ay di Biro, Saranggolahan, Hari Raya Hadji.

MYSTERY WORD PUZZLES

There are five Mystery Word Puzzles. To discover the Mystery Word in each puzzle, find the listed (or under­ lined) words in the word grid. The words may be horizontal, vertical, diagonal, forwards or backwards. Left-over letters, when re-arranged, spell the Mystery Word.

Each puzzle has a specific topic and the Mystery Word relates to that particular topic. Sometimes the word is in English while, for other puzzles, the Mystier y Word is ail Fil ipino term.

WherUU^^n e a^ ,.,nv>Aword irs a -f-i'-t-ltit lea , /~ani-t-alico/capi tali se Hd Tletter a•^•^av>t^ s Ando noi t appear in th e puzzle Spa nish wor d s u s in g n are shown in the puzzl e simply as n. Some F i 1 i p i n0 music and dance titles consist of mo re than one wo rd: for example, La Jota Mono adena. In the puzzles , all the words of a title may be togethe r, or the word s may be scattered throughout t he puzzl e. Th us. La J Ota Mo ncadena, for example, may be foun d as 0 ne long word, or as three separate wor ds in di fferen t spots in the word grid. In each puzzle, underli ning d emonstra tes ho w the_title is placed: La Jota Mdn cadefia or La J Ota Mo ncadena. In some cases, only a sectio n of t he title i s _ u se d in the puzzle and this is denoted: La J Ota Mono adena.

Mystery Word Puzzle No. 1 - European Influenced Music and Dance.

Mystery Word Puzzle No. 2 - Mainly Rural Christians' Music and Dance. Mystery Word Puzzle No. 3 - Musical Instruments. APZ8 597

Mystery Word Puzzle No. 4 - Philippine Instruments Mystery Word Puzzle No. 5 - Philippine Songs. 598 APZ9

PUZZLE NO. 6

MYSTERY WORD PUZZLE NO. 1

EUROPEAN INFLUENCED MUSIC AND DANCE

For this puzzle, only the list of words will be given:

Rondal1 a Maria Clara Jota Moncadena Music Fans Polka Laud Dress Dance Stri ngs Barong Mazurka Hymn Rule Side Men Saad Buho

Luzon Visayas Paz Rizal Di az Sta. Land Cruz Spain Ni no (Mystery Word: Spanish-influenced musical instrument of 9 letters) (See Mystery Word Puzzle No. 1)

PUZZLE NO. 7 MYSTERY WORD PUZZLE NO. 2

MAINLY RURAL CHRISTIANS' MUSIC AND DANCE

The words for this puzzle will be listed under two sections: Music and Dance. Music: Leron Leron Sinta Dance: Binasuan Magtanim ay di Biro Pandanggo Sa Haw Atin Ku Pung Singsing Lights in a Glass Carinosa Tinikling Rice Song Lubi Lulay Katlo Music from Iloilo Balintawak dress C.A.B. Paseo de Bicol Bandurria Itik-Itik APZIO 599

p C B A R. D N G S N W H R A T 1 U T 0 J" A 1 0 V N 0 Z U L S R IS Y A H M C A N A E 1 E 5 A P U N L A N 1> N D H) A S S B Z A T 1 G A 0) U E 1 E U A R S S C A L A C V R R 1 A s N A F E: L N c 1 A I» A a S P 0 L K. A s N E M M A Zi U R K H 0 N N A '

MYSTERY WORD PUZZLE NO. 1: EUROPEAN INFLUENCED MUSIC AND DANCE.

K A W A T N 1 L A R G T A H A L A T P LI K 0 L /V E C 1 R. T A K I L P A H 1 L fi 1 L 0 L y 1 li 0 R E L fl 0 B M A R fl n B 1 R 0 K 1 G R A 1 1 A 1^ T U. 1 T 1 K G 1 ja S N R P 1 A L L H V N H D A 0 A ft N R K A 1 D A S T N B N r U C

1 & T 5 H L S S U 1 1 s H I B N A /V A U A (i G L R. A N S A A A Q T L L s A L A M A u

P P A 5 E 0 & w L H C A B M

MYSTERY WORD PUZZLE NO. 2: MAINLY RURAL CHRISTIANS' MUSIC AND DANCE. APZll 600

Bamboo Pabo Pangkat Kawayan Haplik Alay Date Lagundi Pukol Pabirik with Hal Sala Ti Alat Libad (Mystery Word: Instruments to accompany Rural Dances - 8 letters.) (See Mystery Word Puzzle No. 2)

PUZZLE NO. 8

MYSTERY WORD PUZZLE NO. 3

MUSICAL INSTRUMENTS

Almost all the words for this puzzle are the names of musical instruments of the Philippines. The words for this puzzle will be listed alphabetically. Al1 the listed words are used in the puzzle and consequently will not be underl ined.

Agong Apat Babandil Balingging Bandurria Bass Bunkaka Dabakan Drum Gansa Isa Kolitong Kubing Kudyapi Kulintang Laud Nose Oo Octavina Pan Rondalla R.P. Sulibao Ten

(Mystery Word: A Southern Philippine wind instrument 6 letters) (See Mystery Word Puzzle No. 3)

PUZZLE NO. 9

MYSTERY WORD PUZZLE NO. 4 PHILIPPINE INSTRUMENTS

All the terms used for this puzzle are the names of musical instruments. As all are used in the word grid, they will not be underlined. The mystery word completes this sentence: "When studying the musical instruments of other countries, it is usual to group the instruments according to the classification of (15 letters)." APZ12 601

Agung Palas Pitu Orpe Olimong Edel Agong Afiw Lantuy Bangibang Pinsak Tongatong Gabbang Sulibao Kulintang Tambul Dabakan Ii Gandingan Suling Gongs Gitara

a IS ^ U N K A K A E D fi D A B I L a S 5 U D A R. G 1 P B N 0 A A 1 L ID 0 A 1 A N L B T P 1 R N N G S LL A E A A. IN U G L D S K N 5 P 7

G M 0 C T /\ V 1 N A 21 G n A T N 1 L U K S LI 1 0 G N 0 T 1 L 0 K K ti 0 L 1 U N A B A B R 6 A 1 B R LL D N A B P

MYSTERY WORD PUZZLE NO. 3: MUSICAL INSTRUMENTS APZ13 602

c A. G M 1 L U 5 L E H E B A N G 1 B A N G TI 1 1 6 K .£ 0 W P T Ii A N S H N H U. 1 A h 0 B K LI 0 A 0 S F L M M A A L A G G T A A B 1 K S 1 R A N U A 5 U L A N B A B 0 P N S L 0 N 1 A T A G 0 1 G N N R P 0 1 N A S L T B D R P E G G L A N T LI V T N A 6 N 1 D N A 6 T E

MYSTERY WORD PUZZLE NO. 4: PHILIPPINE INSTRUMENTS

Ct>.tir^ APZ14 603

PUZZLE NO. 10

MYSTERY WORD PUZZLE NO. 5

PHILIPPINE SONGS

This puzzle comprises titles of Philippine songs The Mystery Word has 15 letters and is the name of a famous Philippine folk song.

Manang Biday Lubi-Lubi Lahat ng Baqay Dandansoy Isa Dalawa Tatlo Inday ^ Balitaw Zamboanga Hermosa Leron Leron Sinta Pamulinawen An Sering Han Bata No te Vayas Magtanim Ay Di Biro Lulay Bahay Kubo Magbubuhat (See Mystery Word Puzzle No. 5)

c D R 1 B 1 D Y A L 11 L' M B ^ n 0 H E t- A E A M A A 1 H B I H N W H A k G L N 1 Li C D A A 6 G T T 1 T A K h N T B N C 1 A T A H N 1 N U A A B 5 N A N S L a B D S U y A 1 U 0 a B u B 0 L A L N M V M A H M M 1 H R U. 0 N A G A A R B A li 1 L £ P A T z E u. B T S A A E V T 1 H L T 1 H 2 A Y L

MYSTERY WORD PUZZLE NO. 5: PHILIPPINE SONGS. APZ15 604

PUZZLE NO. 11

HIDDEN TITLES 1. Name the Instrument

To find the hidden instrument title, take the first letter of the first musical instrument mentioned, the second letter of the second musical instrument mentioned, the third letter of the third musical instrument, and so on until you have nine letters. Re-arrange these to find the hidden instrument title.

I blow the afiw and hit the agong. At times I find I like to play The paldong. The rhythm I keep On the talupak, And on the pitched blades Called patatag I play many tunes. The bunkaka I beat On my arm; And pick out some tunes On the octavina; And the bandurria I play To while away the day. And at night I blow The balingging. All these instruments Do not include The one I like best to play. What is it?

2. Name the Dance To find the hidden dance title, take the first letter of the first dance mentioned, the second letter of the second dance mentioned, the third letter of the third dance mentioned, and so on until you have nine letters. Re-arrange these to find the hidden dance title.

Of all the Philippine dances There a re s ome that we like the most: The gra cef u 1 Imunan and Sinasambali We danc e to show the coloured fans; And dur ing a; weddinweooingg wwee dancoancee The Sag aman tic;icaa fro'—m "--•!Iloilo-. Castane ts w e! hold while dancing Subli, And exo tic Slingkii ngl l demands great skill, We like the room tLUo buee uadarr kN When we dan ce Pandanggo Sa Haw! As dove s we move when Kalapati we hear; And the gla sses remain on her hands and head When sh e pe rforms the Binasuan. The men 1 ov e Maglalatik And lea p ar ound; But my f avo urite dance Is yet to b e found. What is it? APZ16 605

PUZZLE NO. 12

MAKE WORDS Find as many words as you can FOR EACH OF THE THREE WORDS below. Only use each letter once. Do not use slang words or abbreviations. Six examples are given for each of the three words.

1. Word: INSTRUMENTS (Examples: tennis, sister, mint, is, ten, men)

2. Word: MUSIC AND DANCE (Examples: man, mace, dead, sand, mud, sad)

3- Word: PHILIPPINES (Examples: lines, slip, pen, pine, hip, pin)

PUZZLE NO. 13 FIND THE WORD

1. Remove five letters in each line. This will give you five different Philippine string instruments. (Example: ^L^ATU^^D : letters remaining give Laud. ) 1.2 GAISTDGOITS 1.3 DOACTEADVIPNA 1.4 MBASNDCURTRIEA 1.5 AGQIMTCAORA 1.6 GKUTDOYAMPFI 2. Remove six letters in each line. You will find the names of three Igorot dances: 2.1 PEAGLMAHKIQTS 2.2 JPOAKLMOSKD 2.3 COTSAHDGOEK

3. Remove five letters from each line. The names of five Philippine folk songs will be revealed:

3.1 B P A S M U L E I N A T W E D N 3.2 S M A P G T A N I D M A Y D I B I D R E 0 3.3 P T A I S N I C K L I 0 N G 3.4 T B A H M A 0 Y S K U P B 0 3.5 L A E R 0 U N L E E R 0 N D S I P N T A 4. Remove five letters from each line. The remaining letters will give the names of six Philippine instruments.

4.1 T K 0 U L I P N T A S N 0 4.2 P E G A T N S D A E 4.3 D S U P L I M B E A s 0 4.4 D A 0 G P 0 E N G M 4.5 B 0 A D N D U P R S R I E 4.6 S K 0 T L A I TOP N M G APZ17 606

PUZZLE NO. 14

MATCH THE WORD There are six puzzles in this group called 'Match the Word'. To complete each puzzle, find the correct second part of each name to form a complete Filipino term. For example, in No. 1 (Instruments) 3 + (r = Diwdiwas .

1. INSTRUMENTS 2. DANCES

1. Bun kan (a 1. Tinik - lok 1 a 2. Kulin - durria (b 2. Maz - lay 1 b 3. Diwdiw- gong (c 3. Panga - kis 1 c 4. Su tong 4. Pa - hag 1 d 5. Daba - ging It 5. Binas - pati 1 e 6. Baban - bao {f 6. Sing - so 1 f 7. Octa - bang (g 7. Pol - osa ' g 8. Ban da 11 a (h 8. Lu - sa 1^ h 9. A bing (i 9. Pala - ay ' i 10. Koli - gan 10. Wasi - urka [3 11. Kallel- dil (j 11. Ta - ton [k 12. Gan kaka (k 12. Al - 1 ing ;i 13. Suli - vina (1 13. Carin - uan ^ITl (m 14. Magla - lay n 14. Ku 1 ing (n 15. Kala - li 0 15. Ron sa (0 16. Dug - kil 16. Git tang (P :P 17. Gab eng 17. Pinu -was ,q 18. Baling- as 18. Katsut - ka 1 r 19. Pald - ara I? 19. Kino - dok s (s 20. Sub - latik 20. Gandin- ong (t [t

3. TRIBES 4. PLACES

1. Bukid • ga 1. Lu - ila [a 2. Apay • joa 2. Vtsay - bu 3. Ifu gobo 3. Ilo - wan :^ 4. Bon day 4. Ban - lo :d 5. Man toe 5. Jo - danao [e 6. Ba non 6. Cav - te :f 7. Suban anao 7. Pala - jan :g 8. Ma gao 8. Min - ar [h 9. Bad an 9. Ley - lu (i 10. Mar ao 10. Man - uio (j 11. Maguin' unoo 11. Ak - zon (k 12. U bo 12. Pagsan - al (1 13. Sam daya 13. Zambo - ilo (m 14. Tau on 14. Bag - ite (n 15. Kalin li 15. Su - as (0 16. Tir nobo 16. Ri - aue (P 17. Tasa al 17. Ce - Ian (q 18. Han uray 18. Sam - ango (r 19. Yak sug 19. Tagay - zal (s 20. T'Bo danao 20. Ta - tay (t APZ18 607

GAMES 6. MUSIC

1. Saron ko (a 1. Tal 1 ing a 2. Palo Preso (b 2. Sa Singsing b 3. Luksong Sebo (c 3. Du 1 im c 4. Pi gola (d 4. Lu log d 5. Si pa (e 5 . B i n a daw e 6. Timbang Tinik (f 6. Tinik gonggo f 7. Dahil bic g 8. Bang lig h 9. Pamul 1 na Adhan i 10. I sig j 11. S i n u Sa lyo k 12. Ela B a i 1 a 1 13. Ulla yog m 14. AtinKuPung wen n 15. Bic lay 0 16. Al awi P 17. Ta lip q 18. Tahing Lay r PUZZLE NO. 15

GENERAL CROSSWORD NO. 1 Clues :

ACROSS

1. A game is palo . 3. Tagalog word for one 5. A Bukidnon dance. 7. Visayas is a dance: yes or no? 8. Roofing for houses. 10. La Jota . 13. Rural dance using two poles. 16. Bamboo instrument hit on arm. 18. Name this song:

20. Moro drum. 22. Moro group from Basilan Island. 23. Magtanim -- di Biro. 24. Republic of the Philippines (abbrev.) 26. Many handcrafts made of this fibre. 28. Name this song

31. Word lumakad means go or 34. Tagalog word for yes. 35. Name for guitar. 37. Wine from palms or sugar-cane. 38. Iloilo (abbrev.). 39. City in the south. 42. Type of grass for roofing. 45. Bamboo flute of the south. 46. Bamboo castanets. 48. Terraces. 49. Ifugao is a southern tribe: yes or no? APZ19 ^°^

51. A salakot is a —. 53. During Holy Week, people themselves to a cross. 54. Moro method of decoration. 55. Minuet . 56. Bontok courting dance. DOWN

1. Kapiil -- Munsala. 2. Tribe from Oriental Mindoro. 4. Visayan courtship dance. 6. Royal Moro dance using four poles. 7. Santo Festival. 9. Tagalog word for four. 10. Large island in the south. 11. Bahay . 12. Moro boat. 14. Rituals are often used for people who are —. 15. A northern tribe. 17. Dance making offerings to visitors. 19. Australian Philippine Association (abbrev.) 20. Singkil legend spirit. 21. Pangkat Kawayan is a type of . 25. Bamboo string instrument. 27. Farm animal. 29. Gong of kulintang ensemble. 30. Octavina is a wind instrument: yes or no? 32. Name for G-string. 33. Tagalog word for three. 36. Tuba is a type of . 40. Large island in the north. 41. Game similar to hopscotch. 42. Name this national tune fiU-irfrrfffif|| I r, hi

43. Sarangola is a . 44. Si at Tatay. 46. Kubo. 47. Kalinga wedding dance. 50. Meaning of isa. 52. Meaning of sampu.

PUZZLE NO. 16

GENERAL CROSSWORD NO. 2

Clues: ACROSS 1. Tribe living in Mindanao. 3. 'La Jota Moncadena': part of this dance title. 7, Dance from Maguindanao. 9. Cultural Centre of the Philippines: abbreviation 12. A salakot is worn -- the head. 13. 'A La Jota': two parts of this dance title. APZ20 609

15. Philippine Airlines: abbreviation. 16. Word for two in Tagalog. 19. Tagalog word for three. 22. 'Ka-Singkil ': part of this title of a dance. 23. A wano is a --string. 25. Moro sword. 26. Dance from Luzon. 28. 'Magtanim Ay Di Biro': part of this song title. 29. 'Ka-Singkil': part of this title of a dance. 30. 'No Te Vayas': part of this song title. 31. 'Inday': one syllable of this song title. 32. Wano is to Ifugao -- wanes is to Bontok. 34. 'Atin Ku Pung Singsing': part of this song title 37. Suling is a instrument. 39. Ifugao feast. 41. Kalinga festival song. 43. Tagalog word for yes. 44. Maria . 48. Game using wicker ball. 49. What fruit is peras? 50. Isa means —. 52. 'Dugso': part of this title of a dance. 53. Tagalog word for hey! 54. Men playing kulintang do/do not use beaters. 55. Large island in northern Philippines. DOWN

2. 'Bicbic': part of this chant title. 4. 'Si Nanay at Tatay': part of this song title. 5. Bamboo instrument which is hit against the arm. 6. Tagalog word for yes. 7. Dance title. 8. 'No Te Vayas': part of this song title. 9. Like a small salakot. 10. Bontok courting dance. 11. This dance from the Visayas uses the haplik step. 14. 'Kapiil Sa Munsala': part of this dance title. 17. Tagalog word for four. 18. 'Wayway ': part of this dance title. 20. Tagalog Region: abbreviation. 21. 'Carinosa': one syllable of this national dance. 23. Part of San Jose. 27. Another English name for Rondalla conductor. 28. Very important town in Mindanao. 31. 'Inlaud': part of this Tinggian dance title. 33. At times of fiesta, Ifugao people a pig. 35. One. 36. 'Da-eng'r part of this dance title. 38. Twelfth letter of the Filipino alphabet. 40. Kalleleng is played by blowing through the . 42. A special, tasty fish. 44. Name of a shell used in handcrafts. 45. 'Magtanim Ay Di Biro': part of this song title. 46. A favourite game is Sebo. 47. 'Dos Amigos': part of this dance title. 51. Is the Tagalog word for forehead: san or noo? 53. Okil is Moro decoration -- the kulintang. 54. 'Dende': part of this chant title. APZ21 610

1/ I Z ^^^^H^HI^^F^ [*" i ^^^^^^H J' 1 1 1- ^1 1?\ N /» 1

/TI 'i 3 [ 1«- rr /fc ['7 1 ''^ 1 If

-il 2i 1 Z5 a7|^ H^^ 3fc 1 1 " il r i<^ mm 31 32 33 [^ 3J 3t. 37 ^ -^ H4o -4/ '^2 p3 pn r— — I— •fe !^7H p? bo J' |52 H kj «• 1

PUZZLE NO. 15: GENERAL CROSSWORD NO. 1

PUZZLE NO. 16: GENERAL CROSSWORD NO. 2 APZ22 611

PUZZLE NO. 22

GENERAL CROSSWORD NO. 3 Clues

ACROSS

1. 'La Jota Moncadena': a part of this dance title. 2. 'No Te Vayas': part of this song title. 9. Alternate spelling for dance Wasiwas. 13. Moro dance using four poles. 16. This song begins with the words 'Anong Laking hirap.. 17. Filipinos -- to fiestas. 18. Gansa is/is not a flat gong. 19. 'Ninay-Ninay ': part of this dance title. 20. Part of the word dilaw which means yellow. 21. In Binasuan the girl balances glasses -- her hands. 22. Children pay homage to their elders when they their heads. 23. Reverse of do. 26. Was the diwata man or spirit? 27. Santo Festival. 31. Tribal name beginning with second letter of alphabet. 32. Yes. 33. 'Magtanim Ay Di Biro': part of this song title. 36. 'Leron Leron Sinta': part of this song title. 38. Bukidnon thanksgiving dance. 41. Another part of song in 33 above. 44. The Tinggian are also called . 45. Bahay Kubo: part of this song title. 48. Australian Philippine Association: abbreviation. 50. Salakot -- hat worn by farmers. 51. A syllable of Ifugao word for rice: ipugo. 52. 'A La Jota': two parts of this dance title. 53. Dance from Luzon. 54. This tribe dances Tahing Baila. 56. Philippine Airlines: abbreviation. 59. A person may sing or — a tune. 62, A Kalinga men's dance with gansa. 64. A women's social dance. 68. Tribe called or Mansaka. 69. Tribe known for magnificent bead ornaments. 71. A tricycle is a type of —. 72. 'Leron Leron Sinta': part of this song title. 74. 'Andardi': part of this dance title. 75. Tagalog word for yes, 76. Tribe living in Mountain Province. 78. 'Dugso' is danced by these people. 83. Dwellings. 84. 'Tinikling' and 'Singkil' are examples of this. 85. Ifugao feast. 87. Republic of the Philippines: abbreviation. 88. Dance from Spanish times. 89. Igorot drum. APZ23 612

DOWN

1. A rondalla string instrument. 3. Yes. 4. Often eaten at fiestas. 5. 6. Spanish word for the. 7. Part of Bontok male apparel. Tagalog word siyam means a number between one and 8. ten. What is the number? This song begins with the words: 'Manang Biday Ilukat '. 10. this song title 11. 'Atin Ku Pung Singsing': part of 12. Opposite to hindi. 14. 'Leron Leron Sinta': part of this song title. 15. Often combined with festivities of Ati-Atihan. 22. Title of respect used when greeting an elder. 24. Tribe with 'a a ' in name. 25. Principal city in Mindanao. 28. 'No Te Vayas': part of this song title. 29. Dance 1 ike a duck. 30. Gansa is a . 31. Special dessert of ice-cream and fruit. 34. There are several dances about this insect. 35. 'Saad': part of this dance title. 37. Another part of song in 25 above. 39. Sa is Tagalog word for --. 40. Tribe name with three letters. 42. Tagalog word for on. 43. Needs a saucer. 46. A dance from Spanish times. 47. Bamboo castanets. Name this song:

49. 'Magtanim Ay Di Biro part of this song title. 52. Exclamation. 55. 'Alitaptap ': the part of this dance title used once 57. Tribe called or Isneg. 58. Spanish word for the. 60. Moro form of decoration. 61. Many dishes are from capiz shell. 63. Same answer as 58 above. 65. Moro drum. 66. Ifugao G-string. 67. Some Bontok houses do/do not have cogon roofing. 68. Tagalog buwan means . 70. 'A La Jota': part of this dance title. 73. — Atihan. 76. The lowest instrument in the rondalla is a instrument. 77. Spanish word for us. 78. Part of the chant Bicbic. 79. Okil may decorate around the . 80. Isa. 81. Vinta. 82. Opposite to out. 86. 'Am-maga ': part of this chant title. APZ24 613

i"\ i i il m • i m/£ > • II li. 'i /* |'5" •• m n 'ir\• /<' 20 . 21 22. 1 li M- ^JU if ib ••-27 it • • 29 3( il •V 5o 3i\ if ih it • 4' m • ^^••l 4i n U • •^ ^•^^ 4g iS'o 1 sy r^ «V 5-5 •pd 57 i"? ?T 6^H ^2 U3 1 •^ • •.:.. 67 ' ^ m 1 ll^^l r*? 1^^ ti •l^^iHH •w V 7b Fa ys yfl \9o •jSi ^^•^ ms3 1 H^'^'l 1 ^s • • • ?7" m 8f • • m

PUZZLE NO. 17: GENERAL CROSSWORD NO. 3 APZ25 614

ANSWERS

PUZZLE NO. 1

MUSICWORD NO. 1

1 2 3 N S 4 5 6 M 0 A M C P A T L A A 0 G E A G R L T V K L I K A 8L A 0 T A MON C A D E N Y T L 0 S I A A S A M S 9B A T ElO A N A I S llA L A Y 12 K A Y D S 13K A L 0 I 14L U L A Y D N B B I 15W A L A Y A N G A Y R I 0

PUZZLE NO. 2 MUSICWORD NO. 2

1 3 4 A 2C H I T C H I T R I T C H I T A I I P K 5K 0 N D A N SOY L L K 7 I 0 6L U LAY L K 8 S P E S U R 9P A M U L I N A W E N 10 0 A G B N UK D S A L A 121 I K I T I K H E L N 14 A R A 13M A N A N G B I D A Y 0 P S E L N A I N U S 15T I N I K L I N D B I I G E 0 N T 16S A M P A G U I T A 615 APZ26

PUZZLE NO. 3

PICTUREWORD NO. 1 1 G A N S A 2S U L U 3 A A H B 4 5 L 6 I B K D A W N A 0 0 K I D N L M 7P 0 U N D I N G R I C E T N T 10 9M 0 S Q U E 0 D 8K W N A U IIV I N T A G B B N A I 12G I T G I T K N R A G 130 I W D I W A S N C 14RICETERRACES

PUZZLE NO. 4

PICTUREWORD NO. 2

1 2 3 T P I S 4N I P A I U U 5S I N K I L 6S 7P P I 0 I U A A K L B L L N L A I 0 I I 9F 0 N S lOS U N K A 11 G E H G N 12R B 15 14 K 0 0 13B I N A U N 16 C U G L I T N 170 K I S A K N N L V A 18G I T A R A I K A N N A N D A 19D U G S 0 APZ27

PUZZLE NO. 5 ODD WORD OUT: Word incorrect and explanation.

1. Kolitong. Group is string instruments. 2. Octavina. Group is bamboo instruments. 3. Gansa. Group is Kulintang ensemble. 4. Sulibao. Group is Rondalla ensemble. 5. Mindanao. Group is places in Luzon. 6. Manila. Group is places in Visayas. 7. Luzon. Group is tribes. 8. Mindanao. Group is games. 9. Tausug. Group is songs. 10. Alat. Group is numbers. 11. Kulintang. Group is dances. 12. Maglalatik. Group is Igorot dances. 13. Suling. Group is girls' clothing. 14. Octavina. Group is dances. 15. Bunkaka. Group is songs. 16. Bukidnon. Group is Northern tribes. 17. Agong. Group is dances. 18. Babandil. Group is fruit. 19. Singkil. Group is food. 20. Ifugao. Group is Moros. 21. Sulibao. Group is music. 22. Kalinga. Group is Southern tribes. 23. Okil. Group is numbers. 24. Sampaguita. Group is festivals. 25. Bandurria. Group is food. 26. Kulintang. Group is music. 27. Manila. Group is islands. 28. Maguindanao. Group is songs. 29. Chitchitritchit. Group is occupations. 30. Magtanim ay di Biro. Group is festivals

MYSTERY WORD PUZZLE NO. 1 p © B A R 0 N G S N ® H R A (D I U J 0 T A I 0 Y N 0 Z U L ® R N Y A H M C A N ® E I E S A P U N L A N D N D D A S S B Z A T I 6 A D U E I E U A R S S C A L A C V R R I A S N A F ®L N C ® A D ® 0 S P 0 L K A ® N E M M A Z U R K A D 0 N I N

W(3r ( i: (:ASTANET S APZ28 617

MYSTERY WORD PUZZLE NO. 2 K A W A T N I A B G T A H A L A T P U K L N E C I R T A K I L P A I L 0 I 0 LYING R E 0 0 B M B 0 ® B I R 0 K I G® A I I A K T U I T 1 K G 1 D S N R P 1 A L® N N H D A 0 A R(S) R K® I® S N B N T U C I G Y G D S U I I G D I B N ® N A A G L R A N S A A A 0 T L A® A M A U P P A S E G L N C A B M

Word: RONDALLA. MYSTERY WORD PUZZLE NO. 3 ©® BUNKAKA E D BOABILUSS U D ARG®PBNOA A I LDOAIANLB T P IRNNGS®AE A A NUG®DSKNS P Y GMOCTAVIN A D G N AA T N I L U K ® U I 0 G N 0 T I L 0 K K N 0 L I D N A B A B R G A I RRUDNABP

Word: SULING

MYSTERY WORD PUZZLE NO. 4 ®®G N I L u S L E D E B A N G I B A N G D I I G K ®® W PT N A N S® lAAOBKUOA S) F L M M A A L A G G A B I K S I R A N U L A N B A B 0 P N G L 0 N I A N ®® P 0 I 0 R P E G G TNAGNIDNA Word: SACHS-HORNBOSTEL

MYSTERY WORD PUZZLE NO. 5 ©0 R I M B S N A I^ L NCI

Y®®H Word: CHITCHITRITCHIT APZ29 618

PUZZLE NO. 11

HIDDEN TITLES

1. Name the Instrument: Kulintang. 2. Name the Dance: Tinikling. APZ30 619

PUZZLE NO. 13

FIND THE WORD: String Instruments (1)

1-1 Laud 1.2 Gitgit 1.3 Octavina 1.4 Bandurria 1.5 Gitara 1.6 Kudyapi FIND THE WORD: Igorot Dances (2)

2.1 Palakis 2.2 Palok 2.3 Tadok FIND THE WORD: Folk Songs (3)

3.1 Pamulinawen 3.2 Magtanim Ay Di Biro 3.3 Tinikling 3.4 Bahay Kubo 3.5 Leron Leron Sinta

FIND THE WORD: Instruments (4)

4.1 Kulintang 4.2 Gansa 4.3 Sulibao 4.4 Agong 4.5 Bandurria 4.6 Kolitong

PUZZLE NO. 14

MATCH THE WORD: Instruments (1)

1+1 - Bunkaka 11+q - Kalleleng 2+p - Kulintang 12+o ^ Gansa 3+r - Diwdiwas 13+f - Sulibao 4+n - Suling 14+i - Kubing 5+a - Dabakan 15+h - Rondalla 6+k - Babandil 16+s - Gitara 7+m - Octavina 17+g - Gabbang 8+b - Bandurria 18+e - Balingging 9+c - Agong 19+t - Paldong 10+d - Kolitong 20+o - Gandingan MATCH THE WORD: Dances I (2)

1+1 - Tinikling 11+s - Tadok 2+j - Mazurka 12+i - Alay 3+b - Pangalay 13+g - Carinosa 4+a - Palok 14+t - Maglalatik 5+m - Binasuan 15+e - Kalapati 6+p - Singkil 16+f - Dugso 7+r - Polka 17+d - Pinuhag 8+n - Lulay 18+h - Katsutsa 9+c - Palakis 19+k - Kinoton 10+q - Wasiwas 20+o - Subli

MATCH THE WORD: Tribes (3)

1+f - Bukidnon U+t - Maguindanao 2+j - Apayao 12+1 - Ubo 3+h - Ifugao 13+q - Samal 4+e - Bontok 14+s - Tausug 5+m - Mandaya 15+a - Kalinga APZ31 620

6+c - Bagobo 16+r - Tiruray 7+n - Subanon 17+d - Tasaday 8+p - Manobo 18+k - Hanunoo 9+b - Badjao 19+i - Yakan 10+g - Maranao 20+O - T'Boli MATCH THE WORD: Places (4)

1+k - Luzon 11+q - Aklan 2+0 - Visayas 12+g - Pagsanjan 3+m - Iloilo 13+r - Zamboanga 4+p - Banaue 14+j - Baguio 5+d - Jolo 15+i - Sul u 6+n - Cavite 16+s - Rizal 7+c - Palawan 17+b - Cebu 8+e - Mindanao 18+h - Samar 9+f - Leyte 19+t - Tagaytay 10+a - Manila 20+1 - Taal

MATCH THE WORD: Games (5)

1+d - Sarongola 4+a - Piko 2+c - Palo Sebo 5+e - Si pa 3+f - Luksong Tinik 6+b - Tumbang Preso

MATCH THE WORD: Music (6) 1+p - Talawi 10+e - Idaw 2+q - Salip 11 + d - Sinulog 3+m - Duyog 12 + r - Ela-Lay 4+0 - Lulay 13+c - Ullalim 5+h - Binalig 14+b - Atin Ku Pung Singsing 6+a - Tinikling 15+g - Bicbic 7+k - Dahil Sa lyo 16+j - Alsig 8+i - Bang Adhan 17+f - Tagonggo 9+n - Pamulinawen 18+1 - Tahing Baila

PUZZLE NO. 15 GENERAL CROSSWORD NO. 1

ACROSS DOWN

1. Sebo 1. Sa 3. Isa 2. Buid 5. Dugso 4. Saad 7. No 6. Singkil 8. Nipa 7. Nino 10. Moncadena 9. Apat 13. Tinikling 10. Mindanao 16. Bunkaka 11. Kubo 18. Lul ay 12. Vinta 20. Dabakan 14. 111 22. Yakan 15. Ka 1 i n g a 23. Ay 17. Alay 24. R.P. 19. A.P.A. 26. Abaca 20. Diwata APZ32 621

28. Dandansoy 21. Band 31. Go 25. Kolitong 34. Oo 27. Carabao 35. Gitara 29. Agong 37. Tuba 30. No 38. Ilo. 32. Wano 39. Jolo 33. Tatlo 42. Cogon 36. Wine 45. Suling 40. Luzon 46. Buho 41. Piko 48. Rice 42. Carinosa 49. No 43. Game 51. Hat 44. Nanay 53. Nail 46. Bahay 54. Okil 47. Sa 1 i p 55. Yano 50. One 56. Palakis 52. Ten

PUZZLE NO. 16

GENERAL CROSSWORD NO. 2

ACROSS DOWN

1. Ubo 2. Bic 3. La 4. Si 7. Sinulog 5. Bunkaka 9. CCP 6. Oo 12. On 7. Saad 13. A La 8. No 15. PAL 9. Cap 16. Dalawa 10. Palakis 19. Tatlo 11. Haplik 22. Ka 14. Sa 24. G 17. Apat 25. Kris 18. Way 26. Alay 20. TR 28. Di 21. Osa 29. Ka 23. San 30. Te 27. Leader 31. In 28. Davao 32. As 31. lit 34. Atin 33. Kill 37. Wind 35. Isa 39. Canao 36. Da 41. Ela 38. Ng 43. Oo 40. Nose 44. Clara 42. Lapu 48. Sipa 44. Capiz 49. Pear 45. Ay 50. One 46. Palo 52. So 47. Dos 54. Do 51. Noo 55. Luzon 53. On 54. De 622 APZ33

PUZZLE NO. 17

GENERAL CROSSWORD NO. 3

ACROSS DOWN 1. La 1. Laud 2. No 3. Oo 9. Oasioas 4. Pig 13. Singkil 5. La 16. Lulay 6. G 17. Go 7. Nine 18. Is 8. Manang Biday 19. Ni 10. Atin 20. Di 11. Oo 21. On 12. Sinta 22. Bend 14. Nino 23. Od 15. Ka 26. Man 22. Blaan 27. Nino 24. Davao 31. Batak 25. Te 32. Oo 28. Itik-Itik 33. Magtanim 29. Gong 36. Leron 30. Halo 38. Dugso 31. Bee 41. Biro 34. Ad 44. Itneg 35. No 45. Kubo 37. On 48. APA 39. Ubo 50. Or 40- Sa 51. Pu 42. Cup 52. A La 43. Polka 53. Alay 46. Buho 54* Yakan 47. Pamulinawen 56! PAL 49. Ay 59. Hum 52. Ah 62. Palok 55. All 64. Tadok 57. Apayao 68. Mandaya 58. La 69. T'Boli 60. Okll 71. Cab 51. Made 72. Leron 53. La 74. An 55. Dabakan 75. Oo 56. Wano 76*. Bontok 57. Do 78. Bukidnon 68. Moon 83. Houses ^0. La 84. Dance ;3- Jti 85. Canao ^5. Bass 87. RP 77. Nos 88. Jota 79. Door 89. Sulibao 80. One 81. Boat 82. In 86. Am 623

ACKNOWLEDGEMENT OF SOURCES

FOR

CURRICULUM A AND CURRICULUM B 624

Acknowledgement of sources for Curriculum A and Curriculum B comprises six (6) sections, namely:

Curriculum A Teacher's Book - Illustrations

Curriculum B Teacher's Book - Illustrations

Score Book

Pupil's Book - Text and Illustrations

Audio and Video Cassette Tapes Curriculum A and Curriculum B Puzzles - II lustrations . 625

CURRICULUM A TEACHER'S BOOK ILLUSTRATIONS

Title page Sagayan Dancer - Goquingco (1980:180-181). Kulintang - Goquingco (1980:142-143). Designs - P. Brennan after de los Reyes (1979:92-93). Page A9 Kolltong - Photograph P. Brennan of personal Kolltong. Page A24 Vugso - Goquingco (1980:148). Banga - National Book Store (249X).

Page A40 Banga - Line drawing A. Brennan.

Pa ce A6 5 Kaplll Sa - Baranggay Folk Dance Troupe (Kruger Munsala 22202).

Page A67 , „ n . Taking Balla - Photograph P. Brennan of Maligaya Dance Company.

Paoe A106 Maftla Clafia - Goquingco (1980:196). costumes Tlnlkllng - Bayanihan Philippine Dance Company (Kruger 40.116).

Page Alll , ^^^„, Maglalatlk - Kruger (17208),

^^^Maglalatlk - Goquingco (1980:228-229).

Paoe Al13 Coconut - P. Brennan after Aquino ( II 1976:ix). piacement 626

Page A119 Luksong Tlnlk - Cordero-Fernando (1978:2362).

Page A157 Winnowing Rice National Book Store (P57975) 627

CURRICULUM B TEACHER'S BOOK ILLUSTRATIONS

PHOTOGRAPHIC TRANSPARENCIES TRIBAL 1. Ifugao Rice Terraces - Intercontinental (1981:6). 2. Banaue Rice Terraces - Miller (1054). 3. Igorot on Rice Terrace - de Castro (1982:3). 4. Ifugao houses - P. Brennan. 5. Ifugao lady weaving - P. Brennan. 6. Ifugao wood- carver - Miller (1006). 7. Teeth beautification- Winters (1977:451): 8. Betelnut and Ambahan - Conklin (1977:179). 9. Death chair - Manuel (1977;222). 10. Beating the death chair - Dulawan (1977:974). 11. Ifugao sacred ritual - P. Brennan. 12. Seated ,,«„„ mix skeleton - Hoefer and Cross (1980:213). 13. liugao Waft - P. Brennan. Vancz 14. liugao Ezstlval Vancz - P- Brennan. 15. Canao Vancz - P. Brennan.

MORO 1 Moro vinta - Chas. Miller and Son, Florofoto, Manila (1032). 628

2. Mosque - Fukasaku and Tamura (1977:97). 3. Mat-weaving - Miller (1020). 4. Laundry - Fukasaku and Tamura (1977:102-103). 5. Datu home - P. Brennan. 6. Panolong - P. Brennan. 7. Moro wedding - Aluit (1968:20). 8. Moro wedding feast - Keifer (1977:1074). 9. Yakan beautification- Wulff (1978:2638). 10. Yakan groom - Patanne (1977:595). 11. Datu under ceremonial umbrella - Madonna (1338). 12. Moro Warrior - Miller (1007). 13. Lady with Kulintang - Baradas (1977:706).

CHRISTIAN 1. Converting a Moro to Christianity -Majul (1978:1334). 2. Black Nazarene Festival - Hoefer and Cross (1980:139). 3. Atl-Atlkan - Hoefer and Cross (1980:225). 4. Mofilonzs Festival - Hoefer and Cross (1980:238-239). 5. Early morning of Festival - P. Brennan. 6. Bamboo Organ - Kruger (17307). 7. Jzzpnzy - P. Brennan. 8. Wealthy rural home - P. Brennan. 9. Bamboo and rattan rural home - P. Brennan, 629

10. Barrio fiesta decorations - Hoefer and Cross (1980:159), 11. Street selling - Hoefer and Cross (1980:137). 12. Ice-cream Vendor - Miller (1066). 13. Rural scene - Miller (1002).

ILLUSTRATIONS Page 83 Map - Bartholomew (1980).

Page 814 Kalinga Warriors- Goquingco (1980:83).

Page 815 Sullbao - S. McDonald.

Page B16 Two Kolltong - Photograph P. Brennan of personal Kolltong.

Page 817 Man and Kallzlzng - Samonte-Madrid (1977:437). Ladies and Kallzlzng - Alejandro (1978:13).

Page B25 Bontok men - Maceda (1977:775). Bontok home - P. Brennan, 1979.

Page 826 Bontok - P.Brennan, at Museum of Costumes, clothing Manila, 1981. Serenading Bontok couples - P. Brennan, 1980. Page 827 Bontok weaver - Masferre (1979:24). Page 828 Snake verti- brate hair adornment - Alejandro (1978:10). 630

Bontok lady with tatooing - Goquingco (1980:65).

Pages B31,B32 Bamboo betelnut container (left) and ambakan - Patanne (1977:605).

Bamboo betelnut container (right) - Conklin (1977:181).

Page B33 Hanunoo - P. Brennan, at Museum of Costumes, Manila, 1980.

Page 836 Blaan lady - P. Brennan, at Museum of Costumes, Manila, 1981.

Page B37 Blaan couple - P. Brennan, at Museum of Costumes, and tag ung guian Manila, 1980. Two Tasaday Axes - Fernandez (1977:105).

Page B38 T' b 01i hair ornament - Casal (1977:732).

T'b 01i ankle ring - Casal (1977:456). T'boli anklets and toe-rings - Casal (1977:457).

Page 839 T'boli girls - Alejandro (1978:18). Kadal-Bllla - Alejandro (1978:154).

Page 840 Mandaya tree home - Quirino (1977:865). Mandaya girl - P. Brennan, at Museum of Costumes, Manila, 1981. 631

Page 841 Mandaya burial jar Fox (1977:169)

Page B42 Ubo girl P. Brennan, at Museum of Costumes, Manila, 1981.

Page 850 Bukidnon - P. Brennan, at Museum of Costumes, couple Manila, 1980.

Vugso - Bayanihan Philippine Dance Company (1982:15)

Page B52 Bukidnon girl P. Brennan, at Museum of Costumes, Manila, 1981.

Page 853 Ifugao men - P. Brennan, 1981

Page 858 Ifugao house de Guia (1970:1)

Page B59 Ifugao rice terraces - P. Brennan, 1981

Page B60 Ifugao village - P. Brennan, 1981.

Page 861 Ifugao rice planting - P. Brennan, 1981

Growing rice - P. Brennan, 1980

Page 862 Ifugao dancing - P. Brennan, 1981

Ifugao market day - P. Brennan, 1980

Page B63 Two Ifugao playing gansa - p. Brennan, 1981 632

Page B64 Bulol - p. Brennan of personal bulol. Ifugao weaving - p. Brennan of personal weaving.

Page B65 Ifugao couple - P. Brennan, 1981.

Page 866 Ifugao ancestral remains - P. Minkow, 1980. Ifugao village- P. Brennan, 1981.

Page B73 Kalinga witch - Deraedt (1977:337) Kalinga shield - Deraedt (1977:337)

Page 877 Sallp - Madonna (1027) Kalinga male - P. Brennan, at Museum of Costumes, Manila, 1981.

Page B87 Banga - Line drawing A. Brennan

Page B89 Banga - National Book Store (249X).

Page B104 Sultan and Court - Beckett (1977:1136)

Page 8105 Maranao ,. ^ faithful - Baradas (1977:705)

Page B106 Mosque - P. Brennan, 1981. Koran stand - A. Brennan. 633

Page 8112 Okll - Imao (1977:849). Okll on Panolong - p. Brennan, 1970

Page 8113 Slngkll - Bayanihan Philippine Dance Company, Kruger (40.113).

Page 8115 Saftlmanok - Madale (1978:1581). Saftlmanok - P. Brennan, Davao Insular, Davao, 1981

Page 8116 Saftlmanok - Casino (1973:47). Saftlmanok - Casino (1973:52).

Page 8125 Kaplll Sa Munsala - Kruger (22202). Maranao child - Alejandro (1978:191).

Page 8127 Marawi City - Baradas (1977:704).

Page B128 Brass - P. Brennan after Imao-Imko containers (1977:684).

Page B129 Yakan village - P. Brennan, 1981.

Page B130 Yakan village - National Book Store (V80251)

Page 8131 Taking Balla - P. Brennan of Maligaya Dance Company

Page 8133 Mangalay - Goquingco (1980:174). 634

Yakan weaving - p. Brennan of personal cloth.

Page B135 Yakan lady playing agong - P. Brennan, 1981.

Page B139 Pangalay Ha - Bayanihan Philippine Dance Company Pattong (1982:19). Moro wedding - Madonna (1094).

Page 8140 Tausug girls - Kiefer (1977:1077).

Page 8141 Moro village - P. Brennan, 1981. Moro vlntas - Philippine Air Lines (1980);Kruger(40578)

Page B142 Tausug bridal couple - Orosa (1970:66).

Page 8143 Two Sulu grave-markers - Casino (1973:42)

Page 8149 Sagayan Sa Kulong - Madonna (1088)

Page 8150 Kftls - Majul (1978:1168-1169)

Page 8155 Moro women - Fukasaku and Tamura (1977:95).

Page 8156 Designs - Casino (1973:52)

Page 8158 Moro dance - Alejandro (1978:186) Moro fans - Alejandro (1978:172) 635

Page 8161 Vinta - Fukasaku and Tamura (1977:105)

Page 8162 Market - Fukasaku and Tamura (1977:101)

Page 8168 Badjao wedding- Manuel (1978:1308-1309)

Page 8169 Moro malongs - Baradas (1977:670, 702)

Page 8174 Saftlmanok - Baradas (1977:1944)

Page 8181 Santo Nlnos - P. Brennan, 1979.

Page 8182 Atl-Atlkan participant - P. Brennan, 1981

Page 8183 Atl-Atlkan parade - P. Brennan, 1981

Page 8190 Pandanggo Sa Haw - Goquingco (1980:211)

Pandanggo Sa - Bayanihan Philippine Dance Company Haw (Kruger 40:583) .

Page B191 Salambao - A. Brennan after Pagkatipunan (1977 267).

Page 8192 Split bamboo - Pagkatipunan (1977:267)

Page 8197 Courting pose - Kruger (D78008). 636

Page B198 Courting - Kruger (17191).

Page B202 Barrio house - Miller (1027) Cafiabao - Kruger (17.220)

Page 8205 Maftla Clafta apparel - Goquingco (1980:196). La Jota - Bayanihan Philippine Dance Company Cavltzna (Kruger 40.582).

Page 8210 Jose Rizal - Coates (1978:1912)

Page B211 Maftla Clafta - Bayanihan Philippine Dance Company (Kruger 40.582) . La Jota_ Moncadzna - National Book Store (1970).

Page 8212 Maftla Clafta (Bulacan) - Alejandro (1978:200) Architecture (Dumaguete City) - Keiling (1980).

Page 8214 Maglalatlk - Goquingco (1980:228-229)

Page 8218 Tuba vendor - Roces (1978:1260)

Page 8219 Coconut plantation - Madonna (1057)

Page 8220 Taking coconuts to market - Harvey (1979:n.p.) 637

Page B223 Maglalatlk - Baranggay Folk Dance Troupe (Kruger 17208).

Page 8224 Maglalatlk - P. Brennan after Aquino ( II 1976:ix) coconut placement Page 8230 Luksong Tlnlk - Cordero-Fernando (1977:2361).

Page B233 Single Anklung - P. Brennan after Romet (1981:4). Tlpanklung - Photograph P. Brennan of tlpanklung of the Asian Instrument Collection at Philippine Women's University, Manila

Page 8234 Several - Photograph P. Brennan of instruments bungbong and in the Asian Instrument Collection at tuba-like Philippine Women's University, Manila bamboo instrument

Page 8239 Jzzpnzy - P. Brennan, 1971 Rural house - P. Brennan, 1970

Page 8240 Market scene - Madonna (1371) Market scene - Madonna (1398)

Page B242 Churches - Roces (1978:1694)

Page B243 Churches - Roces (1978:1695). .

Page B245 House - National Book Store (1970). Courting - Bayanihan Philippine Dance Company (Obando) (Kruger 40.586). 638

Page 8252 Wedding procession - Ruffing (1971:170-171).

Page 8257 Rural girl - National Book Store (1970).

Page B264 Lolas - Roces (1978:2757).

Page 8272 Coconut raft - Aluit (1968:59).

Page B273 Cafiabao cart - Hoefer and Cross (1980:185) Bird-cage - Harvey (1979: n.p.). vendors

Page 8274 Man and Cafiabao - Hoefer and Cross (1980:50) Cafiabao kneeling - Macapagal (1977:566).

Page B275 Working, and relaxing, in the fields - Ruffing (1971:46,99)

Page B276 Rice fields - Aluit (1968:55).

Page B277 Bayanlkan - Hoefer and Cross (1980:161) Planting - Kruger (37301).

Page B278 Threshing - Madonna (1319). Winnowing - Plastichrome (P57975)

Page 8279 Girl winnowing rice - National Book Store (1970). 639

Page 8280 Pounding and airing rice - Kruger (38973)

Page 8290 Sunka board - P. Brennan, of personal sunka board

Page B291 Palo Szbo - Bayanihan Philippine Dance Company (Kruger D78006). Sabong - Kruger (17480).

Page B294 Tlnlkllng - Baranggay Folk Dance Troupe (Kruger D78003). Six steps of Tlnlkllng - Alejandro (1978:222).

Page B295 Tlnlkllng - Bayanihan Philippine Dance Company (Kruger 40.116).

Page 8301 Pouring drinks - National Book Store (1970).

Page 8302 Markets - National Book Store (17186, V79207)

Page B303 Preparing fish- Ruffing (1971:87). Fruit - Fukasaku and Tamura (1977:69)

Page 8304 Calzsa - Kruger (38.989) Girls {Sayaw Sa Ofibando) - National Book Store (D78001).

Page 8305 Plnandanggo - Madonna (1074). Pandanggo Sa Samballlo - Madonna (1337). 640

Page 8306 Pandanggo Sa Samballlo - National Book Store (D78004). Sayaw Ed - Bayanihan Philippine Dance Company Tapzw Na (National Book Store D78010). Bangko Page 8307 Sayaw Ed - Baranggay Folk Dance Troupe Tapzw Ng (Kruger 17207). Bangko 641

SCORE BOOK

All scores in Curriculum A and Curriculum B Teachers' Books are in the Score Book.

Bontok Waft Vancz - Transcribed P. Brennan from Bayanihan Sings! (Monitor MFS372). Vugso - Transformed and adapted P. Brennan from Aquino (1976 II :21-23). IfiUgao Wzddlng Vancz - Collected and transcribed P. Brennan. Bugan - Collected and transcribed P. Brennan. Alslg - Transcribed P. Brennan from Kayaw (Villar MLP/MLS-5173). Ela-Lay - Transcribed P. Brennan from Kayaw (Villar MLP/MLS-5173). Salldumay Mang-Anl - Transcribed P. Brennan from Kayaw (Villar MLP/MLS-5173). Sallp - Transcribed P. Brennan from Bayanihan 6 (Monitor MFS723) and Kayaw (Villar MLP/MLS-5173). Idaw - Transcribed P. Brennan from Bayanihan 6 (Monitor MFS723). Banga - Collected and transcribed P. Brennan. Blnallg - Transcribed and adapted P. Brennan from cipher of Dimaya-Vista (1980). Kaplll Sa - Transformed and adapted P. Brennan from Munsala Aquino (1978 1:45-46). Kulintang: Kaplll Sa Munsala - Collected and transcribed P. Brennan. Taking Balla - Collected and transcribed P. Brennan. Pangalay - Transformed to Kulintang tuning P. Brennan from Aquino (1978 T:79). Vakan Wafiftlofi's - Collected P. Brennan; transcribed Vancz J. Terry. Sagayan Sa - Transcribed P. Brennan from Bayanihan Kulong Sings! (Monitor MFS372). Talawl - Transcribed P. Brennan from Music of the Maguindanao in the Philippines (Folkways Ethnic Library FE4536A/B). Gabbang - Transcribed P. Brennan from Bayanihan on Tour (Monitor MFS428). Bang Adkan - Transcribed P. Brennan from Music of the Maguindanao in the Philippines (Folkways Ethnic Library FE4536A/B). ^o.dio. - Transcribed P. Brennan from Music of Indaftapatfta the Maguindanao in the Philippines (Folkways Ethnic Library FE4536A/B). Bungbung - Transcribed P. Brennan from Music of Mangmang the Maguindanao in the Philippines (Folkways Ethnic Library FE4536A/B). Vallng-Vallng - Transformed to Kulintang tuning P. Brennan from Aquino (1976 11:20). Slnulog - Transcribed and adapted P. Brennan from cipher of Dimaya-Vista (1980). Tagonggo - Transcribed and adapted P. Brennan from cipher of Dimaya-Vista (1980). Pandanggo Sa Haw - Transcribed C. Keen and P. Brennan from Philippine Rondalla Folk Dances (Plaka Pilipino TSP-5223 [WL-72-71]). Ckltckltftltcklt - Arranged for class use by P. Brennan. Pamullnawzn - Collected P. Brennan. Words adapted from Maceda and Garcia (1953:107-118) and Maceda and Bautista (1969:115-125). Ckltckltftltcklt - Adapted P. Brennan from Kasilag (jji Maceda and Garcia 1953:148-149). Maglalatlk - Coconut rhythms collected and trans­ cribed P. Brennan. Maglalatlk adapted P. Brennan from Aquino (1976 11:58-61). Vahll Sa lyo - Collected P. Brennan; transcribed P. Brennan to fit The World Famous Pangkat Kawayan (A & W Records International AWL-1002). Kondansoy - Collected P. Brennan; transcribed P. Brennan to fit The Historic Bamboo Organ of Las Pinas (1975). Lulay - Collected P. Brennan; words adapted from Maceda and Garcia (1953:128-135). 643

Lzfion Lzfton Slnta - Collected P. Brennan; words adapted from Maceda and Garcia (1953:14-19). Arranged for class use by P. Brennan. Atln Ku Pung - Transcribed P. Brennan from Souvenirs Slngslng from the Philippines (Volume 3 Plaka Pilipino TSP-5225 [WL-73-30]). Arranged for class use by P. Brennan. Folk song collected P. Brennan; words adapted from Kasilag ^Maceda and Garcia 1953:146-147). Magtanlm Ay - Collected P. Brennan; words adapted VI Blfto from Maceda and Bautista (1969:95-105) Tlnlkllng - Collected P. Brennan; words adapted from Kasilag (Maceda and Bautista 1969:177-184). PUPIL'S BOOK TEXT AND ILLUSTRATIONS

With the exception of B Supplement (i-vi) in Curriculum 8 Pupil's Book, the Pupil's Book is identical for Curriculum A and Curriculum 8.

TEXT The acknowledgements for the text of both Pupil's Books are given in the form of the direct quotation from which the information is taken.

Page 1 Hunting tkz -"It depicts the hunting and killing of Boaft a wild boar, ... shields" (Bayanihan on Tour, Monitor MFS428).

Page 4 Banglbang and - a. " ... and Kalutang in the south" Kalutang: (Conklin and Maceda 1955:4). b. " .. suspend several sticks in a row and strike them with a hammer" (Pfeiffer 1975:108).

Page 6 Music of the Hanunoo: "Kallpay (Merrymaking)" (Conklin and Maceda, 1955:5). "Lantuy solo" and theme (Conklin and Maceda, 1955: 5 and 8). "lyaya (Lullaby)" and theme (Conklin and Maceda, 1955 5 and 8). Page 7 "Kaskas and Tlmpafta", Kudyapl tuning, and themes (Conklin and Maceda 1955:5, 6 and 9). "Kalutang" t and theme (Conklin and Maceda 1955: 6 and 11). "Uwl: .. call to each other as they walk along the jungle and forest trails" (Conklin and Maceda 1955: 4, 6). "Ambahan: Courting song with gltglt string instrument accompaniment," and themes (Conklin and Maceda 1955:2, 6 and 11). 645

"Calling Animals: A Hanunoo man tells his nephew to call the animals" (Conklin and Maceda, 1955:6). "Slnldslftuy (.Gltglt solo)" (Conklin and Maceda 1955:7). "It is played with a bow of human hair" (de los Reyes 1979:29).

Page 8 Tallmac-Bllaan: "... which accompanies a dance imitating birds" (Bayanihan on Tour, Monitor MFS428).

Page 9 Blcblc: "... at times of death" (Kayaw, Villar MLP/MLS-5173). Alslg: "... witch sings Alsig" (Kayaw, Villar MLP/MLS- 5173).

Page 10 Scales for Lantuy, lyaya and Kalutang adapted from Conklin and Maceda (1955:8-12).

Page 11 Kudyapl: "... as a communication instrument, as they can understand the meaning of what is being played as clearly as if they are talking to each other" (Kasilag 1975:2).

Page 12 Suling: "... then rattan ring to create a mouthpiece" (Pfeiffer 1975:140). Kublng: "Sentence: Tlnumbuk a Tlnadtad. 1. Tln-um-buk. 2. A Tln-ad-tad " (Maceda 1961:7)

Page 19 Blnallg: "... is an entertainment melody" (Pfeiffer 1975:145).

Page 21 Tagonggo: ".. is played at times of sickness" (Pfeiffer 1975:145) 646

ILLUSTRATIONS Page 1 Hunting tkz Boaft design - P. Brennan after de los Reyes (1979:14). Gansa - Pfeiffer (1975:6). Playing the Go.yi-'^(f- - M. Clarke for Maligaya Dance Company, Two Sullbao - P. Brennan. Page 2 Map of the Philippines - P. Brennan. Sullbao - Pfeiffer (1975:7). Kallzlzng line drawing - Pfeiffer (1975:3). Playing the Kallzlzng - Bulletin Today, Manila, 1970.

Page 3 Igorot girl playing Kallzlzng - Molina (1967:21). Gansa, - Photograph P. Brennan of personal 2 Sullbao and instruments. Z Kallzlzng Ailw - Pfeiffer (1975:14).

Page 4 Banglbang or Kalutang - Pfeiffer (1975:4). Two types of Paldong - Pfeiffer (1975:2).

Page 5 Bunkaka, - Photographs P. Brennan of personal Kolltong, some instruments. Bunkaka and Kolltong

Page 6 Bontok Waft - P. Brennan after de los Reyes Vancz designs (1979:14). Music of the Hanunoo script - P. Brennan after Pfeiffer (1975:9). . , . - P- Brennan after Conklin and Maceda KudyapA. (1955:9).

Page 7 Kalutang/Uwl - P. Brennan after de los Reyes (1979:30-31). Ambakan carved into bamboo node - Pfeiffer (1975:8). Gltglt and Bow - P. Brennan after de los Reyes (1979:29)

Page 8 P^aglong - Photograph P. Brennan of personal piaglong. Tagungguan - Pfeiffer (1975:13). Single big gong of Tagungguan - Pfeiffer (1975:10). Page 9 Ifugao Gansa - a. P. Brennan after de los Reyes designs (1979:70). b. P. Brennan after Casino (1973:51). Bugan design - P. Brennan after de los Reyes (1979:19) Blcblc design - P. Brennan after de los Reyes (1979:9). Alslg designs - a. P. Brennan after de los Reyes (1979:9). b. P. Brennan after de los Reyes (1979:70). Ullallm design - P. Brennan after de los Reyes (1979:10) Ela-Lay design - P. Brennan after de los Reyes (1979:8). Salldumay Mang- Anl design - P. Brennan after de los Reyes (1979:9).

Page 10 End designs - a. P. Brennan after de los Reyes (1979:14). b. P. Brennan after Casino (1973:51). c. P. Brennan after de los Reyes (1979:9). d. P. Brennan after Pfeiffer (1975:9) 8 Supplement (i) Ubo lady - Llamzon (1977:400). Buckle - Alvina (1977:456). Ax - Castaneda (1977:105).

B Supplement (ii) Igorot man and - Photograph P. Brennan of personal woman weaving. Banaue rice terraces - Photograph P. Brennan.

Page 11 Gabbang - Photograph P. Brennan of gabbang of the Asian Instrument Collection at Philippine Women's University, Manila.

Page 12 Kudyapl - Photograph P. Brennan of kudyapl of the Asian Instrument Collection at Philippine Women's University, Manila. Two suling - P. Brennan. Okll on Kublng - Photograph P. Brennan of personal Kublng. Playing Kublng - Photograph P. Brennan of personal Kublng.

Page 13 Two Kublng - Photograph P. Brennan of personal Kublngs. Vibrating action of Kublng - Pfeiffer (1975:14). Babandll - Photograph P. Brennan of personal babandll.

Page 14 Vabakan 1 ine drawing - P. Brennan. Vabakan - Photograph P. Brennan of dabakan of the Asian Instrument Collection at Philippine Women's University, Manila. Design - P. Brennan after de los Reyes (1979:41) 649

Gandlngan - Photograph P. Brennan of gandlngan of the Asian Instrument Collection at Philippine Women's University, Manila.

Page 15 Gandlngan - Photograph P. Brennan of personal gandlngan. Agong - Photograph P. Brennan of personal agong. Agong (Yakan) - P. Brennan.

Page 16 Babandll, Agong and Gandlngan - P. Brennan. Kulintang - Photograph P. Brennan of personal kulintang.

Page 17 Kulintang, single decorated gong, Kulintang - Photographs P. Brennan of personal i nstruments. Moro girl playing Kulintang - Molina (1967:21).

Page 18 . . All - Alvina (1977:853), with line illustrations drawings by A. Brennan.

Page 19 Blnallg design - Alvina (1977:853). Kaplll Sa - a. P. Brennan after de los Reyes Mun4a.ea designs (1979:41). _ ,.,„,., ^^, b. P. Brennan after Casino (1973:52). Taking Balla - P. Brennan after de los Reyes (1979:41) Pangalay - P. Brennan after de los Reyes (1979:41) Page 20 Yakan Warrior's ,-,n-,n AI\ Dance - P. Brennan after de los Reyes (1979:41) 650

Sagayan Sa Kulong - P. Brennan after de los Reyes (1979:41) Four Moro - a. P. Brennan after de los Reyes Vocal pieces (1979:41). b. P. Brennan after de los Reyes (1979:41).

B S u p p1e me n t (iii) Kulintang - Goquingco (1980:143)

B Supplement (iv) Saftlmanok - Alvina (1978:1576)

Page 21 Vallng-Vallng, Slnulog, Kapa Malong-Malong and Vuyog designs - P. Brennan after de los Reyes (1979:41) Tagonggo design - P. Brennan after de los Reyes (1979:45) Saftlmanok - Casino (1973:52).

Page 22 Pandanggo Sa Haw drawings - P. Brennan. Pamullnawzn designs - P. Brennan.

Page 23 Banduftfila, - Photographs P. Brennan of personal Octavlna, instruments. Gltafta Laud - Molina (1967:15). Bajo dz unas - Fox (1971:57).

Page 24 Polka Tagala and Kondansoy designs - P. Brennan. Maglalatlk drawing - A. Brennan. 651

Page 25 Bungbong - Photograph P. Brennan of personal bungbong. Girls playing bungbong - Molina (1967:7). Pangkat Kawayan - Toledo (1980:1). Bamboo Organ - Kruger (17307).

Page 26 Lulay, Lzfton Lzfton Slnta drawings - P. Brennan. Atln Ku Pung Slngslng design - Schouppe (1883:i)

Page 27 Maftla Clafta - Photographs P. Brennan of personal clothing collection. Magtanlm Ay VI Blfto and Tlnlkllng illustrations - A. and P. Brennan.

B Supplement (v) Sunka, - Photographs P. Brennan of personal Octavlna and collection. Banduftfila B Supplement (vi) Fort Santiago - A. Brennan. Working in fields - Photograph P. Brennan. 652

AUDIO AND VIDEO CASSETTE TAPES

There is an identical Audio Tape, and an identical Video Tape, for Curriculum A and Curriculum 8.

AUDIO TAPE Side A TRIBAL 1. Hunting tkz Boaft - Bayanihan on Tour, Monitor MFS428. 2. Tribal Instruments -

Gansa - Bayanihan on Tour, Monitor MFS428. 'Tallp'

Sullbao - Bayanihan 6, Monitor MFS723. 'Idaw'

Kallzlzng - Kayaw, Villar MLP/MLS-5173. 'Tupay-ya'

A^lw - Bayanihan on Tour, Monitor MFS428. 'Hunting tkz Boaft'

Banglbang - Bayanihan, Monitor MFS322. 'Banglbang Funeral Dance'

Paldong - Kayaw, Villar MLP/MLS-5173. 'Bamboo Mouth Flute'

Bunkaka - Philomena Brennan and John Terry. Kolltong - Philomena Brennan and Maligaya Dance Company.

3. Bontok Waft Vancz Bayanihan Sings! Monitor MFS372.

4. Music of the Hanunoo Music from the Philippines, Hanunoo: The Ethnic Folkways Library FE4466. nine Hanunoo excerpts on Tape

5. Eallmac-Bilaan - Bayanihan on Tour, Monitor MFS428. 6. Ifugao Gansas Philomena Brennan field recording at Banaue, Mountain Province, 1981.

7. Blcblc Kayaw, Villar MLP/MLS-5173. Alslg Kayaw, Villar MLP/MLS-5173. Ullallm Kayaw, Villar MLP/MLS-5173. Ela-Lay Kayaw, Villar MLP/MLS-5173. Salldumay Mang-Anl Kayaw, Villar MLP/MLS-5173.

8. Sallp and Ela-Lay: Sallp - Bayanihan 6, Monitor MFS723. Ela-Lay - Kayaw, Villar MLP/MLS-5173. 'Sallp

9. Ela-Lay Kayaw, Villar MLP/MLS-5173. 'Sallp'

10. Idaw - Bayanihan 6, Monitor MFS723.

MORO 1. Vuyog Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B.

2. Instruments of the Moros Gabbang Bayanihan on Tour, Monitor MFS428. 'Pangalay' Kudyapl Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Patundug'

Suling Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Makablmban' Kublng Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Tlnumbuk a Tlnadtad' Babandll Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Vuyog Mode on the Babandll' 654

Vabakan Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Vuyog Mode on the Vabakan'

Gandlngan Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Slnulog Mode on the Gandlngan'

Agong Bayanihan on Tour, Monitor MFS428. 'Pangalay' Kulintang - Ex. 1 Ang Mga Kulintang sa Mindanao at Sulu, Kagawaran ng Pananaliksik Sa Musika, 1980. 'Vuyog: Kulintang' - Ex. 2 Ang Mga Kulintang sa Mindanao at Sulu, Kagawaran ng Pananaliksik Sa Musika, 1980. 'Tldtu: Kulintang' (Datu Piang, Cotabato, 1976).

- Ex. 3 Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Vuyog Mode on the Kulintang'

3. Blnallg - Ang Mga Kulintang sa Mindanao at Sulu, Kagawaran ng Pananaliksik Sa Musika, 1980. 'Blnallg' (Nuling, Cotabato).

4. Taking Balla - Bayanihan, Monitor MFS322.

5. Gabbang - Bayanihan on Tour, Monitor MFS428. 'Pangalay'

6. Sagayan Sa Kulong - Bayanihan Sings! Monitor MFS372.

Side B

7. Talawl Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B.

Bang Adhan Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. Radja Music of the Maguindanao in the Indaftapatfta Philippines, Folkways Ethnic Library FE4536A/B. Bungbung - Music of the Maguindanao in the Mangmang Philippines, Folkways Ethnic Library FE4536A/B. 8. Slnulog - Ang Mga Kulintang sa Mindanao at Sulu, Kagawaran ng Pananaliksik Sa Musika, 1980. 'Slnulog' (Datu Piang, Cotabato, 1953). 9. Kapa Malong-Malong - Bayanihan 6, Monitor MFS723. 10. Vuyog Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B.

CHRISTIAN 1. Pandanggo Sa Philippine Rondalla Folk Dances, Haw Plaka Pilipino TSP-5223 (WL-72-71). 2. Pamullnawzn Bayanihan Sings! Monitor MFS372. 3. Ckltckltftltcklt Bayanihan Sings! Monitor MFS372. 4. Words to Ckltckltftltcklt Philomena Brennan. 5. Polkabal Bayanihan, Monitor MFS322. 6. Maglalatlk I Bayanihan, Monitor MFS322. 7. Maglalatlk II Philippine Rondalla Folk Dances, Plaka Pilipino TSP-5223 (WL-72-21).

8. Vakil Sa lyo The World Famous Pangkat Kawayan, A & W Records International AWL-1002. 9. Kondansoy The Historic Bamboo Organ of Las Pinas (Philippines), 1975.

10. Lulay Bayanihan, Monitor MFS322. 11. Words to Lulay • Philomena Brennan. 12. Lzfton Lzfton Slnta Bayanihan Sings! Monitor MFS372. 13. Words to Lzfton - Folk Songs of the Philippines, Lzfton Slnta Folkways Records FW8791. 14. Atln Ku Pung Souvenirs from the Philippines, Volume Slngslng 3, Plaka Pilipino TSP-5225 (WL-73-30). 656

15. Instrumental/ Vocal of Atln Ku Pung Slngslng - Bayanihan on Tour, Monitor MFS428. 16. Words to - Folk Songs of the Philippines, Atln Ku Pung Folkways Records FW8791. Slngslng 17. Magtanlm Ay - The Historic Bamboo Organ of Las Pinas VI Blfto (Philippines), 1975. 18. Words to Magtanlm Ay VI Blfto - Philomena Brennan. 19. Tlnlkllng - Philippine Rondalla Folk Dances, Plaka Pilipino TSP-5223 (WL-72-21).

TEST MUSIC 1. Caftlnosa - Philippine Rondalla Folk Dances, Plaka Pilipino TSP-5223 (WL-72-21). 2. Bontok Waft Vancz - Bayanihan Sings! Monitor MFS372. 3. Vuyog - Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B.

VIDEO TAPE Slngkll - Maligaya Dance Company: Founder/ Director - Philomena Brennan (Recorded at ATN Channel 7, Epping, Sydney, for 0-28 'Cabaret', May 21, 1981) 657

CURRICULUM A and CURRICULUM B PUZZLES - ILLUSTRATIONS

Title Page (A and B) a. Igorot man playing gansa - M. Clarke for Maligaya Dance Company b. Playing a southern tribal single-string instrument - Goquingco (1980:143).

c. Bontok Waft Vancz - Goquingco (1980:61). d. Kulintang - Goquingco (1980:142-143). e. Fi1ipi no Christian dance - Goquingco (1980:203).

CURRICULUM A PUZZLES Page APZl _ , Snakes - Casino (1973:51)

Page APZ2 ID No Tz Vayas - Romualdez, Ramos et al (1953:54). 20 Salakot - Collected P. Brennan.

3D Magtanlm Ay VI Blfto - Collected P. Brennan. 40 Maglalatlk - Aquino (1976 11:58). 50 Caftlnosa - Collected P. Brennan. 60 Polka . Sa Nayon - Aquino (1977 111:72). 7A Pabo - Aquino (1978 1:79).

8A La Jota Moncadzna - Collected P. Brennan. 9A Bate - Aquino (1976 :4). lOD Saad - Aquino (1976 :77). IIA Alay - Aquino (1978 V:3). 12D Subli - Collected P. Brennan. 658

13A Katlo - Collected P. Brennan.

14A Lulay - Collected P. Brennan.

15A Walay - San Pedro (Maceda and Garcia Angay 1953:1).

Page APZ3 ID Atln Ku Pung Slngslng - Collected P. Brennan.

2A Ckltcklt­ - Kasilag (Maceda and Garcia 1953: ftltcklt 148-149).

3D Haplik - Collected P. Brennan.

40 Tlklos - Aquino (1976 11:129).

5A Condansoy - Collected P. Brennan.

6A Lulay - Collected P. Brennan.

7D Lzfton Lzfton Slnta - Collected P. Brennan.

80 5aad - Aquino (1976 :77).

9A Pamullnawzn •- Collected P. Brennan.

lOD Bahat/ Kubo •- Collected P. Brennan.

110 Kalapati - Collected P. Brennan.

12A Itlk-Itlk •- Collected P. Brennan.

13A Wanawg Biday- Kasilag (Maceda and Garcia 1953:140) 14D fewde 0 Transcribed P. Brennan from Bayanihan Pende Philippine Dance Company, Bayanihan Sings! Monitor (MFS372).

15A Tlnlkllng Collected P. Brennan.

16A Sampaguita • Collected P. Brennan.

Pages APZ4 and 5 All drawings - A. Brennan.

Page APZ6 Three figure designs - Casino (1973:51).

Two designs - de los Reyes (1979:59) 659

Sitting figure - Casino (1973:51).

Page APZ7 Leaf - Casino (1973:51).

Page APZ8 Vlntas and Moro dance - Kruger (38.980). Two men playing kolltong - Samonte-Madrid (1977:436)

Page APZ12 Kulintang - Goquingco (1980:142-143)

Page APZ13 Igorot man and gansa - M. Clarke for Maligaya Dance Company Playing string instrument - Goquingco (1980:143).

Page APZ18 18A Lulay - Collected P. Brennan. 28A Vandansoy - Kasilag (Maceda and Garcia 1953:136)

Page APZ19 42D Caftlnosa - Collected P. Brennan

Page APZ23 470 Pamulln­ awzn - Collected P. Brennan

Pacje APZ24 Town band - Santiago-Felipe (1978:2500).

CURRICULUM B PUZZLES Page BPZ2 Three designs - Casino (1973:52). Snakes - Casino (1973:51). Kulintang - Goquingco (1980:142-143) 660

Page BPZ3-9 As for Pages APZ2-8 of Curriculum A Puzzles.

Page BPZIO Octavlna - p. Brennan of personal octavlna. Tree - Medina (1977:494).

Page BPZ13 Shoe industry - Reyes (1978:2572).

Page BPZ14 As for Page APZ13 of Curriculum A Puzzles.

Page BPZ16 Crawling plant design - Casino (1973:51)

Page BPZ17 Bagobo dwelling design and Igorot figures - de los Reyes (1979:59).

Page BPZ18 Line designs - de los Reyes (1979:59).

Page BPZ19 Moro village - National Book Store (V80264).

Page BPZ21 Moro design - de los Reyes (1979:81)

Page BPZ22 Kulintang - Goquingco (1980:142-143)

Page BPZ24 Slngkll and Tlnlkllng - M. Clarke for Maligaya Dance Company

Page BPZ26 Carabao cart - Ruffing (1971:21).

Page BPZ27 National Arts Centre - National Book Store (V79213) Page BPZ28 Talomo Beach - Kruger (17350)

Page BPZ32 18A Lulay - Collected P. Brennan. 28A Vandansoy - Kasilag (Maceda and Garcia 1953 136). Sword - Casal (1977:460).

Page BPZ33 42D Caftlnosa - Collected P. Brennan Saftlmanok - Casino (1973:52).

Page BPZ34 Leaf and Crown - Casino (1973:52)

Page BPZ36 Border design - Casino (1973:52)

Page BPZ37 470 Pamullnawzn- Collected P. Brennan. Kulintang - Goquingco (1980:142-143)

Page BPZ38 Town band - Santiago-Felipe (1978:2500).

Page APZ29 and BPZ45 Guitar maker - Fukasaku and Tamura (1977:70)