Traditional Forms of Music RAMON P

Traditional Forms of Music RAMON P. SANTOS, PH. D. T here are two distinct repertoires in Philippine oral traditions: 1) musical forms that evolved from Southeast Asian cultures, usually referred to as indigenous traditions, and 2) musical forms that developed in rural Christian communities, more commonly known as folk music. They may be further categorized into vocal, instrumental, a combination of both, as well as forms that integrate these elements with physical movement, space, dance, and theater. In the first category, many of the musical forms are related to different occasions such as life cycle events and occupational activities and different kinds of rituals. In the Cordillera Administrati ve Region in Northern Luzon, musical performances are done during the agricultural cycle, peace pacts, courtship and marriage, and death rites. These events are highlighted by a feast ritual called cañao , chaw-es , bugnas or peshit among the Ibaloi. Vocal genres among the indigenous communities may be identified according to their functions. Lullabies are called owiwi (Kalinga),while other infancy-related songs include dagdagay and oppia (Kalinga), langan bata-bata (Tausug), bua (Subanen), and kawayanna (Kalinga). Courtship is usually performed in song-debates such as the daieng (Kankana-ey), Batac inanen , estijaro of the Tagacaolo, and the bandayuy of the Matigsalog, which is accompanied on the kuglong (2-string lute) and saluroy (polychorda l zither). There are love incantations like the Manobo antang (for match-making) and sindaay , tarasul (Tausug), tamuyong , dango , oggayam, songs of greetings and advice during a Kalinga wedding. Entertainment songs include the salidummay and dangdang-ay , bayok (Mandaya), and the Manobo limbay , and the Ibaloi allegorical ballad called tamiya . Work songs are called duduru among the Aeta and gagonapu of the Subanen. referring to both fishing and hunting. These songs may be as specific as the Kalinga dakuyon for hunting bats, the Ilongot dinaweg for catching wild boar and kellangan selang and kellangan magsangkali which are sung during Sama shark-fishing. The Kalinga sing the dandannag and the owayat for gathering firewood and the Gatac sing the didayu while making wine. The sowe-ey is a rice-pounding song of the Bontoc. There are also vocal genres that are connected with special rituals, as the bajog and ad'dem which the Ibaloi sing for good harvest, the Bontoc kapya to cure different ailments, the alasan of the Kankana-ey to pray for good fortune, as well as the Ilongot dawak and the Kalinga alisig , both medicine chants. In death rites, the Bontoc chant the didiyaw , similar to the Manobo ulaging and Isneg sangsangit . The balow is sung by the Matigsalog wife to honor her dead husband. Prayer chants among the Islamic communities include the Salathul Juma (Friday prayer), the Tarawe , and the dekir or dikil . Tonal phrases are called lugu which are used in the reading of the Ku'ran There are vo cal genres that may be considered signature forms for specific cultures, such as the Maranao bayok (a form of musical speech-making), the Ibaloi badiw (extemporized leader-chorus poetic verses), and the Kalinga ading (vocal exhortation).On the other hand, specific epics are highly representative of the history and culture of the different communities; like the Maranao Darangen , the Palawan Kudaman , the Ifugao Hudhud , the Kalinga Ullalim, the Maguindanao Rajah Indrapatra , and the Manobo Ulahingan and Tuwaang . Vocal music among rural Christians may be classified into the religious and secular forms. The former consists mostly of hymns related to the different period of the liturgical year, except for the pasyon , which is the day-and-night-long chanting of the life and passion of Christ during the period of Lent. This chanting uses ancient tune formulas like the awit and tagulaylay . At Christmas time, the paraliturgical event called panuluyan re-enacts the plight of Mary and Joseph, at which the dialogue verses are sung on pre-existing tunes. Local carols are called villancicos , dayegon among the Visayan, and tamborra of the Cuyunin. During Easter, the aleluya and hosana are sung during the salubong (first meeting of the resurrected Christ and Mary). During the May processions, such hymns as the Aurora , Kristiyanong turog , dotok, gozo , are commonly heard in the Bicol region. The dalit is a strophic hymn with repeated melody. Among the Tagalog of Batangas, it is sung before and after the performance of subli . To honor the dead, the Ilocano still perform the dung-aw . Secular folk vocal music covers a wide variety of forms, from long romance narratives called awit , kurido , kuriru (Kapangpangan) and pinagbiag , and ballads like the Visayan composo , to short song genres; e.g. kumintang and kundiman of the Tagalog, the Tagalog lullaby called oyayi , the harana (serenade), children's songs, as well as song-debates such as the pandangguhan , the balitao from Cebu and Bohol, and the dal-lot of the Ilocano. Instrumental music in the indigenous cultures are usually identified according to the types of ensembles, playing styles or instruments such as the sulibao ensemble of the Ibaloi, gangsa pattung or toppaya, kulintang, tangunggua'n, etc., as well as titles of individual pieces, like "Kapagonor", "F' rnawa Klongonon", "Palandok" , or "Sungsung patubig". The kulintang repertoire may consist of a suite of pieces based on melodic-rhythmic modes such as duyug, sinulug, tidtu, binalig, and tangunggu of the Maguindanao. The tagunggu (instrumental music making) of the Yakan is usually performed as a set of two improvised pieces: te-ed and kuriri . The term tagunggu among the peoples of Mindanao uplands usually refers to the music of the hanging agung or kulintang. Among the Kankana-ey, the takik is music played by the gong and drum ensemble to accompany dance. Instrumental music in the countryside is usually performed by the brass band or its replication in bamboo instruments, the rondalla (plucked string ensemble), and various smaller combinations of string and wind instruments. The repertoire consists of hymns, marches, pasodoble , medleys of popular folk tunes, as well as longer compositi ons such as overtures and one-movement concertant pieces. The latter are usually played during band competitions called serenata . The town band is quite indispensable in religious activities such as processions and funerals, and it also assists local theatrical productions like the komedya and senakulo . The smaller ensembles are often utilized to accompany the singing in churches. Reference/s: Brandeis, Hans. Zur Musik der Higa-onon am Libang-Fluss, Agusan del Sur. Berlin, 1980. Butocan, Aga Mayo. Palabunibunyan: A Repertoire of Musical Pieces for the Maguindanao Kulintangan. Manila: Philippine Women's University, 1987 Conklin, Harold and Jose Maceda. Hanunoo Music from the Philippines. Ethnic Folkways Records, 1955 Eugenio, Daminan. Awit and Corrido: Philippine Metrical Romances. Quezon City: University of the Philippines Press, 1987 Hila, Antonio. Musika: An Essay on Philippine Ethnic Music. Manila: Cultural Center of the Philippines, 1992 Javellana, Rene (ed.) Casaysayan nang Pasiong Mahal ni Jesucristong Panginoon Natin na Sucat Ipag-alab nang Puso nang Sinomang Babasa. Manila: Imprenta de los Amigos del Pais, 1890. Quezon City: Ateneo de Manila University Press, 1988 __________. Mahal na Passion ni JesuChristong Panginoon Natin na Tola. Quezon City: Ateneo de Manila University Press, 1990 Maceda, Jose (ed). The Music of Asia. Manila: UNESCO National Commission of the Philippines, 1971 __________. a Manual for Field Research with Special Reference to Southeast Asia. Quezon City: UP College of Music Department of Music Research, 1981 Magdamo, Priscilla. Folk Songs of the Visayas. Vols.I-VI. Dumaguete City: Silliman University Foundation, 1957 Maquiso, Elena. Ullahingan: An Epic of the Southern Philippines. DumagueteCity: Silliman University Foundation, 1977 Martenot Alain and Jose Maceda. Sama de Sitangkai Maceda, Jose et al. (eds.) Mga Paminsanang Sulatin sa Pananaliksik sa Musika. Quezon City: UP College of Music Department of Music Research, 1977-79 Pasamba, Angelita. Rondalla Music. Manila: Rex Bookstore, 1985 Postma, Antoon. Treasury of a Minority -- The Ambahan: A Poetic Expression of the Mangyans of Southern Mindoro. Mansalay, Oriental Mindoro: Panagtayan Print, 1970 Prudente, Felicidad (ed.). Musical Instruments and Songs from the Cagayan Valley Region. Tuguegarao: Ministry of Education, Culture and Sports Region 2, 1986 Reysio-Cruz, Emilia. Filipino Folk Songs. Manila: Community Publishers, 1950 Rivera-Mirano, Elena. Subli: Sayaw sa Apat na Tinig. Manila: Cultural Center of the Philippines, 1989 Romualdez-Norberto. Filipino Musical Instruments and Airs of Long Ago. Manila: Catholic Trade School, 1932 Tiongson, Nicanor G. Kasaysayan at Estetika ng Sinakulo at Ibang Dulang Panrelihiyon sa Malolos. Quezon City: Ateneo de Manila University Press, 1975 ___________. Kasaysayan ng Komedya sa Pilipinas: 1766-1982. Manila: De la Salle, University , 1982. Vanoverbergh, Morice. Songs in Lepanto Igorot as it is spoken in Bauko. Vienna, St. Gabriel's Mission Press, 1954 Walls y Merino, Manuel. La musica popular de Filipinas. Madrid. Liberto de Fernando Fe, 1892. Articles Baes, Jonas. "Northern Mangyan Vocal Music: A Preliminary Account", Compendium of the Humanities of the Philippines-- Musical Arts. NCRP, 1998 Benitez, Kristina and Felicidad prudente. "Mga Awit at Tugtugin sa Pilipinas.", Philippine Journal

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