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Music of The Cordilleras
Regional Info:
Regional Center: Baguio City
Area:
• Total 19,294 km2 (7,449 sq mi)
Population (2010)
• Total 1,616,867
• Density 84/km2 (220/sq mi)
Time zone PST (UTC+8)
ISO 3166 code PH-15
Provinces: 6
Cities: 2
Municipalities: 75
Barangays: 1,176
Cong. Districts: 7
Languages/Dialects: Ilocano, Ibaloi,
Kankanaey, Kalanguya, Kalinga, Ifugao,
Itneg, Isneg, Pangasinan, Tagalog,
English, others
Traditional Music of the Cordilleras:
1. Music is very much part of their life and living
2. Has a rich variety of songs & music performed
on instruments
3. Often performed in groups.
4. Their music is communal and participatory
5. Songs are usually in unison of pentatonic
melodies
6. Their cultural traditions are transferred from
generation to generation through oral tradition
Important Activities Where Music is
utilized:
1. Peace pacts
2. Healing rituals
3. Invocation of the Gods
4. Rites of passage
5. Festivities
6. Life cycle events such as birth, marriage or
death.
7. Thanksgiving
Topic Overview:
• Musical Styles of different Cordillera Tribes
• Vocal and Instrumental Music
• Folk Songs
• Composition:
• Chanted Poetry,
Songs (children’s songs, lullaby, spirit songs, narrative
legends), Dances
• Social Functions:
Music for Worship and Rituals
Work (Planting),
Sleep
Courtship
Vocal Music:
• Hudhud- consists of narrative chants
traditionally performed by the Ifugao
community. It is practiced during the rice
sowing season, at harvest time and at funeral
wakes and rituals. the Hudhud comprises
more than 200 chants, each divided into 40
episodes. A complete recitation may last
several days.
• The chant tells about ancestral heroes,
customary law, religious beliefs and traditional
practices, and reflects the importance of rice
cultivation. The narrators, mainly elderly
women, hold a key position in the community,
both as historians and preachers. The Hudhud
epic is chanted alternately by the first narrator
and a choir, employing a single melody for all
the verses.
Examples of Cordillera Folk Songs:
• Ay'Ay Salidummay- an entertainment song presented
during social gatherings as a chorus in three parts and
as a round song. It expresses a positive attitude of the
Kalingas toward adversities in life.
• Dakami a Tingguian- an entertainment song, which
may be presented either as a solo or a group
performance, reflects the Tingguians' pride in and
contentment with their cultural practices . Cultural
values shown: industry, social cooperation, peace and
contentment, pride of one's cultural heritage
• Owwawi- a Kalinga Lullaby
• Sowi-i- as a rice-pounding festival song meant to honor
someone. It is popularly known as Chua-ay.
Characteristics of the Instruments
1. Made of Metal & Bamboo
2. Ensemble playing is usually by 6
3. 6 instruments give off different pitches due to their
sizes
4. Manner of playing is staggered in entrances
creating interlocking patterns of sounds
5. The alternate open and closed holes for each
instrument also provide a variety of tone color
6. Interlocking Technique- a stylistic device
characterized by the distribution of pitches to 5 or more
instruments creating a resultant melody.
Gangsa- a single hand-held smooth-surfaced gong with
a narrow rim.
Pattung- played with padded
stick Toppaya- played with hands
Solibao
A hollow
wooden Igorot
drum topped
with pig skin or
lizard skin this is
played by
striking the
drum head using
the palm of the
hand.
Ulibaw- Bamboo Jaw’s Harp
Kulitong- a bamboo polychordal tube zither with six
strings that run parallel to its tube body. The strings
are numbered from one to six, from lowest to
highest pitch. The body acts as the instrument's
resonator. The body may be a whole tube or a half
tube, in both cases the two ends of the body are
closed by the bamboo nodes. To help with the
resonance of the instrument, holes are made on
both nodes and long cracks are made along the
body parallel to the strings. In the Kalinga group,
men play the Kulitong at night as a solo instrument.
Tongali(Nose Flute)
Because the kalaleng is long
and has a narrow internal
diameter, it is possible to play
different harmonics through
overblowing—even with the
rather weak airflow from one
nostril. Thus, this nose flute
can play notes in a range of
two and a half octaves. Finger
holes in the side of the
bamboo tube change the
operating length, giving
various scales. Players plug
the other nostril to increase
the force of their breath
through the flute.
Paldong
a traditional lip-valley flute
of the Kalinga tribes.
The melodies played on
the lip-valley flute are
mostly improvisatory.
When given titles, the
titles describe what the
music is trying to simulate
such as the chirping of a
bird, the cry of an eagle,
the buzz of a wasp, etc. It
is an solo instrument
usually used by men for
serenades or courting
women, or merely for
leisure and to pass the
time away.
Diwdiw-as
a native bamboo wind instrument in the
Philippines which is a variation of the well-
known panflutes or panpipes.
Saggeypo
a bamboo pipe that is closed on one end by a node with the open end held against
the lower lip of the player as he blows directly across the top. The pipe can be
played individually by one person or in ensembles of three or more.
Bungkaka
also known as the bamboo
buzzer is a percussion
instrument (idiophone)
made out of bamboo.
The instrument generates
a buzzing sound from the
slit between the two
tongues when the
instrument is struck
against the lower palm of
the hand of the player.
Furthermore, the sound
can be altered by covering
and uncovering a hole
found on the bottom half
of the instrument with the
thumb of the hand which
grasps the instrument.
Patangguk- bamboo quill-shaped
tube
Pateteg- bamboo leg xylophone
Tongatong
a bamboo percussion
instrument used by the
people of Kalinga to
communicate with spirits
during house blessings. It is
made of bamboo cut in
various lengths. When you
hit it against soft earth a
certain drone reverberates
though the instrument's
open mouth. When an
entire set of Tongatong is
played in interloping
rhythm and prolonged
with the tribal chanting, it
could put the audience and
the dancers in a trance.
Music of the Cordilleras
Music of the Cordilleras
Thank You and Good Day!!!!

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Music of the Cordilleras

  • 1. Music of The Cordilleras
  • 2. Regional Info: Regional Center: Baguio City Area: • Total 19,294 km2 (7,449 sq mi) Population (2010) • Total 1,616,867 • Density 84/km2 (220/sq mi) Time zone PST (UTC+8) ISO 3166 code PH-15 Provinces: 6 Cities: 2 Municipalities: 75 Barangays: 1,176 Cong. Districts: 7 Languages/Dialects: Ilocano, Ibaloi, Kankanaey, Kalanguya, Kalinga, Ifugao, Itneg, Isneg, Pangasinan, Tagalog, English, others
  • 3. Traditional Music of the Cordilleras: 1. Music is very much part of their life and living 2. Has a rich variety of songs & music performed on instruments 3. Often performed in groups. 4. Their music is communal and participatory 5. Songs are usually in unison of pentatonic melodies 6. Their cultural traditions are transferred from generation to generation through oral tradition
  • 4. Important Activities Where Music is utilized: 1. Peace pacts 2. Healing rituals 3. Invocation of the Gods 4. Rites of passage 5. Festivities 6. Life cycle events such as birth, marriage or death. 7. Thanksgiving
  • 5. Topic Overview: • Musical Styles of different Cordillera Tribes • Vocal and Instrumental Music • Folk Songs • Composition: • Chanted Poetry, Songs (children’s songs, lullaby, spirit songs, narrative legends), Dances • Social Functions: Music for Worship and Rituals Work (Planting), Sleep Courtship
  • 6. Vocal Music: • Hudhud- consists of narrative chants traditionally performed by the Ifugao community. It is practiced during the rice sowing season, at harvest time and at funeral wakes and rituals. the Hudhud comprises more than 200 chants, each divided into 40 episodes. A complete recitation may last several days.
  • 7. • The chant tells about ancestral heroes, customary law, religious beliefs and traditional practices, and reflects the importance of rice cultivation. The narrators, mainly elderly women, hold a key position in the community, both as historians and preachers. The Hudhud epic is chanted alternately by the first narrator and a choir, employing a single melody for all the verses.
  • 8. Examples of Cordillera Folk Songs: • Ay'Ay Salidummay- an entertainment song presented during social gatherings as a chorus in three parts and as a round song. It expresses a positive attitude of the Kalingas toward adversities in life. • Dakami a Tingguian- an entertainment song, which may be presented either as a solo or a group performance, reflects the Tingguians' pride in and contentment with their cultural practices . Cultural values shown: industry, social cooperation, peace and contentment, pride of one's cultural heritage • Owwawi- a Kalinga Lullaby • Sowi-i- as a rice-pounding festival song meant to honor someone. It is popularly known as Chua-ay.
  • 9. Characteristics of the Instruments 1. Made of Metal & Bamboo 2. Ensemble playing is usually by 6 3. 6 instruments give off different pitches due to their sizes 4. Manner of playing is staggered in entrances creating interlocking patterns of sounds 5. The alternate open and closed holes for each instrument also provide a variety of tone color 6. Interlocking Technique- a stylistic device characterized by the distribution of pitches to 5 or more instruments creating a resultant melody.
  • 10. Gangsa- a single hand-held smooth-surfaced gong with a narrow rim. Pattung- played with padded stick Toppaya- played with hands
  • 11. Solibao A hollow wooden Igorot drum topped with pig skin or lizard skin this is played by striking the drum head using the palm of the hand.
  • 13. Kulitong- a bamboo polychordal tube zither with six strings that run parallel to its tube body. The strings are numbered from one to six, from lowest to highest pitch. The body acts as the instrument's resonator. The body may be a whole tube or a half tube, in both cases the two ends of the body are closed by the bamboo nodes. To help with the resonance of the instrument, holes are made on both nodes and long cracks are made along the body parallel to the strings. In the Kalinga group, men play the Kulitong at night as a solo instrument.
  • 14. Tongali(Nose Flute) Because the kalaleng is long and has a narrow internal diameter, it is possible to play different harmonics through overblowing—even with the rather weak airflow from one nostril. Thus, this nose flute can play notes in a range of two and a half octaves. Finger holes in the side of the bamboo tube change the operating length, giving various scales. Players plug the other nostril to increase the force of their breath through the flute.
  • 15. Paldong a traditional lip-valley flute of the Kalinga tribes. The melodies played on the lip-valley flute are mostly improvisatory. When given titles, the titles describe what the music is trying to simulate such as the chirping of a bird, the cry of an eagle, the buzz of a wasp, etc. It is an solo instrument usually used by men for serenades or courting women, or merely for leisure and to pass the time away.
  • 16. Diwdiw-as a native bamboo wind instrument in the Philippines which is a variation of the well- known panflutes or panpipes.
  • 17. Saggeypo a bamboo pipe that is closed on one end by a node with the open end held against the lower lip of the player as he blows directly across the top. The pipe can be played individually by one person or in ensembles of three or more.
  • 18. Bungkaka also known as the bamboo buzzer is a percussion instrument (idiophone) made out of bamboo. The instrument generates a buzzing sound from the slit between the two tongues when the instrument is struck against the lower palm of the hand of the player. Furthermore, the sound can be altered by covering and uncovering a hole found on the bottom half of the instrument with the thumb of the hand which grasps the instrument.
  • 20. Pateteg- bamboo leg xylophone
  • 21. Tongatong a bamboo percussion instrument used by the people of Kalinga to communicate with spirits during house blessings. It is made of bamboo cut in various lengths. When you hit it against soft earth a certain drone reverberates though the instrument's open mouth. When an entire set of Tongatong is played in interloping rhythm and prolonged with the tribal chanting, it could put the audience and the dancers in a trance.
  • 24. Thank You and Good Day!!!!