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. BrennanUniversity of Wollongong
Brennan, Philomena S., Music educational and ethnomusicological implications forcurriculum design: development, implementation and evaluation of Philippine music anddance curricula, Doctor of Philosophy thesis, Department of Education, University ofWollongong, 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
C O P Y R I G H T R E S E R V E D
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
I N D E X
Sequence and Organisation
Page
A
(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
Lesson 2
Lesson 3
Lesson 4
Lesson 5
Lesson 6
Lesson 7
1
4
7
11
13
16
18
3
6
10
12
15
17
20
45 minute Lesson 1
Lesson 2
Lesson 3
Lesson 4
Lesson 5
Lesson 6
1
5
8
11
15
18
4
7
10
14
17
20
50 minute Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
1
2
3
4
5
6
• 1 -
5 -
8 -
11 -
14 -
17 -
4
7
10
13
16
20
332
Sequence and Organisation (v)
MUSIC AND DANCE OF TRIBES IN THE PHILIPPINES
Index to Activities and Materials
1
2
3
4
5
6
7
8
9
10
-
-
-
-
-
-
-
-
-
-
Page Al
Al
Al
AlO
AlO
AlO
A15
A15
A17
A17
11 -
12 -
13 -
14 -
15 -
16 -
17 -
18 -
19 -
Page A17
A27
A27
A30
A33
A33
A33
A42
A42
TAPE
1. 2.
3.
4.
5.
6.
7.
«.
9.
10.
SEQUENCE - TRIBAL:
Hunting tkz Boaft.
Pklllpplnz Tfilbal ln6tftumznt.i>.
Bontok Waft Vancz.
Mu6lc 0^ tkz Hanunoo.
fallmac-Bllaan.
IjJagoLo Gan&ai.
Vlvz Kalinga vocal plzczi'-
1. Blcblc 1.
3. Ullallm 4.
5. Salldumay Mang-Anl
Sallp and Ela-Lay.
Ela-Lay.
I daw.
Al&lg.
Ela-Lay.
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. L is ten and answer L i s t e n i n g Shee t : Sagayan Sa Kulong ( l m . 5 3 s . ) . fl Maranao.
16. Lis ten and answer L i s t e n i n g Sheets for four Maguindanao vocal p i e c e s :
1. Talavol ( 4 0 s . ) 2. Bang Adkan ( 4 2 s . )
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
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
1:
2:
3:
4:
5:
6:
7:
1 -
4 -
7 -
10 -
13 -
17 -
20 -
3
6
9
12
16
19
22
45 minute Lesson 1
Lesson 2
Lesson 3
Lesson 4
Lesson 5
Lesson 6
1
5
8
12
17
20
4
7
11
16
19
22
50 minute Lesson 1
Lesson 2
Lesson 3
Lesson 4
Lesson 5
1
5
10
16
19
4
9
15
18
22
336
Sequence and Organisation (ix)
MUSIC AND DANCE OF THE MOROS IN THE PHILIPPINES
Index to Activities and Materials
1
2
3
4
5
6
7
8
9
10
11
-
-
-
-
-
-
-
-
-
-
_
Page A43
A43
A43
A43
A52
A52
A56
A56
A56
A66
A66
12 -
13 -
14 -
15 -
16 -
17 -
18 -
19 -
20 -
21 -
22 -
Page A66
A70
A70
A70
A75
A76
A76
A76
A76
A86
A86
TAPE
/.
2.
3.
4.
5.
6.
7.
i. 9.
10.
—
SEQUENCE - MORO:
Vuyog
lni,tfiumznt6 oi tkz Mofto&.
Blnallg.
Taking Balla.
Gabbang.
Sagayan Sa Kulong.
Vouft Mofto vocal plzcz6:
1. Talawl. 2. Bang Adkan.
3. Radja Indaftapatfta.
4. Bungbung Mangmang.
Slnulog.
Kapa Malong-Malong.
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 accompaniment .
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
Lesson 2
Lesson 3
Lesson 4
Lesson 5
Lesson 6
Lesson 7
Lesson 8
Lesson 9
1
4
8
11
14
18
24
30
34
3
7
10
13
17
23
29
33
37
45 minute Lesson 1
Lesson 2
Lesson 3
Lesson 4
Lesson 5
Lesson 6
Lesson 7
Lesson 8
1
4
8
12
18
24
29
34
3
7
11
17
23
28
33
37
50 minute Lesson 1: 1 - 6
Lesson 2: 7 - 1 1
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
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
_
Page A91 A91
A95
A98
A98
A98
A98
AlOl
AlOl
AlOl
Alio
Alio
Alio
A123
A123
A127
A127
A127
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Page A127 A127
A127
A134
A134
A134
A134
A138
A138
A138
A138
A138
A138
A138
A143
A143
A143
A143
A143
341
Sequence and Organisation (xiv)
TAPE
1. 2.
3.
4.
5.
6.
7.
S.
9.
10.
11.
11.
Ii. 14. IB.
16.
17.
IS.
19.
1 SEQUENCE - CHRISTIAN:
Pandanggo Sa Haw.
Pamullnawzn.
Ckltckltftltcklt.
Words to Ckltckltftltcklt.
Polkabal.
Maglalatlk 1 (with coconuts)
Maglalatlk 11 (without coconuts)
Vakil Sa lyo.
Kondan6oy.
Lulay.
Words to Lulay.
Lzfton Lzfton Slnta.
Words to Lzfton Lzfton Slnta. Atln Ku Pung Singling.
Instrumental/vocal of Atln Ku Pung Singling Words to Atln Ku Pung Singling.
Magtanlm Ay VI Blfto.
Words to Magtanlm Ay VI Blfto.
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
2 5 . Polkabal
16. Maglalatlk I [wltk coconuti>)
27 . Maglalatlk 11 [wltkout coconut>b)
l i . 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.
§ § § § § § § § §
Al 344
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
I N D E X
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
§§B Supplement (iii), (iv)
Music and Dance of the Filipino Christians
§§B Supplement (v), (vi)
11
22
[ P u p i l ' s Bk. denotes P u p i l ' 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. Y e l l s , s h o u t s , shields and sticks are heard with the i n s t r u m e n t s . mm^
PHILIPPINE TRIBAL INSTRUMENTS
GAA/SA
The g 1 i V i n metal 40 cm jaw-b a sti Somet time, as he the m Liste stick pitch
ania is g in th
gam a s . i n d ones of ck or b imes th with t sits 0
en of t jl to th and ha
es from
rtant instrument to those Tribes regions of northern Luzon. The , ranging in size from 25 cms. to as a handle made from tusks or
gania is played by striking with e palm/fingers of the hand, of playing are used at the same ng against the knees of the player The gansa is usually played by
several gamai, and notice the laying. You will hear different 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
Pup i l ' s Bk. - 2
Ph-illpp^m Tribal In.itiamtnti (cont inued)
N.
L U Z 0 N
V I S A Y A S
M I N D A N A 0
J-'VL*
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.)
US,
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.
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
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 KALiUlENG
pi aying
(be!ow) GAWSA, 2 SULIBAO and 2 KALLELENG:
AFim
The aiA,w i s a metal j aw ' s ha rp . In the nor thern Tr ibes the a^iui metal j aw ' s harp i s used and the southern Tr ibes use the bamboo j aw ' s harp ( s i m i l a r 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
P u p i l ' s Bk. - 4
Philippine TKlbal Imt^umenti (continued)
8ANGIBAWG and KALUTANG
Kalutang a re two s t i c k s of d i f f e r e n t length and d i f f e r e n t p i tch (see Mu^lc oi tkz Hanunoo, P u p i l ' s Book page 1). Banglbang i s a curved s t i c k with a hand le , played by s t r i k i n g with ano ther s t i c k .
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).
A7 350
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 thick piece These string itself. The in both hand fingers of b which are tu in the pictu Listen to th accompanied sti ck.
is a plucke of bamboo, f s are made f tube acts a
s and the st oth hands, ned by movin re is 60 cms e melody as by a slit ba
d instr rom whi rom the s a res rings a There a g the s . long piayed mboo ti
ument, ma c h string actual p
onator re plucke re betwee mall wedg with a di on the ba ny drum h
de from a single s are carved, iece of bamboo Kolltong is held d with thumbs and n 4 to 6 strings, es. The kolltong ameter of 10 cms. mboo kolltong, it with a thin
KOLITONG (shown on the ground. To see playing position, turn page sideways.)
Some BUNKAKA and KOLITONG
A9 352
Kolltong
Philippine Tribal Illustrations
AlO
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
353
A l l 354
SBl
BONTOK (t/AR PAWCE
Bontok
KALLELENG ( J =60)
>CT~' ' y p ^ i ^
i.|VP^^ • PDteP LfVErTTt^ ' ^
I I unMi CHANT ( f r e e )
1 If5
19' n\J n Ha-da-lo no-da-la ni mey - e
i i pa - l a -da u - ma-gua ne-dama-bic na ;a - dak
) I v^\n:r\^^ -a-du r * • 9 — ^
1 i-a-nay-ya i-pa-bu i - ^ ^"^liKALLELENG./^ iMf
um a du
i iqfcti i ^ W ^e --satag-ka-da-ga-no-mo QANSA ( J = C . 1 4 4 )
i 4 ^ J >j. _B 1 j n n-rt n n J Jl X ^ ^
^ ^
SOLO ( J = c . 8 0 )
M^^h-J^TJ jg vc a t i x
? CHORUS
^ ^ 1^3^ ==3:
Dong dong ay i '
W-f^fc ^
dong i - lay Dong dong ay i -dong i -lay in sa - li - du-
Mi'Dlj a long 1 -1 a>
S^ £ j ^ S
may di-wat In du - ru a po - ra - sa in sa - l i - du-
A12 355
SB2
^P i CHANT (free)
JUf JD may di wat Ha -da-lo no-da-la ni mey - e pa - la- da
1 '" j ^ j^y dafk t, ma -guani-na-ma l i na - t,
CHORUS ta - da
^ i qt J da- la - no- m o ^ O i - i , O i - i , O i - i , O i - i , O i - i , O i - i , O i - i , O i - i . O i - i
KALLELENG SULIBAO O^^x^^. m & •^^^^^v'-^^^r-Vy' . ' ^ ''-'*^^*' , ^^"^
iij.fr^rrUfr''^ (J ii
§§§ In this Score Book, A V is used to approximate a slight movement around a given pitch. It does not necessarily denote a mordent
A13
Pupil's Bk.
rmmm
5.
6.
7.
8.
9.
10.
11.
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's pitch (or tune): Name the rhythmic, metallic-sounding instruments that play before the 'Vong Vong Ay' section: This instrument is important to the music of the northern/southern Tribes (circle correct). Where do the Bontoks live: north/south Philippines? (circle correct). 'Vong Vong Ay' is a ialldamay. What does this mean?
Name the drum that plays near the end of the piece: Briefly describe:
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 KUPVAPI [ V^ m
A14
Pupil 's Bk.
^'-I'vjs:
MUSIC OF THE HANUNOO (continued)
nTIMfmA
5. KALUTANG: What are kalatangi Follow the score for kalatang.
\\\s\'Q'm'y)T
asaaa
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 carved into a bamboo node. After listening and
following the score below, describe the music for Ambahan:
ibfi7fUiuj'i'(rru|-Lii-ii-ut ^
twiim..7B«
:3N
^mr^ ^, ^^^^ V\\W\ii\\\^^
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 E a l l m a c - B l l a a
VUGSO Dance
Briefly describe the Vagio called Bukidnon:
dance, from the southern Tribe
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:
Brush L backward
Tap L
J Step L
.f . Brush R backward
Tap R.
Step R.
Step 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 • «
step L Step R to back, to back.
^ ^ ^ ^ • • « • .
Ball Change in place (L R L R ) .
J. ^ Step L Step R to back, in place
(quickly)
J J Step L Keeping weight on to back. L, lift R leg high
forward, pointing toes down.
} I Step R Step L forward, forward.
1 ^ step R Step L forward. in place (quickly)
A22 365
VugAo {v
^ ^ ^ ^ • • • •
Ball Change in place (R L R L ) .
\
Step R forward
Keeping weight on R, 1ift L leg 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 \ / N „ /
SL
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.
4 N J i; ) i.n J
SECTION C: Repeat t h i s 4 -bar p a t t e r n e i g h t t imes .
ii J I J. >l.nniJ J 1
SECTION D: Repeat this 3-bar pattern eight times
%i J i j J I.n J 1
SECTION E: Repeat t h i s 4-bar p a t t e r n e i g h t t imes
i n J mni.n.ninn
o o o o
o o o o o o o o
o
A24 367
Vugi>o
Banga
P h i l i p p i n e Tr iba l I l l u s t r a t i o n s
A25 368
SB3
WEWING VANCE
I fugao
J=i Fast J =152
GANSA 1. (High) - hit with stick
GANSA 2. (Lower) - st ick ( s ) ; hand (h)
GANSA 3. (Lower) - h i t with hand
J J J J -' t! J t s n s n
J J .1 J
•
J J J r i s h s h, h
J J J J
J }} >J repeat continuousl
repeat continuousl
J J / (as ostinato)
/ (as ostinato)
TJ }} >J 7^—
J J J J ^
V^ n> j >j
7^ -7^ J J J J J JL ft.
f
— ^ ^ ^ - 7 ^ t7
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?
1.
2.
^^m BICBIC Listening Sheet
Blcblc is sung by the Kalinga, in the north, at times of death. Give reasons that suggest this theme in the song: Comment on the vocal style (i.e. the way of singing):
1.
2.
© ^ ALSIG
The Kalinga witch sings Alilg. song that suggest this:
Listening Sheet
Give examples in the
Comment on the rhythm of Alilg: and comment on the melody of Alilg:
1.
ULLALIM Listening Sheet
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
J= 66
BUGAN
I f u g a o
ALSIG
=96
g| ^ ^
K a l i n g a
=te ^ •1 ^J |fJ =g Hay^i Hay>-i A l ig-gu_^g gwa-non
y 7 ^Wif d M »J tyJ bW i»i
ma-wa-an s i -an ng tu -b i de ^ 3 2 1 ^
H e u - 0 1 ^
"^ Heu-oi
^ e ^$s ^ ^J yJ )>*HifMn^ i n
ii ^
Hay-i A- l i g - f l e ' t ga-ka- me ga-mo-
i * e b * 1/J bJ> J b/K J no ^ Hay-i
*
A l ig-gu_^g gwa t 'an-an ng
> ?
iSi t u -b i de le > Heu-olS Heu-oi Heu - 0 1 ^
A29 372
SB5
ELA-LAV
J = 63
P
K a l i n g a
El - a - lay la e l -a ^-W-^
la e l -a el -a - lay In ta pu
^ B
WW. 1,
^
paJU.
^S h -m 1 s na ong su - ra
m^ ' ?i'-;'-lay. la'?l'*#-*#-fay, # ^
P s •lay,
R l a e l - a el -a - lay
i El -a - l a ' ^ ^
P lael-afr -eT
i H l ay . l ay . la e l - a e l - a- lay,
SALIPUMAV MANG-ANI
1-88
^S
K a l i nga
.njn n 31
Donodong ay, Dong dong ay si dong e-lay in- se - da - li
Repeat X3
uon.q Qonq a
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-
AI&Ig: (Score Book, page 4, and page 28 of th is Teacher's Book)
Ullallm;
Ela-Lay: (Score Book, page 5, and page 29 of th is Teacher's Book)
Salldumay Mang-Anl (bcore Book, page 5, and page 29 of this Teacher's Book)
1. Mourning sounds, wailing, flute part, etc.
2. Sliding pitches, wailing, free rhythm, etc.
1. Sliding from notes, 'shuddering', tremolo vocal effects, etc.
2. Rhythm: free, following words, not metrical. Melody: three note scale.
1. Sliding pitches, breathing effects, tremolo, nasal quality, free rhythm, limited range and scale.
1. Men and women singing. Rhythm: rather metrical and easy to follow. Melody: five note scale (pentatonic). Voices: male and female. Rather slow.
1. Bontok.
2. Melody: Simple, repeated, 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
J=c. 160 K a l i nga
GANSA and SULIBAO : . In t roduct ion - ^ three bars,
.57 bars.
ELA-LAy
J =120 A
Li>J >>.! -h;^ m i I S * •' ' ^ *
El - l a - l a e - l a - l a e- l a - l a e - l a - l a y , e - l a - l a e l - a - l a y .
l a - l a e l l - l a y . El - l a - l a e - l a - l a e - l a - l a e l - a - l a y , e -
i •hJ>J >>J > i ^~-m l a - l a eT?a- lay, e - * - l a - l a e l - f - 1 ay, e - l a - l a e - l a - l a e
\^^m. i f -g.-—^—#' 4- * J > ' ,— r ' •>• •» ^ »' l a - l a e l - a - l a y , e - l a - l a e l - a - l a y , e - l a - l a e l - a - l a y , e -I >j >n >\nr\ f- f ii * •' • .J • l a - l a e - l a - l a e - l a - l a e l - a - l a y , e - l a - l a e l - a - l a y , e -
i J'lJJ J'j'.i J ' l - n ^ •' l a - T a e l - J - l a y , El - l a - l a e - l a - l a e - l a - l a e l - a - l a y , '•^e-
i
I I'lJJ J'M J' » • •
* * * ^ * r - y V : • l a - l a e l - a - lay , e - l a - l a e l - a- lay . El - l a - l a el - l a - l a e ^m m ^
• • . -J*^ 'J •' • J *'. .-4 # »'—• I i l a - l a e l - a - l a y , e * ^ - l a - l a e l - ^ - l a y , e " * " - la - la e l - ci-1 ay
i IS^ ^
OSTINATI: Clapping Gansa 1 (hand) Gansa 2 (hand)
A32 375
P u p i l ' 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 J U 3 I J J l
Idaui: Kallelen^: Alilg: Scalp-^-lH • k« * * II P . h^ t>* ^ 1 | . . ^ . ^ ' ' - l i f u . ^ - ' ' Ilf> . u^
f! Ela-Lay:
fii Bugan: Vong-Vong Ay:
E -*—•— Lantay:
i|,^..b.rf.^"'^ lyaya: Kalatang:
tE # *
^
S^ END: MUSIC OF TRIBES IN PHILIPPINES ^ivK
A33 376
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
K a l i nga
i 32-
p PALDONG ( f r ee , J=c .63 )
i i =f;?p
i ^
m t r 'r'fL i ^3^^HE ^ JE
iCZi
^
^
be r\ /TN &
sm.iBAn
^J 1R&= UMI >'^'V^^^^^ •''
^ f
1 J =132 i ^^^' '^^^' -^
^ * a * K i ^ k*. i ' i T il yj-it i
J (SULIBAO)
2C3 ^ ^ ^ J t i t ^ S t i t ' i t * *
WHISTLING (rhythm (jnlv)
/ > ^ J J J J J J J S ? 3z:
^ : A I A X « X ^ ^ K X r k x 3if ?(x •X ;
iaP
I I I _ ,t o
/ { m ^ ^ k: "fe ii- a V * X X X XZ3E
BANGIBANG
, A A X X X ^ ^ i l ? t i l X < f ^ ? t i 3 i x A a x A X H L A I
A35 378
SB8
k AND SHOUTS
n nnpirrnmn nnnn:nnnn;^nrnn i a t ^t^ ^ A ^ Ai it ^'• y XK X A X XX:
1 1 1 ! I ^ ranrnn X.XXX'^X^XXXXXXXXX|/>X^ X X >f XX X
I
S (SULIBAO) J =152
mnron >k XX A X X XX X 12
^ i 3 it }K^i>tA3iA'J^ilrjk^]k.ji*.X])ii X3t X at tf X v 3t s
I •GANSA I
i « « ~ ^
AND SHOUTS
lx3txxxKXxx)r;tXHxi3q
• I
ij 1 J I ; \k t. < it I
..^ .^ . . ^ ^ -
' accel •
' ^ ^ ^ ^
s i ^
^
3t X. _v:.
^
I
V' « '*' "I
A35
SB9
379
J =184
^
S m * • » » jg X X X
I ^ ^ \t ii •ii it it * tf V
^ GANSA
s
4
BANGA
s
h
•
d
•
» s 9
1
s
1
s = Gansa h i t with stick h = Gansa h i t with hand
SULIBAO
1 i l n , 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 e t c . ) :
A37 381
Banga {II)
SR : )
SL
x x x x x x x x x x x x x x x
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):
FEET:
Beat 1 Beat 2
Point R forward across L in front. Bend L knee.
h
Return R to original position and straighten knees.
Point L forward across R in front. Bend R knee.
Return L to original position and straighten knees.
A38
Banga {III]
Beat 3 Beat 4
Point R forward across L in front. Bend L knee.
Return R to original position and straighten knees.
^
Point L forward across R in front. Bend R knee.
Return L to original position and stra ighten knees.
After these 4 beats (above), turn a full circle in place
using:
Beat 5
Step on Step on L R, bending R knee si ightly.
J^ Beat 6
^
step on Step on L R, bending R knee siightly.
Beat 7
Step on Step on L. R, bending R knee slightly.
Beat 8
Step on Step on L. R, bending R knee 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:
etc
^ •
Down
•
Up
J> Down
>
Up
>
Down
;»
Up
>
Down
^ •
Up
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):
x x x x x x x x x from here
t h u s
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 - 1 6 (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
SULIBAO:
i f
t."
s s s s
h h • h
'.1 rj-n •'.'
s =Gansa hit with stick
^ = Gansa hit with hand.
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
P u p i l ' 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 Moro ensembles.
solo instrument, or in
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 exhaling gently v It is po methods Listen t instrume demonstr man says plays th of words It is ea playing
ng 1 s a and inh
ibrates ssible t of blowi 0 the ma nt is of ates how the sen
e first Final
sy to he the kabl
Moro ba aling t the sle 0 Chang ng. n from ten use the feu
tence a word se ly he s ar how ng.
mboo jaw's harp. It is played by hrough the centre, while the thumb nder end-piece in desired rhythms, e the pitch by using different
Maguindanao playing the kublng. This d to convey messages and the player fa-tng plays a certain sentence. The nd then plays it on the feub^ng. He veral times and then the second section ays it all and plays it on the kublng. a person could send messages by
Sentence: Tlnambak a Tlnadtad. 1.: Tin - am - bak. 2. : A Tin - ad - tad.
Okil decoration on Moro kublng.
Holding and playing position of kublng.
A46 390
P u p i l ' s Bk, 13
ImtKamenti of, the MofLOi (cont inued)
( l e f t ) TWO
KUBING
(Below) Vibrating action of KUBING
BABANPIL
The babandll has a type o of the gong the player s producing a The babandll gongs, the 1 form the mos ensemble: th the baialan beginning of The babandll announces th the highest ensemble. 0 Listen to th following tw
(a) JJJ
is a bossed go f knob in the c that is played, trikes the rim sharp, metallic , together with arge agong gong t famous and wi e KULINTANG ENS (kallntang ense this segment. often opens a
e rhythmic mode pitched of the ccasionally, a e babandll from 0 rhythmic moti
• (b)
ng. This means that the gong entre which is usually the part
However, to play the babandll, of the gong with a hard mallet, sound. the dabakan drum, the gandlngan and the pitched kallntang gongs
dely used Moro instrumental EMBLE (called ba^a^an). It was mble) which played Vayog at the
piece for kallntang ensemble and for the piece. The babandll is
rhythmic gongs of the kallntang piece uses two babandll. Maguindanao and identify the
fs:
.nm} The baban suspended from a fr a shallow rim (see proportio Moro gong babandll and i n t r i decorated favoured The baban picture ( the boss rim (whic cannot be
dll is sometimes
ame. It has or narrow
diagram of nate sizes of s). The may be highly cately , using Moro designs. dll in the left) features and shallow h unfortunately observed I).
BABANPIL
A47 391
Pupi l ' 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 r p p R D
PABAKAN '^'^'^ifi^^^^
GANPINGAN
The gandlng There may b kallntang e pitch, and mallet. Th on the mode Listen to t identify th do this, li Gandlngan m gongs) , may facing fron picture of other Moro be elaborat
an IS e thre nsembl one pi e gong of th
he gan e numb sten t ay be be su
t or m two ga instru e ly de
a set e or f e. Ea ayer p s are e piec dlngan er of 0 the suspen spende ay be ndlnga ments , cerate
of na our g ch of lays playe e. exce
gongs diffe ded s d Sid suspe n in any
d
rrow-rimmed, suspended gongs. andlngan in a set for the the gongs is of a different
the gandlngan with a soft d alternatively, depending
rpt from Maguindanao and comprising the gandlngan (to
rent pitches of the gongs), ide-by-side (see diagram of e-by-side with bosses all nded one beneath the other (see decorated frame). As with of the gandlngan gongs may
Oriia te
( V i i>w |) . i i j r
s i d e w a'y s to 1 d'enti fy )
A48 392
P u p i l ' s Bk. - 15
Initiumenti oj the Uoioi (cont inued)
- « •
AGONG
The lar soundi n agong i lowest rhythmi the kul ensembl made of bronze Moro go agong h rim and boss. the exc single from th followi fragmen melody gabbang may be from a hangi ng to each Some Mo example suspend from a
ge, deep-g , suspended s the of the c gongs of Intang e. 11 i s cast (as are all ngs). The as a wide a large
Listen to erpt of a stroke e agong, n g a t of from the
Agong suspended frame, parallei other.
ros , for the Yakan, the agong
single point.
AGONG
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^:^^ The fea£-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 made of cast bronze. Each gong in a using okll designs, as may the stand gongs. Each village has a kallntang babandll, dabakan, gandlngan, agong) 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 3 3 3 4 3 3 4 5 4 (gong number in s e t )
Ex. 2: high gongs, using t h r ee p a t t e r n s :
(a) n m (b) rrr: FT} (c) f3 n j>
of the kallntang are set may be decorated
holding the kallntang ensemble (kallntang, and the tuning is
8 8 8 7 8 7 8 7 6 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
P u p i l ' s Bk. - 18
InitfLamenti oj the Uofioi (cont inued)
KULINTANG ENSEMBLE
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
396
A53 397
SBIO BIWALIG
Moro
Fast
KULINTANG
R. H.
L.H.
^ ?
^ }l}l}l}'}
ftlF 1 f)li m-!^^
IK ' {" flfl| J J i d
A 1 • f « »
! 1 . _ —
-• « » J
T;±3I^ Efe
-i,u_ai i H l H
r^i Transition I n 1U lt» A
!
-• ^
N gi ?!» g> ^ 31* ^ JJi >
i w t a' rf
^ i Transition
A—f—^—
j r? ^
•__p—t,.
• '
9
L-
Conclusion
. ^... g ^ .
1
U J
• • •
M
IkL r r r T 'r r 1 L^ 1 |L^ •
J • •
A54 398
S B l l
Fast
BABANDIL In t ro . : I I J I ,1 I I
ostinato : [ ^ ^ J ^ J ^
J J J
2 Beaters R.
L. r^imi
JL± » t i
Mi tA
DABAKAN Intro.
Ostinato
R. 2 Beaters
J J J J |J J J J I
L. f t » • UL t * .
(Note that Babandil and Dabakan ostinato patterns are the same.)
AGONG Intro.:
Ostinato :
H. 2 Gongs , :
GANDINGAN In t ro . :
Ostinato :
n ni m m , dm • • • m •• m dm •^
viir\n^ .
[ ^ 1 -4 nmnini. II
H. %
3 Gongs M.
L.
JtfL
\n a
A55 399
Pupil's Bk. 19
BINALIG
Blnallg is for kallntang ensemble, entertainment melody.
Blnallg is an
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
Briefly describe this dance;
Moro 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
» Listen w
PANGALAi'
Listen while the teacher plays Pangalay. this music.
Listening Sheet
Briefly describe
A56 400
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 1 1 . Saftlmanok b i r d . Aplft f a n s . 12. The answer for this may be whatever the
pupils see. 4 4* 13.
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 in front.
Bring L to behind R (on ball of L foot)
Step R in front.
Bring L to behind R (on ball of 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 ^^ • • • •
To R.: hands remain m n To L.: hands rema in
« •
still flick
• •
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 b a r s ) , 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 S R ) . 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:
SR c 3
c )
SL
x x x x x x x x x x 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.
SECTION A
Tempo MM j = 88
4 n I \n J • • play four times
SECTION B: J~] f l | n ] P^ ^ ^ "' ^ "" ^
SECTION C: PI n|n play as many times as necessary.
SECTION D: J J |^n play eight times
SECTION E: J ^ 7 1 1 1 1 J play eight times
SECTION F n) in j| play eight times (or as many times as necessary)
A63 407
Kaplll [vll]
KULINTANG
ii m 19-19 r
^ #» 4^ -# ^-#-
i\ -g—g -.
j i J d "^ TP* 'yp
^^n 1 i fff r *» "Ifl'li^ ^ «<
B is
C - Improvise on scale
^ ^
3 - Improvise on scale:
.#. • . . . ' ^ ' ^ ' ' - ^
i i > « * l «
& 1 ^ 1 # I T
>
I tf^ f d
0 0 0 0 0 0 0 0
0 0 0 o
A65 408
Kaplll Sa Munsala
Philippine Moro Illustrations
A66
Answers to questions for Taking B a l l a :
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 B a l l a 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 B a l l a is a fast, exciting and skilful dance.
10. Play the transcription of Taking B a l l a (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 B a l l a 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
A67 410
Taking Balla
Philippine Moro Illustrations
A68
SB14
THREE AGONG:
(±B» High
(±G) Medium
(±D) Low
411
TAHIWG BAILA
Yakan
J = 138
accel . . . . J= 160 1-168
a ftj
*
H.
M.
L.
ull Ar 1.1 y JLd 4_JL irmrmuT] >^ •, J> 7 > J ] A t
,J.n J77l.rrn.rm M.
L.
ill. iHi yii Hi
Jli ^•,>',>J7X7>
H.
M.
L.
••.>/] rrnrnum ivL mi
h± ? (
•.J7-. .1 ? li'i >
J = Hit with wooden mallet = Hit with felt mallet
A69 412
SB15
PANGALAY
Sul u
J = 60
il) n n—r^^^^^^i—F=^ NULllNIMINb nu\ ^ • • • —^. . «
, _ = _ = = = =
1 1 9 ^ * • • ' « • • •• " ^ - ^ Hi»f ^ •> al 1 J
j ^ _ « •! • 1 MJU m—Jks 0—, 1
^ k ^ s * ti
•^—a
n ^ ' \ I
lr4-^ k m wb:
m k 3 ^ « • -
1 4^^< i
liJ J i II n MM!
m I
ih^ n t
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
Presto
GABBANG
Y a k a n
li^^l \ \ m IP • •
hi J] n .fi ;.m.n s
IS • • ( > = > )
f ol(^>)r^ \lH n ,n n ,o'n;n ^ ^ t4
-• »= i S -• • -
J
m J %i i J ? p • p
^ m W=B ¥-#^ ± * ^-r • - ^ - • - • • *—•- • # s
i i # — • • f ^ ^
^
fe J 1.1 I J ,1 iJ J ^
1 ^
^^M m - • • • m
1 ^
A72 415
SB17
s 3 ^
I •
^
^ ^ ^ ^ ^
^ ^ f ^
\ J
¥\ r r r ir r r r i r r ^
fe :¥=1
i>1t >-• ^ ^ ^
IS i r •' ^ r ir - ^ j — • -
% ^ ^ ^ ^ ^
(ftf r f ^ ^
iW • ' ^ ^
s
I ^ ^ % r r r r ^ ,. - ;.n .ri .n .Q ^ fe
J
if^ \ r r ^ ^ \%\ ^^^n^^^^^^
m A • • J O"
f nnfl n;.i j .i ^ l a j 4r
A73 416
P u p i l ' 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 K a l o n g l
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 K a l o n g . 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 (1) TALAWI
1. When is this song sung?
2. 11 i s sung by a 3. Comment on the breathing:
FOUR MORO VOCAL PIECES Listening Sheet
BANG APHAN (2]
1. When is this song sung?
2. It is sung by a 3. Comment on the breathing:
4. Comment on the pitch:
5. Does the singer use any of these vocal styles: vibrato gl issando tremolo nasal singing glottal stops
4. Comment on the pitch:
5. Does the singer use any of these vocal styles: vibrato gli ssando tremolo nasal singing glottal stops
(3) RAPJA INPARAPATRA
1. Why is this song sung?
(4) BUNGBUNG MANGMANG
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 singing ; 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 ffl=4 P P f
Den-de QDen-deDen- de 0 Den - de Den - de 0 Den-de accel. ?'J .HJ n } .rj ^ ^
Den -de 0 Den- de Den -de 0 Den A ma-ma-na ma-wa-lak-u
^m m ^m r Lrr r v ^ «
bet-sa-lay de da-tu Den- de 0 Den -de Den -de 0 Den - de ^m ^m r uuuuu zn Den -de 0 Den Ma in-ding sa-i i t sa-ingit saMa-guindanao
17'r rrr r Den-de^3 Den-de
m Den-de^3 Den-de Den - de 0 Den - de Den -de 0 Den
§ W 1 m i ^ • ' • ' ^ rt
Den-de 0 Den- de Den -de 0 Den A ma-ma-na ma-wa-luk-u
^m ^
i eO m p f
bet-sa-lay un de da-tu Den-deO 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
i -xr \U
m « ^
H.
/DABAKAN
' GANDINGAN i i i } i M
i u u —'
Q 3
Q 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 r e c o u n t an e p i c of t h e M o r o s .
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 m stTm
kf-kA >|». km >» A P " ^ ta
e-wa-ka te-o sTr-ng t o l < - Ta- ia- wi ke-wa-ka te-o kewokumo b^-, ^U mm mar "La '^a luo (words not decipherable)
m Qi -mi - tu-wa la-kul-ri v?*ing-ka lae
m M -mi - tu-wa la-kui-ji vT^
t I • ^ » » 0 ma-mo-^rr-sa
^ ^
lu-sa-lu-ing_a ser-in-a Ha-na 'rm ^
0 ma -mo-sa lusaluing aserin
^ lo4^
a H a - n a r—- 0 ma-mo-sa lu-sa lu-ing a ser-in-a kom-in a
^ M * f i ( MM 1
ha-bib no se pi-no wa de no (du-kri-no-mo da- a Ha - na)
GABBAWG
i^W m / ^
IbJ* ^ »* illw - • ^
i j jbJJ ii " r i r j b j i
A78 421
SB20
BAWG AVHAN
Magui ndanao
J=c. 66
m 1 » ' • ^ b f i fe JMLV-k
m ^yA.y^, # OJ I u m
1 "" P3
^
i ^
^'TT.!'* *•-^
* • -s ^
^ 0—•- - # ^ — • - ^
Slow
g
RAW A IWPARAPATRA
Maguindanao
•0- -0^'
A-ur
E ^ sa ya
i [rqos4jeiJ
Pi
i [motor boat]
ng-a a na e?^
^ I O-> .>f - ^ ^ - x , , ^
rad-ja In - d'rar - pa - tra la-a No-ra na la no ra
g i • f
lot
na SI Diy^^ing coT-i-ne me ba tTne su ra tan ng gi d a ' t
m \
CO - la ma gu.
A79 422
SB21
BUNGBUNG MANGf.iANG
J= 76
Maguindanao
m cc k W -' ''r • L ! #.
Mang - ma
saE m ng an a t ku-mum-u g u ' t bok tu — ^ « :
^ ,.«£. «> • -
lu ge "•hi dat-ra-da - la - ta
ca buk
BEE i • / " ^ w ^ P ^ izznGzizszr!^^ r •
mo A l u ' 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
i May da-ling da- ling sa may da - ling da
l i - la nail - qa l ing Tag - nah n i ' - 'la nail - ga - lay Tim - ik
i i •' ^ 5 ^
Jang lal - lay lal- -•'lay He in - da ma - ti - wal
i • m •' ••
^ * lay Di con - te - san man - ga - lay May da
i i k 5 / V"3 da - ling sa may da - ling da
sfe '' l i ng .
SCALE li ==¥^ - * ^ \
DABAKAN BABANDIL GANDINGAN AGONG
n,i .i>,.n.n J. > n
i^ nn J n i I 1
n n in nn n M •
j_n nn • • ' • n i J>
i
A81 424
P u p i l ' 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:....
10.
11.
This piece, Vayog, is from the Maguindanao Moros. one other sub-group of Philippine Moros: , Name 2 Philippine Moro dances: Name 3 Philippine Moro instruments NOT heard in Vayog:
Name
The illustration (right) is Moro iafLlmanok, the bird of good fortune. In what Moro dance did you see a iaxlmanokl What religion do the Philippine Moros practice? Which of the following Moro music was NOT for kallntang ensemble: (circle answers): Blnallg - Vayog - Pangalay -Tagonggo - Slnalog - Vakan WafLfLlofL'i Vance - Talawl.
1
END: MUSIC AND DANCE OF THE MOROS
A82 425
SB23
SINULOG
As fas t as possible
KULINTANG
R.H.
L.H.
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A83
SB24
ik
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1 ^
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k g = ^ W •' t<* J 5y S - # - • ' •
A84 427
SB25
Transition
. j^jif t jpjir > a 1 ii ^ 9 -m •
9 1
fli » J J-—•U #—tiU—
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i i [ J J J J J .^
SCALE ^
IE • •
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A85 428
SB26
BABANDIL
As fast as possible
Intro,
Ostinato
J J J J iJ J J J i.AiJvJ mnin n\TT\
2 Beaters A4 dM.
nj> fnHin JtJk MJL
DABAKAN Intro.
Ostinato
J J J J J J J J i
nmnhjnmnn. 2 Beaters
m/^ni) m • • • ^ • 09 9
Q. A «
i^
(Note that Babandil and Dabakan ostinato patterns are the same.)
AGONG Intro.
Ostinato
H,
. f l m n h • d m dd m m d m' '
2 Gongs rjjn izJi
Rnk L.
n n t » ' f
GANDINGAN Intro.
Ostinato nmn^mn} ,QJ H. I
3 Gongs M.:
L.
ft
•
1 t:
» f f T " f 1 *
jlr y.
• •
•
0
•
f l • •
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
KULINTANG
R . H .
L.H.
m i^
S ••
7
JL ^
T'' r r
M *. *
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V- • • P** P P
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ii-E = l ^ ^ ^ - f L p p « p * m
II
T—TT 1
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Q ^ r rr— ^ _ -
I T ' ^---d-0 0 m
0—«— F r r = ""
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J ^ B 0 _ m-^ m p
r j p •
- 1 — 1 » — j
J p
r~*T '
p J
F—0
A88 431
SB28
tir-n^ '4
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Transit
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J. * « Conclus
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ion
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4^.-."i''M SCALE
A89 432
SB29
7 8
BABANDIL
DABAKAN
Intro.
Ostinato
R. 2 Beaters
L.
Intro.
Ostinato
R.
As fast as possible
rsnin>pmn^>^ n\fT\r\ ii.m.rRj-Rj,
• • • dd ft • • • • # ftft
mrsrRj> nmn>\n^.n:nip^
2 Beaters L . JL ffl ni.n j> .m n\ mi
(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
2 Gongs :6 L. 8 a
PP 0 #P P PP * ff f ffI
GANDINGAN Intro.
Ostinato
H.
3 Gongs M.
L.
in IB it .m
A90 433
6 . Y a k a n , M a r a n a o , T a u s u g , S a m a l . 7. Kaplll Sa Munsala, Slngkll, Vallng-Vallng. 8. Gabbang, kudyapl and kublng. 9. Slngkll.
1 0 . I s l a m . 11 . Pangalay, Wafifilofi's Vancz, Talawl.
§ § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § § §
# # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # #
MiinniiiiiiiiiiiiiiiiiiniiiiiiiiifMiiiiiMiiMiiMniiiiiiiiflflflii^MiinifMniiniiiiiiiiMiiiiii^^
A91 434
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
Allegretto
In t ro.
Luzon and Visayas
P ,O.U.I J I ^ ^ ^ m m
• # a' •
I P* ^ P
NTERLUDE Slow r i t . ^m molto r i t
j y . _>' 'p' '>' " *' ^ u " i — _ ^ a ^ m o o
^ I A ' v J ili*~^ ' • - » • • .©L
il i .n.nij n ^ -OL. « « • — • — • ' • ' # j f r i l d 1 •
6 i i i y -p-, ^ v V ••• "
i ^ ^ ^ 3 2 »-; • ' ^ p ' • » ' — ^
^a 1. /B2/ 2. /C/
1 * *
^ ^
^ •if^^* _ • !
0—^
A93
SB31
436
ib m i il P p .J. p .^
ii,n,\[]i J1] j j i j , n i
i ^ ^ 14
S 15 16
;/A2/ IBS/ /C2/ ^/||
CHITCHITRITCffIT
Fast and lively
li Jn ^
z. s
Luzon: Tagalog
*' *' *' i - « — _ i -
^
A94 437
Pupil's Bk. - 22
MUSIC AND DANCE OF THE FILIPINO CHRISTIANS
7.
8.
9.
10.
11.
12.
13.
14.
»1. 2. 3. 4.
5. 6. 7. 8. 9.
10.
PANVANGGO SA I LAW Listening Sheet
1. What is the English meaning of this title?
2 3 4 What is the time signature? 4 4 4 (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?
However, in» melody (tune]
plays a
t of
In Section A, the whole ensemble plays. Section B two high instruments play the as written on the score. What are they? At bars 5 - 8 of Section B, another instrument counter-melody. What is it? At the end of Section C (bars 15 - 16) one instrumen the ensemble plays chords to the rhythm of What is this instrument? At Section A2, the high string instruments play the main tune. What playing technique are they using? At Section A2, an electric instrument is added to the fLondalla ensemble. What is it? At Section B3, a percussion instrument is heard. Th
is sometimes added to this Christian/Euro musical ensemble. Name the percussion
instrument influenced instrument. At Section
1 s pean-
02, the main melody.
At Section A3,
low counter-melody is played agains What instrument/s play (a) the mel ...(b) the counter-melody
name all the instruments that you can
t ody
hear.
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
Where is this song from? What musical ensemble accompanies the singers?
3 instruments of this ensemble: is the time signature? (circle correct): 2 3 4
4 4 4 is the key? (circle correct): G major D major Pamallnawen remain in this key all the time? ...
Describe the mood of this song: Who sings this song? (circle correct): girls, boys. This song is an example of Moro/Christian/Tribal (circle correct) Philippine music. Give 2 reasons for your answer to Question 9:
Name What
What Does
both,
A95 438
Nowadays in the ftondalla the Western double bass i s used as the bajo dz unas (see i l l u s t r a t i o n page 23 P u p i l ' s Book), However, in olden t i m e s , the bajo dz unas was an indigenous bass f i d d l e with f r e t t e d f ingerboard and played with a caftabao-horn p lect rum (or f i n g e r s ) .
Answers t o ~ q u e s t i o n s for Pandanggo Sa Haw:
1. Dance (Fandango) of L i g h t s / C a n d l e s . 2 3 ^' 4 3 . Rondalla ensemble (RON-DARL-YA) 4. Banduftftla,^ Laud, Octavlna, Gltafta, Bajo dz Unas. 5. Glockenspie l and s n a r e / s i d e drum. 6. Banduftfila and laud (LOUD). 7. Octavlna. 8. Gltafta. 9. Tremolo.
10. E l e c t r i c G u i t a r . 11 . Snare drum. 12. Melody: Banduftfila and laud. Counter-
melody: octavlna. 13. Bandufifilas, lauds, octavlnas, gltafias, bajo
dz unas. Added: g l o c k e n s p i e l , e l e c t r i c g u i t a r , snare drum.
14. Banduftfila, laud, octavlna, gltafta, bajo dz unas. Added: g l o c k e n s p i e l , e l e c t r i c g u i t a r , 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. I l o c o s , Luzon ( I locano fo lk - song ) 2. Rondalla. 3 . Any t h r e e ftondalla i n s t r u m e n t s . 4 2 ^' 4 5. D major.
..A98
A96 439
P u p i l ' s Bk. - 23
r
<
^ — ( - J
-i
o 2
O
Ci
lu
-u
CO
l-u
c i
2
l-u
"a
Id
i'i^-...••'<•• •!*hi
C3
CO
A97
SB32
PAMULIWAO/EW
Luzon: I locano
440
Lively
^
Iii ^ ^ I i t •*. • ^
Pa - mu - l i - na - wen. Pu -
ifi^n n sok i n - de-ngam man, Toy u -mas-a
^ a m -0 0-
' sug Ag - r a ' _ J /o ' i - ta sa - diam.
l l ^ ^ i * » • * 0 F F F m
Pa -nu-no - tem man.
1 ^ Di - ka pag- in-tu bul -
i m ag
? ^ ngan, Toy a-ga - yat
l ^ r r r fe ^
0 0 F
ra - y o ' i - t a sa - diam. Es - sem a -diac k a - l i -
• J\ 5=T=1 a - tem, Ta-na su - di u - nay a - na - gan, U
j \n .n * ' 0
^ ray sa - din ta yan, U - ray sa - d i - no
man ka - l i - pa - tem ta
PEz: F—^
Ta - l i - pa - tem ta - na su - di u
J itJ J E - « -p^ ^ ?r
nay a - na - gan . W ma - l a -
^
gip ka pu - s o k t i ma-bang -a - ran.
A98 441
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 4
4. E flat major. 5. Christians. 6. [Pupils' choice]. 7. Any rhythm pattern of Ckltckltftltcklt. 8 . I , I V , V.
3.
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
^ m B 7 0—0 w—m • 7 ^ 3 ^
Chit -cmt-r i t - chit A-li - bang - bang Sa -la-qin
S) T? J . •' J J m 0—*
z: in*
g I t o ' t Sa-la -gu - bang, Ang-ba-ba - e sa Ian- sa t I 1—1—I B t 7 r — r a r — » afT
vrwr ngan Kung-gu-mi -ri'y pa-rang tan - dang. Chit-chit-rit-
4 al 3: 1 ^ SE - • 0- 0 0-V ^ j L /
11 dang. Ab ^
Ma -ma -ma ma na-ma mang ka B^7
pa sa - ka -
te I m a 0 t , 0 0 0
yirf a n'ng ba - t a
m Pag - da - t ing sa May - ni
• 0-0 m- • 0 ac=S , l a , i - pag-pa - l i t ng kut sin
^
ta At
A - l e , A -
i wn 0 0 TH^ TeT na ma- ma - yong Pa su- ku - bir =ya-ring sang-
m m wf—w gol Pag-da
1 i m ting Ft,
sa Ma - la - bon i-pag -pa -
a -• 0-
0 •' 3:z: 3E
1 i lit
Bl»7
ng ba -go ong. Chit-chi t-r i t -chi t a-li -bang
t m EU m »•• a * •» !• • K£ 3=a=z
bang Sa - la -gin t o ' t sa - la - gu - bang, Ang ba -ba-
m Bk.
^ 1 I f • ^ — ^ — • ::: 1 >^g ^ 1 z •
sa Ian - sa - ngan Kung g u - mi -ri'y pa-rang Tan
AlOO 443
Pupi l ' s Bk. - 24
CHITCHITRITCHIT Listening Sheet
1. 2.
3.
4. 5.
What does the title of this song mean? What Philippine musical ensemble accompanies the singing i n ChltchltfLltchltl „ - . What is the time signature? (circle correct): 4 4 4
What is the key? (circle correct): C major. E flat major. 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) 4 4 4 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 musical instrument:
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 (2) (4)
the Introduction. The tempo then changes to fast
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 forward
R toe behind
^
R forward
^
L up cl ose to R.
R alongside
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 - 1 6).
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 • •
Slide Bring R to up L. Right.
J Hop on L and point R in front.
1 •
Slide R to Right.
J Reverse tion of Hop on 1 point L front.
1 •
Bring up L.
posi-feet: ^ and in
1 •
Slide R to Right.
J Hop on point front.
1 •
Bring up L.
L and R in
J* . J stamp Stamp Stamp R. L. R.
J Reverse position of feet: Hop on R and point L in front.
A104 447
Polka Tagala {III)
\ \ • m
Slide Bring L to up R. Left
1 o
Hop on R and point L in front.
1 1 • •
Slide Bring L to up R. Left.
J Reverse position of feet: Hop on L and point R in front.
1 •
Slide L to Left.
J Hop on point front.
1 •
Bring up R.
R and L in
• • •
Stamp Stamp Stamp L. R. L.
J Reverse position of feet: Hop on L and point R in 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 a l l ) .
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 - 1 6
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
A106 449
Maftla Clafia Costumes
Tlnlkllng
Philippine Christian Illustrations
A107 450
SB34
Lively/very fast
INTRODUCTION :
INTRODUCTION :
MAGLALATIK
Luzon: Tagalog
For listening (Example I) = ^ 2 8 bars.
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 m m w
^m M P:
m p pf m p — 0
^ Jl iJ n \ 3t m s muM • < M -
^
r*-
g ^ S g •ZZ3 I
A108
SB35
451
F jg ' U^ J ^ •p- • p r = ^ i 6^^B = ^ ^
i fcS - • - • --0^^-^ -f^tt f
S P P »'—P
$
r* »p r f -^ p p p* «_* » f I I I I f
II # pi » 0
NO REPEAT EX. I I
Mz ^
^ 8E •——•
^ •I . iJ J £ £
^ ^ M 5
^ F »' s
•j>f J j J l> J r !•' J J j J EX.II:to * *
0-0—0—0
g | ,1 iJ r « 1 -p—^ ¥
^"•1 I I I I r P—P
^ g ?= • p fi Ji »
A109 452
SB36
^ ^ i * * m
i!iii.Uj.'~ .n ifsn a a
I3 J ,I*^J = m m .•at 0' 0
i l ^ P p f p • iP P f" IP P » P f" I'F m m
If LLILT If U ILMU i| •' J 'H ^
2.
I
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:
453
1. 2.
3.
4. 5. 6. 7. 8.
Mafilmba and tlpanklung. Bungbong. 4 4 E flat major (inform pupils if necessary) Chri stian. Bamboo. [Pupils' choice]. 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)
RIGHT SIDE OF BODY
back of waist
on each knee
LEFT SIDE 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 I I {Iv)
MANNER OF HITTING COCONUTS: Every sequence of 8 coconut
h i t s f o l l o w s the format be low, r e g a r d l e s s of rhythm
employed (R = coconut he ld in Right hand; L = coconut
held in Lef t hand):
1
R hits A.
2
L hits B.
5
R goes over shoulder to hit G.
3
R crosses to hit F.
6
L goes over shoulder to hit H.
7
R goes to back of waist to hit C.
4
L crosses to hit E.
8
L goes to back of waist to hit D.
Coconut rhythms begin on next page
A115 458
Maglalatlk II { v)
MAGLALATIK COCONUT RHYTHMS:
Time s i g n a t u r e : J
I n t r o . - 16 bars (coconuts s i l e n t ) ;
Oars I^JlJJlOlJJlUlj.'liJjjjj
A - r n P ] I n n I Repeat t h i s rhythm pattern eight times = 16 bars.
B - t ^ n I r i j n 1 Repeat t h i s rhythm pattern eight times = 16 bars.
C - n ' ^ I n T i l Repeat t h i s rhythm pattern 0 0 9 0 1 0 0 0 0 l l " i j - j ^ * i r " i
eight times = 16 bars.
D - 8 bars (coconuts silent)
E ' n n i n m i 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 n i n 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
L R L • n step on L. Step R
forward
Beat 2 R
Step on L in place.
Step R 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
A117 460
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 -
SR
9 -
R ^f*
1 r V . i 0 X '
V <r"
^ ^
• v - ^
" X
SL
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
N a t i o n a l
k f7\ /7\ fT\
m J d • p ^ s :
A121 464
Pup i l 's Bk. - 25
A122
SB39
KONOANSOV
465
V i s a y a s
i^ /A/ S r I - ' ' r r ^
^ m i J •' r
^
8 I
W • • & ^
^
10 11 - • — •
. 15
13 m ^
4f=m:
$
16 . /B/ 17
M E=^
^
^ 19 m 20
r T r r liCj .n.
22 i m J •' Tr ^ r ^ N
. 27 , p-i 28 ^ = ^
'N=M 31 •ccr:
• ^
^ ^
A123 466
t h i s T e a c h e r ' s Book and page 24 of P u p i l ' s Book.
Kondansoy i s played by a bamboo ofigan, p i c t u r e d on
page 25 of P u p i l ' s Book.
Answers to questions for Kondansoy:
1. Bamboo ofigan, 2. Las P i n a s , o u t s i d e 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:
9.
10.
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: Name the two main instruments which play tunes simultaneously in Section E: Briefly describe Atln Ka Pang Slngilng music:
A125 468
SB40
LULAV
Luzon: T a g a l o g
Allegretto Intro.. Am n A7.
^y iH] \ jcn
Dnt
i JN. 1 A7
£ ir;
^
Dm I ^ -"ogg l a -k ing hi - ^ao kun_g i 5 • f. — « p in i pa - ka
A7 S I ang •ga^-wang u
ft i^^N^ i= mi -big sa
T •'*pl •
ba - ba D
eng
i ma h i n - h i n
^ £ ^ ^ —tr0 ^
Lu-mu-lu-hod ka na av di
if.. j.| II r^m ka pa . man
^ t xlin pan-sin sa hi-rap-i - kaw'y kan-yang
A126 469
SB41
i Dm m m i ^ P * S
Sak-dal- i
m ya.
k A7 .
nam Ang ia - la - ga ni.
m Dm
\i J i ^ J ya y Di
^
ma-tu-tum - ba
i sa
H ka
m il J hin-di-nan hi
K""Difr
Ta nging ka-ya
1 J2rnA7 - ma
i s •» p
nan -IDE
nan
Li - ga - nging ka-ya - ma
r I
**§ 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 :
SR
SR
B
Bars 1 - 4
Bars 5 - 8
-^
B
>
< :
<
>.
<
>>
G
G
SL
SL
A129 472
Lulay {ID
Step: Facing front and starting with the inside foot
(L for girls and R for bo y s ) , 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:
Alternative:
J Step L to Left.
) «
Cross R across L in front.
Step to Left.
J Cross R behind L at back.
1
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
SR G
f B
G
f B
G
f B
G
f B
G
1 B
G
f B
G
1 B
G
f B
G
f B
G
1 B
G
1 B
G
f B
G
f B
G
1 B
SL
Stagger the arrangement of pairs, to allow space for
movement for this Section.
Boys kneel and maintain clapping the r h y t h m : * ^ - - !
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 l i ve ly
Intro. iF i^^m G7 n n i P f » » • «
p Le -
f \n n 0t al ron Le - ron Sin - ta,
mi-sing ka Ne -neng,
ko'y i - bi -gin mo't
Bu - ko ng pa - pa
Ta - yo'y ma - nam- pa
La - la king ma - ta
J va k ^ JKZ
ya.
lok.
pang.
Da -
Dal -
Ang
la - da -
h i n mo
bar - il
la'y bus - lo,
ang bus - lo't.
ko'y pi - to.
Si
Si
Ang
gl * :
sid -Ian ng sin
sid -Ian ng hi
sun -dang ko'y si
- ta;
- nog;
- yam;
Pag -
Pag -
Ang
da -
da -
la
- ting sa
- ting sa
la kar
du
du
in
te k JEZ
lo'y
lo'y
lo'y
Na -
La -
Par -
ba - li
lam- ba •
te ng
ang san - ga.
- lam -ba - yog.
din - u - lang.
Ka
Ku
I
5Z oz.
pos ka - pa - la
ma - p i t ka, Ne
sang ping-gang ha
ran. Hu man ap ng i -
A133
SB43
476
^
it ^TT G7
0^ ba.
^
2.Gu neng.
m Ba - ka ka ma - hu -
^
P log .
ban!
3.A- uo t , Ang a -king ka - la -
LERON LERON SINTA
SECOND SECTION
Fast and lively
^
P
g
Luzon: Tagalog
^
2.,
m i
G7
f ^ k S
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. [ P u p i l s ' c h o i c e ] . 4. Banduftfila and laud. 5. Gltafta and bajo dz unas. 6. Octavlna. 7. Tremolo. 8. Banduftfila {or laud i s a c c e p t a b l e ) . 9. Octavlna and banduftfila (or laud).
10. [ P u p i l s ' c h o i c e ] .
25. L is ten to i n s t r u m e n t a l / v o c a l vers ion (TAPE), and fol low
vocal score (page 139 of t h i s T e a c h e r ' s Book and in
Score Book, page 47) of Atln Ku Pung Slngslng.
A138
A135 478
SB44
ATIW KU PUNG SINGSING
Pampango
Allegretto
Intro. |L 1 I I cr u .
I^IJ ir r r .n \f .' J m p » « St 3r
nPii nninnn ^
i\ /A/
^ ^
^=F
i^^ S t=4
*
^ S m -0 • -- • 0-
^ /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 i ^ ^ N s Ok
w~~w -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 — _ : :
1 ^ '•=T=* Lj^ir LJU' # ; — 0 J 0—^
^ s ^a /w
5 ra X' X. X I Jt X JH.
* * - » • i - f 4=: 1^ ^. p' J J ' J Z± '
k)t»i 1 1 II L l i ^ ^ n n 1^ Ki A K— —
^ m
m ^ p • p — : j :
p p p ^ p
^ i ^ * • * «• JC"
fc J 1. !•
/E/
i X X X tzg
5^ (BE # = ^ # = ^ ^ ^ ^
^ ^ p •' s
# »
il <c> ^m M f n
A137 480
SB46
It ». % H *. t » -ir-Y nnu 11 11 V, X
j l I I I I ^ « « i
ite
ATIW KU PUNG SINGSING
Pampango
D lO- M- P 1. n: n:
^ ^ ^ • •'
te P i ^ ^ s 4-
/ K^ 6 o* i ^ ^
^ ^-^
2 . j ^ a 4=M ^^m m -0-0
iS i 1.
* i
3:
-ii y^
a:
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 c o m p l e t e d a f t e r d a n c e .
. . . A 1 4 3
Ai39 482
SB47
ATIW KU PUNG SINGSING
Pampango
Allegretto - Lyrical
Intro,
IIP'JJJIJ J J m ^
tin ku pung sing
su-kal ning lub
sing,
ku.
Me -tung yang tim
Su - suk- dul ban pu u
i\ i i m kan,
a,
A - ma
Pi- ku
na
rus
ke
kung
1
ga
ti,
mat.
Keng in
Ba-bo
i dung i - bat
ning la - me
-a— an; sa;
Sang-kan keng sin - i
Ni -no mang ma - na
kit.
Keng me - tung a
Keng sing-sing kung
ka -
ma -
ban.
na.
M e •
Ka •
- wa
- lu
A140 483
SB48
J la ya i D
la ya i - t i ,
lung, pu - su ku.
t- ku ka - ma - la-
Mang-in - u - ya ke-
m "d— yan,
s 1 12?=^
2.1ng-^^ ' • -Tk I
A141 484
SB49
MAGTAWIM AV VI BIRO
SONG
Moderate (J = c.80)
g I n t r o . ^ _ i Bb,
Luzon : Taga log
m Bk
^
m IN
-Tf w Ta- yo
m na F
sa bu - k i
k n n ang lu
• » • T a ay bung - ka - ^ l i n at"*" ta - yo ay "tnag - ta -Bk.
fc *
q^ qfL •# -P^ • • • nim Ang ba - yan pa un la - n n Ang ma
t m #
-^ g - ^ - =r :»: s- v nga ma na na - Tiim m^ sa - yang nag- ta - ta
•P ,n IJ - p r -rap nim hi
m ay h in - di pan - s in , sa mag B^ "m _. FF>stJ=12(^ m
T-qt • #v ^ ! — ^ ' na - pong pag- ta - nim Ha - l i - na* ha *
IS IJ
i l i na sa ka - bu - k i - an
i 0-0-
lu pang kad • ^ ' -W n" ^ T
lu - an ng a - t ing"*bu
^ hay IT
Pa
vV .n .n I i I sa* - ' g a - na in
^
ang a-ting ba-yan
ii 1 ng ang 1i
iF7>7.. ga - ya 'y
-8^
^ ^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)
(b)
I I I V7 V7 V7 V7 I
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
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.
486
..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.
1 -
- R foot backward. Bend forward. Plant the seed
in the ground with R hand. (Bend very low.)
- L close to R (that is, the dancer is moving
backwards with this movement). R hand take
__ the palay seeds from L hand.
2 -
- R foot backward. Bend forward. Plant the seed
in the ground with R hand. (Bend very low.)
- 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
X
X
X
X
SR SL
(Audience or front of stage.)
9 -
- Turn to face stage left. Bend forward with
knees slightly bent.
- Grasp stalks of grown palay with L hand
(remain in bending position).
10 -
A147
Magtanlm {Iv)
- Remove knife or scythe from belt and cut stalks
forcefully, with a large, swinging movement.
Drop cut stalks on ground.
- 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
f 19-20 -| - Stamp on the heaped palay, R - L - R - L, one
stamp per crotchet beat.
A148 491
Magtanlm {v)
•t 22 -
- Bend low and gather the stalks, using big,
sweeping arm movements.
- Strike the palay stalks on the ground or on
the log or stone. Strike once for each
crotchet beat.
- 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)
23 -
This section may be summarised thus:
^
4- J J Sweep into heap with R
J J Sweep into heap with L
I Stamp R
1
Stamp L
) J Stamp Stamp R L
Bend and gather
Strike Strike
^ ^ 1 • • •
Shake,shake,shake
m •
Strike Strike
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 f 27 -
28 -
Bars 29-32
Pour some grain from full basket, held high,
down to empty basket on lap.
Partner standing with full basket shakes the
basket in order to bring the grain towards the
rim.
Pour the grain from full basket, held high,
down to lower basket on lap. All grain is now
held in lower basket.
Reverse position of partners, so that lower
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
L from the trough.
s/her basket with grains
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 1 Collapse on ground, to rest after the strenuous
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
V i s a y a s
SONG
Allegro
m ^ ^ 0 .J.— Ah- Tn -1 nga sa - yaw an nga - ran ti-nik -
i M ^ ^ ! ^
• :#r l i ng An b i - nu- bu - hat la an
1 ^ ^ ba - ro - ba- king - king
^
^ kingking man-han
^ to - 0 , k i n ^ - king man -han wa - la
F . . C7 ^\ nn + s J jf -"—1»—'~:;j
luk-so hin-du ru - yog ma
i n £ i lak - s i ang ki
2 —
• 0 m m :a.
wa-
M An i n -1 nq< ga An du -ha nga
^ m ' ka
Dm ho'y guin - i
A7i i - ro in - tok
iiH nn i JM
-nga s i -na -sa bay - an • hin ban -
dok = Gm
—V—P—w—P *-di -da ha pag in - tok t i ^m 0^-= ^ • *
J ^a - waf*an * t i - i l
Dm, , A7
kung d i m a g ' ^
4 m dm FT fe
— ^ p » - ray su - IT ru - yog nga wa"* ay su - mi - k i l
| ^ = ^ y = J J J J if An du-ha nga k i l -
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:
(for: ^ x 3 bars,
making 9 beats. )
L
1 step on R outside poles.
Step L inside poles.
Step R inside poles, lifting
Step L outside other side of poles.
Step R inside poles.
Step L inside poles, lifting R
Step R outside other side of poles (original starting point).
8
Step L inside poles.
Step R inside poles, 1 ifting
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
Beats 2 & 3
Beat 1
- Step R outside poles.
- Step L inside poles on toes and pivot on this Left foot, so that body faces opposite direction.
- 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
Beats 2 & 3
Beat 1
Step R outside other side of poles, facing original starting-position di rection.
as before
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 I N T R O D U C T I O
>*••«•'> TO
P H I L I P P I N E
M U S I C and D A N C E
^J
il P h i l o m e n a S. B r e n n a n
w^^Ss?' \<
P U P I L ' S B O O K
502
CURRICULUM A and CURRICULUM B
PUPIL'S BOOK
I N D E X
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
§§B Supplement (iii), (iv)
Music and Dance of the Fi1ipi no Chri sti ans
§§B Supplement (v), (vi)
11
22
[ P u p i l ' s Bk. denotes P u p i l ' 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^
GANSA
PHILIPPINE TRIBAL INSTRUMENTS
The g 1 i vi n metal 40 cm jaw-b a sti Somet time, as he the m Liste sti ck pitch
am a i s g in the
gama i s . i n d i ones of ck or be imes the with th sits on
en of th ti to the and han
es from
the most mountai
s a flat ameter. animals . ating wi two met e gania the gro
e vi1 lag excerpt
d method the gam
impo nous gong It h The
th th hods resti und. e. for of p
ai , a
rtant instrument to those Tribes regions of northern Luzon. The , ranging in size from 25 cms. to as a handle made from tusks or
gama is played by striking with e palm/fingers of the hand, of playing are used at the same ng against the knees of the player. The gansa is usually played by
several gamai, and notice the laying. You will hear different 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
P u p i 1 ' s Bk. - 2
Philippine TKlbal InitfLamenti (cont inued)
N.
MAP OF THE PHILIPPINES
^^^nm
• i- nv*"
ft
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 KALLELENG
pi ayi ng
(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 thick piece of bamboo. These strings are itself. The tube in both hands and fingers of both h
made acts the
ands.
ked instrument. made from a single from which strings are carved. from the actual as a resonator.
strings are pluc There are betw
which are tuned by moving the small we in the picture is Listen to the mel accompanied by a stick.
60 cms. long with a ody as played on the slit bamboo tiny drum
piece of bamboo Kolltong is held
ked with thumbs and een 4 to 6 strings. dges. The kolltong diameter of 10 cms. bamboo kolltong, hit with a thin
KOLITONG
(shown on the ground. To see playing position, turn page sideways.)
Some BUNKAKA and KOLITONG
508
Pupil's Bk. - 6
WWMM\ 1.
2.
3.
4.
7.
8.
9.
10.
11.
BONTOK WAR PANCE Listening Sheet
Give the Filipino and English names of the instrument playing at the opening of this piece: How many sections does this instrument play in the enti re piece? When this instrument plays, is the rhythm strict and easy to follow? (circle correct answer): Yes No 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: This instrument is important to the music of the northern/southern Tribes (circle correct). Where do the Bontoks live: north/south Philippin (circle correct). 'Vong Vong Ay' is a ialldamay. What does this me
Name the drum that plays near the end of the piece: Briefly describe:
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
^r-io,jS:
MUSIC OF THE HANUNOO (continued)
tTrTTIJy^iriMJ^p
5. KALUTANG: What are kalatang? Follow the score for kalLLtang.
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 carved into a bamboo node. After listening and
following the score below, describe the music for Ambahan:
• 3
WhMftW
ESSE BBS:
f i l l u j o i i f uf IS rrs
liJoyUM SiK/4S
1 I ' 'f U 'I m UiOFmtJ:
gt'"^'*^---i^:,*-^^^^^
^ir^ir ^ , ^ , , , \V .^'\ T?/ Tf' *' . ^ 1 f U j L U l l i ^
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 { G l t g l t solo): The g l t g l t 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:
^f-f^L^/i^ » ^*t'{Kj.:^ :e:Ui*.±li^, mm^m'm^{l[i^<y^^^\^\^i''
510
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 ^ a g l o n g , 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 t a g u n g g u a n , 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 mm^m 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?
1.
2.
^^m BICBIC Listening Sheet
Blcblc is sung by the Kalinga, in the north, at times of death. Give reasons that suggest this theme in the song: Comment on the vocal style (i.e. the way of singing):
1.
2.
@ ^ ALSIG
The Kalinga witch sings Alilg. song that suggest this:
Listening Sheet
Give examples in the
Comment on the rhythm of Alilg: and comment on the melody of Alilg:
1.
ULLALIM Listening Sheet
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:
^ ^
3.
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: 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? ... 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.
2.
3.
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 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 j j >J >J i J} J3 13 J3 IJ j j
Idaw: Kalleleng: Alilg:
'-^^%.^>-'\\\-,v. -'• "^ \l ^ Ela-Lay: Bagan: Vong-Vong Ay:
£ Lantay:
i^.i...^-ii'y. = I yaya •• Ka£a;tang;
, %-^-^=^t^^^ a^ END: MUSIC OF TRIBES IN PHILIPPIN ii^ wK
B SUPPLEMENT (i)
MUSIC AND DANCE OF TRIBES IN THE PHILIPPINES
513
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
P u p i l ' s B k . - 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 the shape of a boat. It is sometimes called for this reason. This 'boat-lute' title is not completely cor investigation of the kadyapl shows that the resemble a bird-like figure. The reason for shape is that the Philippine Moros believe i fortune of the iafLlmanok bird (see illustrat Moro section), and use iafLlmanok designs and ways. The kadyapl is a two-string instrument, with Listen to the kadyapl excerpt, noting the ra of playing. The scale is a version of the p The kudyapl demands great skill and expertis the Moros, the kadyapl is often considered a instrument, as they can understand the meani being played as clearly as if they were talk The sound of the kadyapl is very different t musical instruments.
body made in the 'boat-lute'
rect, as a closer head and tail this 'bird'
n the good ion at end of motifs in many
a drone string, nge and style entatonic. e to play. Among s a communication ng of what is ing to each other. 0 our western
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 exhaling a gently vib It is poss methods of Listen to instrument demonstrat man says t plays the of words. It is easy playing th
1 s a n d inh rates ible t blowi
the ma is of
es how he sen first Final to he
e kubl
Moro aling the s 0 cha ng n fro ten u the
tence word ly he ar ho ng
bamboo jaw's harp. It is played by through the centre, while the thumb
lender end-piece in desired rhythms, nge the pitch by using different
m Maguindanao playing the kublng. This sed to convey messages and the player kublng plays a certain sentence. The and then plays it on the feub^ng. He
several times and then the second section says it all and plays it on the kablng.
w a person could send messages by
Sentence: Tlnambak a Tlnadtad. 1.: Tin - am - bak, 2.: A Tin - ad - tad.
Okll decoration on Moro kublng.
'~: Holding and playing position of kublng.
517
P u p i l ' s Bk. 13
InitfLamenti 0(i the MofLOi ( cont inued)
(Lef t ) TWO KUBING
(Below) Vibrating action of KUBING
BABANPIL
The b a b a n d l l is a bossed go has a type of knob in the c of the gong that is played, the player strikes the rim producing a sharp, metallic The b a b a n d l l , together with gongs, the large agong gong form the most famous and wi ensemble: the KULINTANG ENS the baialan {kallntang ense beginning of this segment. The b a b a n d l l often opens a announces the rhythmic mode the highest pitched of the ensemble. Occasionally, a Listen to the b a b a n d l l from
ng. This means that the gong entre which is usually the part
However, to play the b a b a n d l l , of the gong with a hard mallet, sound. the dabakan drum, the gandlngan and the pitched k a l l n t a n g gongs
dely used Moro instrumental EMBLE (called b a i a l a n ) . It was mble) which played Vayog at the
piece for k a l l n t a n g ensemble and for the piece. The b a b a n d l l is
rhythmic gongs of the k a l l n t a n g piece uses two b a b a n d l l .
__^^_ Maguindanao and identify the followi ng two rhythmic motifs:
(a) JJJ (b) nn]} The baban suspended from a fr a shallow rim (see proportio Moro gong babandll and intri decorated favoured The baban picture ( the boss rim (whic cannot be
dll is , sometimes ame. It has
or narrow diagram of nate sizes of s ) . The may be highly cately , using Moro designs. d l l in the left) features and shallow h unfortunately 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 r w |-T^ fl
1 ^m
-^^^^^ PABAKAN
- ;.L£ tadMMHHHiiH l ^ ka_
\ .••'*'. ^ A 4> •' t
^ • .:V. .V -J
-••iifTnii*
GANPINGAN
The gandlng There may b kulintang e pi tch, mallet on the Li sten
and Th
mode to t
identify th do this , 1i Gandlngan m gongs) , may facing fron picture of other Moro be elaborat
an 1 s e thre nsembl one pi e gong of th
he gan e numb sten t ay be be su
t or m two ga instru e 1 y de
a set e or f e. Ea ayer p s are e pi ec dlngan er of 0 the suspen spende ay be ndlnga ments , cerate
of na our g ch of lays playe e. exce
gongs diffe ded s d Sid suspe n in any
d
rrow-rimmed, suspended gongs. andlngan in a set for the the gongs is of a different
the gandlngan with a soft d alternatively, depending
rpt from Maguindanao and comprising the gandlngan (to
rent pitches of the gongs), ide-by-side (see diagram of e-by-side with bosses all nded one beneath the other (see decorated frame). As with of the gandlngan gongs may
Ornate OANPINi^AW
s i dewa'ys to 'J S'en t i fy
519
P u p i l ' s Bk. - 15
InitfLamenti o^ the MoKOi (cont inued)
<
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
P u p i l ' s Bk. - 16
InitAamenti oj the MofLOi (cont inued)
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: low gongs, ending with this pattern: J—n rri r: m 3 3 3 3 4 3 3 4 5 4 (gong number in s e t )
Ex. high gongs, using three patterns:
(a] n rr] (b) rm m 8 7 8 8 7 8 7 8 7 8
(0 n n 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
Pupi l ' s Bk. - U
InitfLamenti o^ the MofLoi (continued)
KULINTANG ENSEMBLE
523
Pupil's Bk. 19
BINALIG
Blnallg is for kallntang ensemble, entertainment melody.
Blnallg is an
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
Briefly describe this dance;
Moro 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:
1. 2. 3. 4. 5. 6. 7. 8.
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 Kalong? What suggests this in the music? What is the purpose of the chant? 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:
FOUR MORO VOCAL PIECES mm (1) TALAWI
1. When is this song sung?
2. It is sung by a 3. Comment on the breathing:
Listening Sheet
(2) BANG APHAN
1. When is this song sung?
2. It is sung by a 3. Comment on the breathing;
4. Comment on the pitch:
5. Does the singer use any of these vocal styles: vibrato glissando tremolo nasal singing glottal stops
4. Comment on the pitch:
5. Does the singer use any of these vocal styles: vibrato glissando tremolo nasal singing glottal stops
(3) RAPJA INPARAPATRA
1. Why is this song sung?
(4) BUNGBUNG MANGMANG
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 singing ; 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.
10.
11.
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 babandll, the and the Comment on the style of playing by the kulintang:
the
This piece, Vuyog, is from the Maguindanao Moros, one other sub-group of Philippine Moros: Name 2 Philippine Moro dances: , Name 3 Philippine Moro instruments NOT heard in Vayog:
Name
The illustration (right) is the Moro iafLlmanok, the bird of good fortune. In what Moro dance did you see a iafLlmanok? What religion do the Philippine Moros practice? 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;
B SUPPLEMENT (iv)
MUSIC AND DANCE OF THE MOROS IN THE PHILIPPINES
Summarize the culture of Philippine Moros:
527
528
Pupil's Bk. - 22
7.
8.
9.
10.
11.
12.
13.
14.
»1. 2. 3. 4.
5. 6. 7. 8. 9.
10.
MUSIC AND DANCE OF THE FILIPINO CHRISTIANS
PANVANGGO SA I LAW Listening Sheet
What is the English
What is the time signature?
meaning of this title?
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? At bars 5 - 8 of Section B, another instrument plays a counter-melody. What is it? At the end of Section C (bars 15 - 16) one instrument of the ensemble plays chords to the rhythm of What is this instrument? At Section A2, the high string instruments play the main tune. What playing technique are they using? At Section A2, an electric instrument is added to the fLondalla ensemble. What is it? At Section B3, a percussion instrument is heard. This
is sometimes added to this Christian/European-musical ensemble. Name the percussion
1nstrument i nfluenced instrument At Section C2, low counter-melody is played against
What instrument/s play (a) the melody (b) the counter-melody
At Section A3, name all the instruments that you can hear.
the main melody.
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
Where is this song from? What musical ensemble accompanies the singers? Name 3 instruments of this ensemble: What is the time signature? (circle correct): 2 3 4
4 4 4 What is the key? (circle correct): G major D major Does Pamallnawen remain in this key all the time? Describe the mood of this song: Who sings this song? (circle correct): girls, boys, both. This song is an example of Moro/Christian/Tribal (circle correct) Philippine music. Give 2 reasons for your answer to Question 9:
P u p i l ' s Bk. - 23
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•—1
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CQ
l u
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Z
U J
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c :3 CQ
3 -13
: 3
CQ
01
ra
s. o Q. o i. D-
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?
530
POLKA TAGALA to music of POLKABAL
Briefly describe this dance:
MAGLALATIK Y/l,
Briefly describe this music;
',o%
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) 4 4 4
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:
1. 2. 3. 4.
KONVANSOV Listening Sheet
Name the instrument playing Kondamoy: Where is this instrument situated in the Philippines?.. From what is this instrument made? 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?
Pup i l 's Bk. - 25
532
Pupil's Bk. 26
7. 8. 9.
10.
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?
What is the time signature? Explain: , What does mean? How many different chords are used in Lalay? , 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 A a n d B :
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
Pup i l ' s Bk. - 27
Maftla ClafLa d r e s s , Teftno, man's Bafiong Tagalog, MafLla ClafLa d r e s s , TefLno ( l e f t to r i g h t ) .
MAGTANIM AV VI BIRO Song Answer Sheet
1. 2.
3.
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:
BV B^ Bk F7 F7 F7 F7 BV I I I V7 V7 V7 V7 I (a)
(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? 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:
8
TINIKLING
Describe the famous Philippine dance, Tlnlkllng:
END: MUSIC AND DANCE OF THE FILIPINO CHRISTIANS
•00000-
B SUPPLEMENT (v)
MUSIC AND DANCE OF THE FILIPINO CHRISTIANS
Summarize slides illustrating the culture of the Filipino Christians :
534
"^,.,,. -iji^^j,' ..^p^iflJifc'^'^ •
B SUPPLEMENT (vi)
MUSIC AND DANCE OF THE FILIPINO CHRISTIANS
535
Summarize the culture of the Christian Filipinos
•.: lU 4 v-.«.\;a.; * i-^^.'t
A N I N T R O D U C T I O N
P H I L I P P I N E
M U S I C and D A N C E
CURRICULUM A and CURRICULUM B
SCORE
I N D
Bontok Waft Vancz
Vugso {Bzlls)
BOOK
E X
I^^ugao Wzddlng Vancz
Bugan
Alslg
Ela-Lay I
Salldumay Mang-Anl
Sallp, Ela-Lay 11
Idaw
Banga
Blnallg
Kaplll Sa Munsala
Taking Balla
Pangalay
Vakan Wafiftlofi's Vancz
Sagayan Sa Kulong
Talawl
Gabbang
Bang Adkan
Radja Indaftapatfta
Bangbang Mangmang
Vallng-Vallng
Slnulog
Tagonggo
Pandanggo Sa Haw
Page (SB)
1
2
3
4
4
5
5
6
7
9
10
12
14
15
16
18
19
19
20
20
21
22
23
27
30
538
CURRICULUM A and CURRICULUM B
SCORE BOOK
I N D E X
C kit c kit flit c kit (a)
Pamullnawzn
Ckltckltftltcklt (6)
Maglalatlk
Vakil Sa lyo
Kondansoy
Lulay
Lzfton Lzfton Slnta
Atln Ku Pung Slngsl
Magtanlm Ay VI Blfto
Tlnlkllng
( c o n t i n u e d )
ng
Page (SB)
31
32
33
34
38
39
40
42
44
49
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
B o n t o k
KALLELENG ( J =60)
ll4-4» £ E QT"' ^yr^^
t fe Je - -sa t ag -ka -da -ga - no-mo GANSA ( J = C . 1 4 4 )
L- Iff 1 k—J . J 1 P=l— ^
^ TTTlTt S • S . . ^ I IK - tf
n J Jl y ^ ^ y ~ y
^ ^
SOLO ( J = c . 8 0 )
^
5F=f .^ vc tf: j c ia :
m CHORUS
i g bp- f . E S i
Dong dong ay i
B dong i - lay Dong dong ay i -dong i -lay in sa - li - du
^M W=if Dng 1
i &=fB S ^
may di-wat In du - r u a po - r a - sa 1n sa - l i - du-
SB2
540
^fe E CHANT ( f ree)
J^r Jy] FW
may di wat Ha -da-lo no-da-la ni mey - e pa - la- da
r-^'^ JT] iJM dalk t.
m ma -gua ni-na-ma 1i
CHORUS na ta - da
? 6 * da- la- no- mo Qi - i , O i - i , O i - i , Q i - i , O i - i , Q i - i , O i - i , O i - i . Q i - i
KALLELENG SULIBAO
il -jrwr ^>^^,y^^^^w^^>vv^>^^>^^..^^v'•^^^rv,>'^^w^^^^^^^.^^v^^^P'^
^
t Att/ i ^ -id»F=g ^ t
VUGSO
BELLS
Play each pattern eight times.
A x X X. n * »—r • *. *• t A It t «
I I k k k I 3 3:
m b: 1 Vt X X X xn
i * * >t i
t in I n m n n.1 K X X — K f, X
§§§ 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
I fugao
J=i Fast J =152
GANSA 1. (High) - h i t with stick
GANSA 2. (Lower) - stick (s ) ; hand (h)
GANSA 3. (Lower) - h i t with hand
J J J 4
j_i •li
••
J J J J n J J ] r
J .M >J repeat continuousl
repeat continuousl
J J / (as ostinato)
/ (as ostinato)
ii_li 7 ^— J J J .1
Z^
7^ n> j >j
. — ^ 7^ 7^
J J J J J i >n
n / >j 7 ^
7^
X 1:
SB4
542
BUGAW
J= 66
I f u g a o
man
ALSIG
.' =96
Ui *5 ± Hay-i
i •U-lriUi.
^
K a l i n g a
\\ bJ|»] ^
5
Hayri A l ig -gu 'og gwa-non 9 ^ 2_
^& x s •ST
JCC
J ma-wa-an si-an ng tu -b i de H e u - o i ^
i ^ ^ 321
^B £ $ rnyy ]S Heu-01 Hay-i A - l i g - f l e ' t ga-ka- me ga-mo-
J no \ Hay-i
^
gg
:il ^ E !•# ,.h 5
A l ig -gu 'og gwa t 'an-an ng
22
t u -b i de X He u-o?^ Heu-oi Heu-oi ^
I
SB5
ELA-LAV
543
J = 63
i-iiriB.
Kal inga
i -0-^'
El - a - lay la 'e l -a r ^
i a 1 -aTT'- ^a\
la e l -a el -a - lay. In ta pu ra g ra ' t s
m^ ^
^ rW- i
i na ong su - r^
W-M.¥-iy. #-#-1 1
a - l a y , la e i -a
B ay
m ^ l a e l - a el - f - 1 ay-
psp i* i El -a - lav l a e l - a •lav w
WTi S lay 1 l a y . la e l - a e l - a- lay.
SALIVUMAV MANG-ANI
J = 88 Kalinga
\i .fTJ J ^n g • ^ ^ T
Donodong ay, Dong dong ay si dong e-lay in- se - da - li
Repeat X3 dong dong ay ay ung sa - li -du-may.
1
SB6
544
SALIP
J=c. K a l i n g a
160
GANSA and SULIBAO Introduction - J three bars
.57 bars
ELA-LAV
J =120
A
i,\UU! hn I f S * ^. d. El - l a - l a e - l a - l a e- l a - l a e - l a - l a y , e - l a - l a e l - a - l a y . 1-1 - l a - i a e- id- id e- la- ia e - i a - i ay , e - l a - i a e i - a - l a y , e -
4J]J1J >\>y>y^ >\Dy}\ § l a - l a e l ^ a - l a y . El - l a - l a e - l a - l a e - l a - l a e l - a - l a y , e
>|.f>J >>J >| — • * J • • ^4—' •' 0 _. w -
•» l a - l a e l T a - l a y , e - ^ - l a - l a e l - f - 1 ay, e - l a - l a e - l a - l a e
^i^rji > s m h ¥ W~9 * - *
^
l a - l a e l - a - l a y , e ^ - l a - l a e l - a - l a y , e ' ^ - l a - l a e l - a - l a y , e -
>J >>j >|Jl.f^ s li f. f • » 7
l a - l a e - l a - l a e - l a - l a e l - a - l a y .
m 0 0' ^ .J. &» l a - l a e l - a - lay , e
>|J>J Ml > | J ^ 1 g g ^ m * ' ^ * • H ^ l a - l a e l - J - l ay. El - l a - l a e - l a - l a e - l a - l a e l - a - l a y , " * e -
i\ IMJJ .N.M J-• ' *f • j ' * • ' # * ^ «*
I l a - l a e l - a - lay , e - l a - l a e l - a - lay . El - l a - l a el - l a - l a a i ^ f ^-0-.—^ * •' • J •'. -4 * • • J < l a - l a e l - a - l a y , e " ^ - l a - l a e l - ^ - l a y , e " * " - la - la e l - ^ - 1 lay
it ii ^
I s \-mm g ^ OSTINATI: Clapping Gansa 1 (hand) Gansa 2 (hand)
SB7
IVAW
545
K a l i nga
m PALDONG ( f r ee , J=c .63 )
Mm :a izi
^ ^ tf^ P
k I k^ M ^ ^ ^ 1£
*
TZi ^ tet ^ ^ 1 s ;N /TN
^ =ih^
•SULIBAO |u(| >^^ V % ^ v»
^
J =132 s ->^" ' -> '"'v ''-v->-'>^^"<r ^ •* ^ !^*K ^ v t * . * * s » K ^ x ^ t
/ (miBAm
^ ^ ^ ^ } t ^ ^ * ^ ^ » • ^ ^ ^ t t
WHISTLING (rhythm (Inly)
7 ^ r J J J J J J J S ^ 3z: > y
^
f T T
^ nnmnii i
^ X
/ /
»' »
/ C
>t -it ^ St X. X X x P V * • * n BANGIBANG
iS ^ :jfcifc3feixzzsz3czx=± y—x i tit A l f e l f e A t A > t . j ! L l
546
SB8
A X 3t k A -jf k lZK
AND SHOUTS
' ' ' k A . X X X. X X X X: . :
^ - ^ ^ > jJ 3 j^ i ^ ^-Tt- inn;^nmn ^ m s t ' A i t j t A s L r ' J r U - ^ A '
I
^ ^ £
S H ^ A i t * < ^ t A X » X J t * > t X X i ; c j t | X i t J f •y. at it" ».>t ifc >t
I
(SULIBAO) J =152
^ ilt Ajt ^>V.*s:i'iir>tj^ik.)ti^A|^ ]i.}i.± it tf A v 3t •>
'GANSA
i t * « >f ai
AND SHOUTS
3 ^ ^ ji:itjtA>t>t*}tA>ryit>tX»-*-|
I
* c H ^ 1? X J< a: N
t ^
i i I
^ ^ ^ ^ -
accel •
i. sir' iif 4f •{
SB9
547
J =184
X "x X k ^
s m M * «^
i s 3CIZfc3=ZZ3ZIXIISt * tf
^ GANSA s
4'\> 4
BAWGA
s •
fl h
»
i
1
» s s 9 0
X
s = Gansa hit with stick h = Gansa hit with hand
SULIBAO
4 ^ 4 :n y! n , A
548
SBIO
BINALIG
Moro
KULINTANG
R.H.
L.H, }y)7.Kh (^ , ,
m • i_L_i| •^"'f 1 »-[> f f^ -—]
r^k Transition I II ^ i 0 0
i 0 0 9 9
*
1)F llf itp j f itr i^p
il a' g g w
I Transition Conclusion
rp' r u I 7 iri^ it*—i— f^-T, '—U. I _ L _
# =
l f' J ^ - - = ^
L , 1 l_p K
fl « •
549
SBl l
BABANDIL
Fast
^"'™- J J J J tJ J J J ostinato : 1X^171^ .„
JJ J J
2 Beaters R, r^ff^.^
MA • V 3 MA
DABAKAN Intro. :
Ostinato :
R. 2 Beaters :
|J J J J iJ J V J
ii • • • d0 jl
(Note that Babandil and Dabakan ost inato patterns are the same.)
AGONG Intro.:
Ostinato :
2 Gongs
GANDINGAN Intro,
Ostinato
H.
3 Gongs M.
L.
np.n^ni^ 0
•
LiU
•
•
t
g n
• 'II •
•II
550
SB12
KAPIIL SA MUWSALA
ACCOMPANIMENT RHYTHMS
< * y X X ta Play four times
X X X Z3C g » « «
I Play four times,
S « * y ^ ^ Repeat as often as necessary.
I a: J 1 i n 1 II Play e ight t imes.
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-
^W >
ifllij I i^ V^ H
I fc C -Improvise on scale ^ ^
D -Improvise on scale: ^m ih ^ , ' •
m • 00 = » = » 0 00
^
>
r -^—»
£
1 ^ s • g "
>
i.J J ^ T W r *i IWPMP J Wp ,
SB14
552
TAHIWG BAILA
Yakan
THREE AGONG:
(±B» High
(±G) Medium
(±D) Low
J = 138
a c c e l . .1= 160 Ui 168
J I >i > I M i j Knri * *
H.
M.
L.
nfly K> ^j"]y . . J J J J J i . . J iJJJL lJJ ;> ' / ' . >v>J^>- /^>
, J Jl jm .nm .rjTi M. hi. 1 Ht i>tf J I L
M h.^dn^i-r} b
H.
M.
L.
> , . !
dm 1
.JJJJJJJJ;>,> i l.il-, J \i ih
* = Hi = Hit with wooden mallet = Hit with felt mallet
553
SB15
PANGALAV
J = Sulu
60
KULINTANG
M
^ m • 9
B • • — *
i^EfZiilJlI^ J "i/*^"^^ J m ^ " " ^ ^ ^ ^ " " ^
k D O • ' • •
^ t ^ 5 * 9 ~ZML
IJ J .'• h k 0 g X X
^ k: i 5 ax:
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
Pres to Yakan
GABBANG
A
SB17
555
s3gE ^
'M W=¥^ ^
i ^
^ ^
^ ^
^
;i=F ^ ^ P p i 1 r
F ^ ^ ^ ^
• g U P ^ •^—0- 0 0-
J
^ ^ ^
# r r r r ^ ^
W ^ ^ ^
I % ^ ^ !r r r r
^ .X- LH .0 .n.[] ^ ife
(f Str r f r i ^ ^^m \%\ ^ " ^ ^ ™ ^ ^ % * ^
3 ^
^a 4r AWWvtVH
T S ^
^ '
556
SB18
SAGAVAN SA KULONG
J =c.69, accel . to J =84
AGONG CHANT 'Dende 0 Dende' (free)
Maranao
1 ^ ^ ^ ^ ^ rrmira Den-de ODen-deDen- de 0 Den - de Den - de 0 Den-de
a£££jL
^ j JiJ .n ^ p p X i 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
9'J JIJ ^ ^ • 0
^ i nq sa- i i t sa - inq i t saf - \ r g
Den -de 0 Den Ma in-oThg sa- i i t sa - ing i t saMa-guindanao
rf{ LTr r Den-de^A) Den-de
g JJJ w J—cf Den-de^3 Den-de Den - de 0 Den - de Den -de 0 Den
/ 0 0 J V 0 J 0 V d m ^ ^
Den-de 0 Den- de Den -de 0 Den A ma-ma-na ma-wa-luk-u
^m s^ ^m '^JTjr r r r r r )en-deO Den -de bet-sa-lay un de da-tu Den-deO Den -de Den -de 0 Den -de
\ / J J J X) I n I n ^ ^ •' m ^ 9t m ^ m m ^ h Den- de 0 Den,
DABAKAN AGONG Den -de 0 Den -de Den- de 0 Den DABAKANJ =c.l44 m $ ^
i * $ 4" -j'
H.
L.
^DABAKAN
GANDINGAN i i i ^ i > i
H:: u ' Q (5
Q 1 o II
557
SB19
TALAWI
Maguindanao
Free ( =c.96)
1 ^0 ^0 >p. ^0 f>0 >p—tp-
su-ng tok - T a - i T w i -ke-wa-ka umo
mm mar TLi 'ya luo (words not decipherable)
0 b0 ^nV jg« ,bg b|Q ^ b|g^tg
^ ^ $
S gi -mi - tu-wa l a - k u U i ,/s^ing-ka lae
J y ^
^ l u -sa- lu - ing^a ser- in-a Ha-na
^
• g g » 0 ma-ni9-rj-sa
• m»g
^
•sa- lu-ing^^c 0 ma -mo-sa lusaluing aserin
W ^
foll-
a Ha - na r—- 0 ma-mo-sa lu-sa lu - ing a ser - in -a kom-in a
^
M M itj^» 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^
/<:>
^ ^
i i j JbJJ''jJ"^ J~^ ^ g—•
558
SB20
BAWG AVHAN
J =c.66
Magui ndanao
^s tyfaja b« p
m rM »^ u t m^ B
^ l ^ g - ^
m k |g PQ IjtQl F=e=
^ toir. IT 0 9 0
f ly U f U I '
Slow
m
RAV3A INPARAPATRA
Magui ndanao
10 -^* l<^»fg# • SE
A-ur -JL
sa ya g t > a g ^ ' f g x i
i i
i [motor boat]
ng-a a ifa e ^ ku > . • g •^•^-Ufl^T g—<»
gi: o 3s:
rad-ja In - d 'rar - pa - t ra l a - a No-ra na la no ra
Sg ' 0-0 g—^ i 0 m 0 ^ 0 iPt
na SI oiy^gjiing coT-i-ne me ba ta ne su ra tan ng gi da ' t
m !
CO - la ma gu.
S B 2 1
559
BUNGBUNG MANGMANG
J = 76
Maguindanao
i ^ ^ i p—g • -g i i 0^-0 • ' #1
Mang - ma
^
n g a n a t ku-mum-u g u ' t bok t u
«t i «i—#
lu ge "•hi dat-ra-da - la - ta
A lu 't tu eu tu gud-in
m ^ N It e u u- na dum bo - nu mang - a .
560
SB22
VALING-VALING
Sulu
Slow J =72
j=4q k w—^ 1^ ^9 g
May da- l ing
M da- l i ng sa may da - l i ng da
i\0 iK^ it LI Li - la naF\ - qa
l i ng Tag - nah ni
k la nan - ga - lay Tim - ik
J ai •' • • >^
J ang lal - lay lal- "•Hay He in - da ma - ti - wal
^ ^ * ^ ^ = ^ m 0 ^ ^ lay Di con - te - san man - ga - lay May da
k i »' U' .« -gs
l i ng da - l i ng sa may da - l i ng da
§fe ^ l ing .
DABAKAN BABANDIL GANDINGAN AGONG
j n \n n J n J. >
i-tHI
i.n n ,J. > I n ji\} n 1 ij n ^nn , i .nr ] iJ n 1 ,n f ] ,J. J>,
561
SB23
SIWULOG
As f a s t as poss ib le
KULINTANG
R.H.
L.H.
^
IN MM' ih'
~r^ JL. *
• ' « » '•' - •
. t • 1 i M—M • ^
•
m 7 ^ — a - ^ — 1 — ^ — J — ' — g ^ *—^—%-J
' - ^ mmal
f • / t p f
• f
' • •
" •
m J g — J — 0 — J — ' — J 0—g—j-j
/ * —-m • • 1 •; sr» —•
t
't <i
i 1
JUt^ • • J 0 • « ii< • •" whJ
^\ ^ „ 6^7—r-'—
' ^ - ^
' ' * f0 '
u
^ . • •
f ( ^ _ - , J—•—-—•—'—• , 1 — g — , - ,
-Jf = ^ «l
m^-^=^ Iri-t J * J
1 9. |»J1
~J" •< J ==iU
w .w
9 B
^'
562
SB24
.4
i F f a ^ g B
J T gl S ' f \ Transition
• g
f"
~9 ^
Id*—
4=-•g^
. • —0— • • • I
-^ J_
- • 0 it
—gl—
—slfr-• 0fr'
^K I I I
i . <|p» j ^ ^ -<Htg#
> J
<>
ii
I
5E
, itpjir i^ m ^m fr .
1 # = #
^
P
s 1**=i:
1
i MVfr- -g g-
S -g-»^
SB25
563
Transition p=^ 'itfir lip
^ \ -^^ J J • itz± • W
Ir:^ 1 ^ — ^ 1 1 1 ^ i _
^^—0 J J—J^ • -VJ
: " 0 •
_J j ^
' - - I m - '
• •
/ k Concl
m
US ion
m g ~ "
• 1 g
• l^ji j
« « ^ * fl
• ' r
g
1 ^ -gt J'
1 ^
f^ , g itF 1*1 0 9 0 m P—pr
li g •
N • '0"0
SCALE 1 ^ * ^ » ' • -^-llrHk
SB26
564
BABANDIL
As fast as possible
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 # .
2 Beaters . f ^
L . MM.
Rn g g oil MM.
mn -4
DABAKAN Intro,
Ostinato
J J J J J J J J igig.nj>yf]f]j:ji.,
2 Beaters mmnj) m mn
MM MA MM- M gl
fr^
(Note that Babandil and Dabakan ostinato patterns are the same.)
AGONG
GANDINGAN
Intro.:
Ostinato :
H. 2 Gongs . :
Intro.:
Ostinato :
n.Dinj'ij g g •4 pj3i n}
1 . fl P
•
n •
DjnWfjnn} .uj H. 1
3 Gongs M.:
L.
ft
• 1
0
f » • 0i
H B S
p r 7 .
} f
r 1
f
m
j
• 0
0
0 *
9 •
565
SB27
TAGONGGO
As fast as possible
KULINTANG
R.H.
L.H.
il 5
m \ *
7 »
tfl r r Ji ^ *
^^ '- \-. V\ V—A
1 V • <V
"" ^
[ — i> f p \
^ ^ ^
t •-
II
f—TT 1 » — p —
^ , — ^ » , ^ , _ — • - • 0 ^ , —
^ ^ _ ^ _ — ^ _ j — • fli -#- • • g •
^ il-" g p f-f 1 4 1^1
t — ™ r g g ^ •
P—HF * f F 1*1* 1
• •
r~f—
^ ^ f l — J — ^ — ^ - » • — , —
W 0 0
"'—r—1
J g
•ZI»^»
g g
r^T—
566
SB28
^ l e - " 1
-k te—
ihz <
4=
IN
g
^ ^ ^
i^^= f= >
fe-
m .. .a
1 —
0
• •
-J J
' 1 •
•
' •
J
0
HfF— ' f
fl
• , •
•
•
W
0
— r — •
— r — •
g J J ^
1
•
0
•
• fl
4
J g
Trans
i
4
1
g
W W ^
g
^-ikm • ' L.
«
i t ion
•0—1
«
Concl
g
r 11
g
W, '
J
P
*
' 1 1
F' ' • '
•
^ n
I
•
1 •
1 1
js ion
J
p M 1^
A- g M '^ 1 '
1
r ^ —r~ f- = IS 0 —B -^ 9
kj -g- • •
^ l _ i U I | ^ _ i
0
4 , , " i SCALE
SB29
567
BABANDIL
DABAKAN
7 8
Intro.
Ostinato
As fast as possible
+
R. 2 Beaters
MML
Intro,
Ostinato
mrsnij> mmn>^nin:mp^
2 Beaters L. 0
nn jy,.rnj jn>
(Note that Babandil and Dabakan ost inato patterns are the same.)
AGONG Intro.:8
6 Ostinato :Q 0 •• nin^ \mnn\^
H* g ggg 2 Gongs :6
L. 8
gf g gg gg g gg g t GANDINGAN Intro.
Ostinato
H.
3 Gongs M.
L.
n\rhn>\mmm}^ 15 i mrn i.
568
SB30
PANVANGGO SA ILAifJ
Allegretto
Intro.
Luzon and V i s a y a s
/A/
J IJ. JJ IJ 0- -u- * •
- • — • — • — ^ ~ •W. ¥
J. >i 11 ;^.nij .Gj ij nn
^ ^
k i _ t — ^
m m Hin 1.1
^
^ I
* ^
NTERLUDE Slow r i t ,
1 ^ ^ 0 • •
molto r i t . m 1 ^ ?1-^'_a iemoo
I ¥-•8 si ^ *
5 ^m i 3^ • ' • •# i^pr-*
*
8 i t ^ • V - • - 9 g g g
Si i S
^ a 1. /B2/ 2. /C/
1 -0-^
-0-' —. ^ • • i f ^ * _ • !
I j J .J^^ ^ ^
569
SB31
^ ' d •
III 'ii -4 ^^
15 16
-t-^.
m im m :/A2/ ZB3/ /C2/ /A3/
CHITCHITRITCHIT
Luzon: Tagalog
Fast and lively
i^^ s S
^ ^ ^ ^
\TXjr ^
r ^ - # - »
570
SB32
PAMULIWAWEW
Luzon : I l o c a n o
i^ Lively
3 I s J. ^ i i Pa - mu - l i - na - wen Pu -
i ^ *=¥ sok i n - de-ngam man, Toy u -mas-a
i m m 0 0-
*• sug Ag - ra yo i - t a sa - diam.
^ ^ ±=M 0 0 0
ly Pa -nu-no - tem man. Di - ka pag- in- u - t u l -
i m p p '' ngan. Toy a-ga - yat ag
ifl<P f r ^ m 0 g ••
m ra - y o ' i - t a sa - diam Es - sem a -diac k a - l i -
& -• •-
)a - tem, Ta-na su - di u - nay a - na - gan, U
p \n .n ray sa - din ta yan U - ray sa - di - no
^ ^ g 0
^ ^
PJ= ^
man Ta - l i - pa - tem ta - na su - di u
i S ^
nay a - na - gan. W ma - l a -
1 f m gip ka pu - s o k t i ma-bang -a - ran
571
SB33
CHITCHITRITCHIT
Luzon: Taga log
Fast and l i v e l y
1 i B 7
1 C h i t - c m t - r i t - ch i t A - l i - bang - bang Sa - l a -g i n
m 0—• 0 - 1 ^ I - ^
to ' t
li ^
Sa-la -gu - bang, Bb7r—
Ang-ba-ba - e sa Ian- sa a S • 0 =;s ngan Kung-gu-mi -ri'y pa-rang tan - dang. Chit-chit-rit-
m im -0 0
dang. Ak
Ma -ma -ma ma na-ma mang ka BWI
i\i\r f . n ^ pa sa - ka -
I 3 t l 0 0 0
* yin a n'ng ba - ta Pag - da - t i ng sa May - ni -
IF ^ = ^ I i 0—••
l a , i - pag-pa - l i t ng kut sin
i^ ta Ak
A - l e , A
S mr W-0 -0-0
7 Te] na ma- ma - y o n g P a su- ku - bir =ya-ring sang-
1^ *
gol >m: ^L>^ m m
i 1 it. rm ha -nr
Pag-da - ting sa Ma - la - bon Et
i-pag -pa -
3 1 - • — • • • *» f ^ ^ • K ^ •0^
^i l i t ng ba -go ong. C h i t - c h i t - r i t - c h i t a - l i -bang
1 Eb. f m fl!* »» • ' • i - ^ 0 • -w • J 3=2
bang Sa -la -gin to't sa -la - gu - bang, Ang ba -ba-
g Bk
^ 1 ^ y f g g ' ' j g
sa Ian - sa - ngan Kung 'gtr^ mi -ri'y pa-rang Tan
572
SB34
MAGLALATIK
L u z o n : T a g a l o g
Lively/very fast
INTRODUCTION
INTRODUCTION
Followed by:
For listening (Example I) = ^ 2 8 bars
For Dance and/or Coconuts (Example II)
fl 16 bars.
^ m ^
4'.ran ij n m 0—0
i n in^n 0 ^ 0 ^ ] J J g ' fl
i'uju ir u i [ ^ g g f 0—m g 0 i
^ m m
»* ^ 0 0
f ^ ^ s nij ^ B • ' g
f M I* • ' - » -i f g ^
SB35
573
¥ M fefe
linn ij. ,ik^^ i i
w P A ^ f I «3g
M g »'
-f' »# f- f J| m g ft i V 9 0 0, .#.Jfc^Hg j ~ ^"^""it
J - . _ • ^ • F
lP=P
# ^
NO REPEAT EX. I I
^m ^
^
^ £ ^
l^f/J J ^ If !• f ^ E p •'
|lTt" J J J ^ = 3 ^ i EX.I I : to *
f <g-g
^"•1 I I i j f 't ^ ^
^—1»
I S ^ ^
fl p |»
m s ^
I
574
SB36
i * * m
^
ii|ii.nn ii n if^n ii n i ii|;or] IJ n m
0 M^M m 0 0
^
i^ • • P f mf • IT
^
^ i
575
SB37
MAGLALATIK
COCONUT RHYTHMS
2 I n t r o , - d 16 b a r s ( c o c o n u t s s i l e n t ) ;
^-^ars UJlJJliJUiUJlJJIUJJjl
P I r i I P I r i I Repeat t h i s rhythm pat tern eight times = 16 bars.
t fl M I n P I I Repeat this rhythm pattern T ... J I. . ; Jll ^.H^^ . ^ 16 bars.
n P I I ri nil Repeat this rhythm pattern eight times = 16 bars.
D - 8 bars (coconuts silent)
E O n i P Pill Repeat this rhythm pattern 0 0 « «! (• • • •Il ^^^^ ^.^^^ ^ 8 bars.
^ ) J I II Repeat this rhythm pattern ^ *• • " for sixteen (16) bars
(wait for «).
? P I P I I n P i l l Repeat t h i s rhythm pat tern 4 . .' . . 1 . . • Jl l e^.^ht times = 16 bars.
«. ^ P I I P I P I Repeat t h i s rhythm pat tern 7 . . . •'!•• d aiwii ^Q^^ ^^^gg , 8 bars.
P I P I I n r i | | Repeat t h i s rhythm pattern
576
SB38
VAHIL SA IVO
N a t i o n a l
IL I f7\ tT\ f7\
I 'i4: J J J ^m m
1 ^ ^ Q- , I ^ j g-
kV'J >y P.\ .GiJ
SB39
KONVANSOV
577
V i s a y a s
k IN
^ ^ §
^
it S
i i ^
^ •' g
te 10 i r 1 ' r r
. 15
13
^
14rn I
^
^
16 /B/ 17
^ ^ ^
^ ^ il •
^ ^
19 \ n ,- 20
r T r r U^CJ .n J
22 ^ i *• «
^
25
P g ^ ^
IJA'-' n,-28
^
•1 n J
^ ^ ^
^ ^
31 12 ass:
-e^
SB40
578
LULAV
Luzon: Tagalog
Allegretto
Intro., t iniro.-—. ^ _ _ A7
'N i-n I •MJd
k Dm iM 1 A7
1 Dm I ^ -"Qag l.a-king hi - i^ap. "^^"^
^ I 5 -WT
T
pa - ka - i A7
SI p in ang •ga^-wang u
i ^m fe # — ? ^ s^g itTis : ^ ni -b ig sa ba - ba - eng ma - h in-h in Di I I in
^
i S : *
g Lu-mu-lu-hod ka na av, d i , m ka pa . man -j r ^ ^ u i ^ ^ «.,i\a Ja . m a i l
n n TJ. > 11 ^ i in pan-sin -sa hi-rap-i - kaw'y kan-yang
J su-
15 Cm i su-su - bu
^
jjm^'p li A7
^
A -nong la-king
fc Li - ga - ya ng bu
^ i ^
Lii -^ ^
if N Dm, **( ga
li 20.
Ba - ba
ya
A2
hay eng
^
Ng
i bu
^
hay
i Li - ga
SB41
579
m I ^ ^ s ^ g Sak-dal- i
ya. k A7 ..
nam Ang ia- la - ga ni.
^
Dm
li J i J ya'y Di
^1 ma-tu-tum - ba sa ka -
i Q:
ya'y
ii hin-di-nan ni
"DRT Ta nging ka-ya
1 f? ma
^ ^
(—[ft/ I J
nan -
T. nan
Li - ga - nging ka-ya - ma
r **§ Alternative version
580
SB42
LEROW LEROW SIWTA
Luzon : Taga log
Fast and l i v e l y
Intro. LF
1 ^ ^ G7 B t f P
k Le -
ron Le -
mi-sing
ko'y i -
ron Sin
ka Ne
bi -gin
- ta.
-neng.
mo't
Bu •
Ta •
La •
- ko ng
- yo'y ma -
- la king
pa - pa
nam- pa
ma - ta
J va k ^
lok,
pang.
Da -
Dal -
Ang
a
hin
bar
da
mo
il
la'y bus
ang bus
ko'y pi
lo,
lo't,
to.
Si
Si
Ang
B ^ I I r> I ' = = sid
sid
sun
-Ian ng sin
-Ian ng hi
-dang ko'y si
- ta;
- nog;
- yam;
Pag -
Pag -
Ang
da -
da -
la
- ting sa
- ting sa
la kar
du
du
in
te ^
lo'y
lo'y
lo'y
Na -
La -
Par -
ba - li
lam- ba •
te ng
ang san - ga.
- lam -ba - yog,
din - u - lang.
Ka
Ku
I
KK QL
-0^ pos ka - pa - la
ma - pit ka, Ne
sang ping-gang ha
ran, Hu man ap ng i
SB43
581
ba.
m log
0S
1 r mm 2.Gu neng,
Pi,'?TT m 3.A- uot
6 ^ ban!
G7
P Ba - ka ka ma - hu
Ang P fi2-
a -king ka - la
LEROW LEROW SIWTA
SECOND SECTION
Fast and lively • K .C fa^
Luzon: Tagalog
^m ^ ^ 1.
¥ i 0—•-
s
i 3. 5 G7 i^^
-g^ f
i
P
582
SB44
ATIW KU PUNG SINGSING
Pampango
^ i i i u r i
Allegretto
Intro.
P W=-^ n\r J j i j n tf ^ *
i nnin nnn ^m X X X x:
^
/A /
^ ^ ^ ^
il B i zr ^
I .<>j ; i B P P - • — • 0 -g • -
^ ^ ^
^ P
1 a r i i i f ] / B /
P X X x::g: K 2
fe ^ ^ cj If r r ^
^
Hir J J iJ j g ^
7
4
Ml 1 1 ij . H I . • r 1? rr 1 1 w g • ° I ' I' • H—
ll"l 11 II r1l, 11
ijri n n i i " ]
g Wfc Bfc,,, J W JeSL.
-9 r
SB45
583
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 u u n #—=—#-
^
^ A X I X X J"i
/D/ 0' f s
^ K~y X X A X X
k>i* 1 1 1 11 I I I [ n 11 1=^ fj. 4 ^ ^ -J .. i j j ly
B •r^i • V. g
yJ J J If j j i i " c^if n.1 <fl i A £
/E/
' Lf ly f f ^ X X I x:
ii i^^ #-i^ ^ ^ ^
m n ij j J s -•—g
i ^
BEE m i g
584
SB46
.y r JiJ nnu nnu i i n i 3 :
^ ^ « * -^ i ^s ATIW KU PUNG SINGSING
Pampango
585
SB47
ATIW KU PUNG SINGSING
Allegretto - Lyrical
Intro
Pampango
tin ku pung sing
su-kal ning lub ku
Me -tung yang tim
Su - suk- dul ban pu -
u -
kan,
a.
A - ma - na
Pi- ku - rus
ke
kung
1
ga
ti,
mat.
Keng in
Ba-bo
dung i
ning la
- bat
- me
an;
sa;
Sang-kan keng sin - i
Ni -no mang ma - na
nup.
kit.
Keng me - tung a
Keng sing-sing kung
ka -
ma -
ban.
na.
Me
Ka
- wa
- lu
SB48
586
j?*J J J U k — ^ • ^-^—
r- ku ka - ma - la-Mang-in - u - ya ke-
la ya i - t i , lung, pu - su ku,
m fen 10— yan.
2.1nch a —
587
SB49
MAGTAWIM AV VI BIRO
SONG
Moderato (J = c.80)
Bb,
Luzon : Taga log
rJntro.
i a F7 I i ^ ^
Ta- yo
t t m na sa bu F
ki - rin
k -9 ,-
ang lu m Ta ay bung - ka - "^lin 6rf* ta - yo ay "tiag - ta
k B|»
s -^—•—i^'^—-^^
nim Ang ba - yan pa un la - rin
¥. Ang ma m
g *-^. aP =g= g' ^ 0-nga ma na na - Tiim mar sa - yang nag- ta - ta
# rap ay h in - di pan -
— a • ,Rb| m\ nim hi
i t g s in ,s a mag
^ na - pong pag- ta - rnm
il —9 ^ Ha - l i
-EZ
na''- h a *
I n l i na sa ka - bu - ki an
k: i i $
l u Bb
pang kad *~*—r- ^ lu - an ng a - t ing"* l )u
fc
hay
t Pa sa* - ' g a - na in
\i^ .n D h' t Ip .n 1 ang a-ting ba-yan
t ng ang 1i
iF_7rT; ga - ya'y
a -e ^ ^ ^ — ^
J ma - "•kam - wtan. Ha - ma - "*! am - •tan
588
SB50
TINIKLING
V i s a y a s
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
M ^
kingking man-han
^ to - 0, k i n ^ - king man -han wa - la
F , C7
^
^m ^ m nm^
m luk-so hin-du r\x - yog ma
£_. a E
lak - s i ang ki
\}i n W 9' 0
wa-
^
•0^ T0- -Mr- -M-An in - i ng An du-ha nga
^ ^ ^
ka Dm
ho'y guin - i A7
1 - ro in tok
^ ^
M -nga s i -na -sa bay - an • hin
0-ban -
¥ ~1> dok
M Gm.
I d' _
-g—V—9 ^ di -da ha pag in - tok t i
Il n n J g a - w a P ^ n t i - i l kung di mag^^
Dm, I A7 m Dmrr
ru - yog nga w a ^ - r ^ siT - 'n-mi - k i l -
i t m 9 ' • • 1 ^ i I
An du-ha nga k i l -
vP H I L I P P I N
M U S I C A N D D A
APZl 590
Puzzle No.
1
2
3
4
5
7
8
9
10
11
12
13
14
15
16
17
CURRICULUM A
PHILIPPINE MUSIC AND DANCE PUZZLES
I N D E X
Musicword 1
Musicword 2
Pictureword 1
Pictureword 2
Odd Word Out
Mystery Word Puzzles - Introduction
Mystery Word Puzzle 1 - European Influenced Music and Dance
Mystery Word Puzzle 2 - Mainly Rural Christians' Music and Dance
Mystery Word Puzzle 3 - Musical Instruments
Mystery Word Puzzle 4 - Philippine Instruments
Mystery Word Puzzle 5 - Philippine Songs
Hidden Titles
Make Words
Find the Word
Match the Word
General Crossword 1
General Crossword 2
General Crossword 3
Answers to Puzzles
Page (APZ)
2
3
4
5
6
7
9
9
11
11
14
15
16
16
17
18
19
22
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 HH»n w^ ^ » 0'0 ritt
xE
ISA
# # W ^
iMy^-fi^
14/1
^ ^
^ ^
ii?r
^ ^
^ ^
i}\\\\\\i"*i'.
3Ji a ^ ^E
4Ji
• FI
E
E «2. 15
J LJ
10 II
sn ^!ilUU|ILl||iiJUi
t^Lffl^UUii«t-
IZli
^si/ V j y ^ m w.
^ ^ :A
Ik
i%w^ ^ ^ ^
[2k
51 ^ f f i I ^ L S A
6 35Z: Fi3^
Q-1
fei55|fai
PUZZLE NO. 1
MUSICWORD NO. 1: To solve the Crossword, name the melodies
APZ3 592
^^ffflJ «fe. IM
^^S i a ISV!
\i^ va
v'> ' a
lll^ (M ffl^
rm
m E 14])
6 FTFH V * * » »—»
^ ^ ^ ^
I3A
^ ^ 0tC'
\ZA a
1 ^ ^
E
»r
a
li
rr
ro
im m B3® M i ^^
^^s T4
^ A fennhJJl
1 ^ \w3f TI)
^^mm
21> ^m #rTf '-
^ «te.
-y/i
i^S •^—»
i=tf
P^ «le7
PUZZLE NO. 2
MUSICWORD NO. 2: To solve the Crossword, name the melodies
APZ4 593
PUZZLE NO. 3
PICTUREWORD NO. 1: To solve the Crossword, identify the illustrations.
APZ5 594
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
1. 2. 3. 4. 5. 6. 7. 8. 9.
10. 11.
12. 13. 14. 15.
16. 17.
18. 19. 20. 21.
Hanunoo, Bontok, Subanon, Manobo, Bagobo The answer is Bontok, as the other words in the group are the names of Southern Philippine tribes.)
Kudya Bunka Kul in Sulib Mi nda Cebu, If uga Palo Chitc di Bi Alat, S i n g k P a l a k T a d o k T a p i s M a g l a Atin L u l a y Kal in S i n g k Dal in K a l a m Lumpi If uga D e n d e
Pi. ka, tang ao, nao, Man
0, T Sebo hitr ro, Apa
il, i s. . Pi , Ba lati Ku P , Bu ga, il. g-Da ansi a, P 0. Y , Al
O c t a v i n a , K o l i t o n g , , D a b a k a n G i t a r a , B Mani1 a,
i 1 a , 11 0 i • B o l i , Ma , M i n d a n a i t c h i t , P L u l a y . t, D a l a w a K u l i n t a n g
n a n y o w a n , 1 i n t a w a k , k, K a l a p a ung S i n g s n k a k a . I f u g a o , B Kapiil Sa l i n g . , P a p a y a , a n c i t , Si a k a n . Bad s i g , Ulla
K o l i t o n g , G i t g i t , B a n d u r r i a . K u b i n g , O c t a v i n a , P a l d o n g . , A g o n g , B a b a n d i l , G a n s a . a n d u r r i a . L a u d , O c t a v i n a . B a n a u e , P a g s a n j a n , M o u n t M a k i l i n lo, B o h o l , D u m a g u e t e . g u i n d a n a o , L u z o n , T a s a d a y . , L u k s o n g T i n i k , S a r a n g o l a , Sip m u l i n a w e n , T a u s u g , M a g t a n i m ay
, Isa, T a t l o . , La Jota C a v i t e n o , B i n a s u a n ,
P a l a k i s , M a g l a l a t i k , P a l o k . C a m i s a , S u l i n g , P a n u e l o .
t i , O c t a v i n a , I t i k - I t i k , A La Jota ing, D a n d a n s o y , L e r o n Leron S i n t a ,
u k i d n o n , B o n t o k , I t n e g . M u n s a l a , P a n g a l a y , A g o n g ,
B a b a n d i l , D u r i a n , S a g i n g . ngkil , A d o b o , L e c h o n . j a o , M a g u i n d a n a o , S a m a l . lim, S u l i b a o , P a m u l i n a w e n .
m mMi^m
APZ7 596
22. 23. 24.
25. 26. 27. 28.
29.
30.
Hanunoo
Black
Bandurria,
Nazarene,
Pancit.
Kalinga, Subanon, Manobo, Bagobo, H Tatlo, Isa, Okil, Apat, Dalawa. Santo Nino, Ati-Atihan, Sampaguita, Flores de Mayo. Ensaymada, Halo-Halo, Sio Pao, Bandurria, Pancit. Am-Maga, Buddo-Buddo, Binalig, Kulintang, Ela-Lay. Cebu, Samar, Basilan, Manila, Luzon. Maguindanao, Sampaguita, Daling-Daling, Lulay, Tinikling. Sabongero, Lechonero, Puto Vendor, Chitchitritchit, Lavandera. 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 underlined) 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.
Word word Word
Each puzzle has a specific topic and the Mystery relates to that particular topic. Sometimes the is in English while, for other puzzles, the Mysti is ail Fil ipino term.
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Mystery Word Puzzle No. 1 - European Dance.
Influenced Music and
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
Rondal1 a
Music
Laud
Stri ngs
Hymn
Maria Clara
Fans
Dress
Barong
Rule
Men
Visayas
Rizal
Land
Spain
PUZZLE NO. 6
MYSTERY WORD PUZZLE NO. 1
EUROPEAN INFLUENCED MUSIC AND DANCE
For this puzzle, only the list of words will be given:
Jota Moncadena
Polka
Dance
Mazurka
Side
Saad
Buho
Luzon
Paz
Di az Sta.
Cruz
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
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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 Balingging Bunkaka Gansa Kubing Laud Octavina R.P.
Apat Bandurria Dabakan Isa Kudyapi Nose Pan Sulibao
Babandil Bass Drum Kolitong Kulintang Oo Rondalla 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 Edel Tongatong Tambul Suling
Palas Pitu Agong Afiw Lantuy
Gabbang Dabakan Gongs
Orpe Olimong Bangibang Pinsak Sulibao Kulintang Ii Gandingan Gitara
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MYSTERY WORD PUZZLE NO. 3: MUSICAL INSTRUMENTS
APZ13 602
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MYSTERY WORD PUZZLE NO. 4: PHILIPPINE INSTRUMENTS
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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
Lahat ng Baqay
Isa Dalawa Tatlo
Zamboanga Hermosa
Pamulinawen
No te Vayas
Lulay
Magbubuhat
(See Mystery Word Puzzle No. 5)
Lubi-Lubi
Dandansoy
Inday ^ Balitaw
Leron Leron Sinta
An Sering Han Bata
Magtanim Ay Di Biro
Bahay Kubo
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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 There a The gra We danc And dur The Sag Castane And exo We like When we As dove And the When sh The men And lea But my Is yet What is
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Philippine dances ome that we like the most: 1 Imunan and Sinasambali show the coloured fans;
a wedding we dance tica ' — "--•!-e Si ngl room LU ue uar N
ce Pandanggo Sa H a w ! move when Kalapati we hear;
sses remain on her hands and head rforms the Binasuan. e Maglalatik ound; urite dance e found.
; weooing we oance ;ica from Iloilo. ! hold while dancing Subli, lingkil demands great skill, room to be dark
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: I N S T R U M E N T S
(Examples: tennis, sister, mint, is, ten, men)
2 . W o r d : M U S I C A N D D A N C E
( E x a m p l e s : m a n , m a c e , d e a d , s a n d , m u d , s a d )
3- Word: P H I L I P P I N E S
(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 ^ A T U ^ ^ D : letters remaining give Laud. )
1.2 G A I S T D G O I T S 1.3 D O A C T E A D V I P N A 1.4 M B A S N D C U R T R I E A 1.5 A G Q I M T C A O R A 1.6 G K U T D O Y A M P F I
2. Remove six letters in each line. You will find the names of three Igorot dances:
2.1 P E A G L M A H K I Q T S 2.2 J P O A K L M O S K D 2.3 C O T S A H D G O E K
3. Remove five letters from each line. The names of five Philippine folk songs will be revealed:
D R E 0 3.1 3.2 3.3 3.4 3 . 5
B P A S M A P T A T B A L A E
S M U L P G T A I S N I H M A 0 R 0 U N
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N A T W E D D M A Y D I L I 0 N G K U P B 0 E R 0 N D S
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4 .1 4.2 4.3 4.4 4 . 5 4 . 6
T K 0 U L P E G A T D S U P L D A 0 G P B 0 A D N S K 0 T L
I P N S I M 0 E D U A I
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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
1. 2. 3. 4. 5. 6. 7. 8. 9.
10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.
1. 2. 3. 4. 5. 6. 7. 8. 9.
10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.
Bun Kulin -Diwdiw-Su Daba -Baban -Octa -Ban A Koli -Kallel-Gan Suli -Ku Ron Git Gab Baling-Pald -Gandin-
3. TRIBES
Bukid • Apay • Ifu Bon Man Ba Suban Ma Bad Mar Maguin' U Sam Tau Kalin Tir Tasa Han Yak T'Bo
kan durria gong tong ging bao bang da 11 a bing gan dil kaka vina 1 ing sa tang eng as ara ong
ga joa gobo day toe non anao gao an ao unoo bo daya on li nobo al uray sug danao
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10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.
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10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.
DANCES
Tinik Maz Panga Pa Binas Sing Pol Lu Pala Wasi Ta Al Carin Magla Kala Dug Pinu Katsut Kino Sub
PLACES
Lu Vtsay Ilo Ban Jo Cav Pala Min Ley Man Ak Pagsan Zambo Bag Su Ri Ce Sam Tagay Ta
- lok 1 - lay 1 - kis 1 - hag 1 - pati 1 - so 1 - osa ' - sa 1 - ay ' - urka - ton - 1 ing - uan - lay - li - kil - w a s - ka 1 - dok - latik
- ila - bu - wan - lo - danao - te - jan - ar - lu - uio - zon - al - ilo - ite - as - aue - Ian - ango - zal - tay
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APZ18 607
1. 2. 3. 4. 5. 6.
GAMES
Saron Palo Luksong Pi Si Timbang
ko Preso Sebo gola pa Tinik
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PUZZLE NO. 15
GENERAL CROSSWORD NO. 1
Clues :
ACROSS
1. 3. 5. 7. 8.
10. 13. 16. 18.
20. 22. 23. 24. 26. 28.
31. 34. 35. 37. 38. 39. 42. 45. 46. 48. 49.
6. MUSIC
1. Tal 2. Sa 3. Du 4. Lu 5 . B i n a 6. T i n i k 7. Dahil 8. B a n g 9. Pamul
1 0 . I 1 1 . S i n u 1 2 . Ela 1 3 . Ulla 1 4 . A t i n K u P u n g 1 5 . Bic 1 6 . Al 17. Ta 18. Tahing
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yes or no?
A game is palo . Tagalog word for one A Bukidnon dance. Visayas is a dance: Roofing for houses. La Jota . Rural dance using two poles. Bamboo instrument hit on arm. Name this song:
Moro drum. Moro group from Basilan Island. Magtanim -- di Biro. Republic of the Philippines (abbrev.) Many handcrafts made of this fibre. Name this song
Word lumakad means go or Tagalog word for yes. Name for guitar. Wine from palms or sugar-cane. Iloilo (abbrev.). City in the south. Type of grass for roofing. Bamboo flute of the south. Bamboo castanets.
Terraces. Ifugao is a southern tribe: yes or no?
1 ing Singsing 1 im log daw gonggo bic lig Adhan sig Sa lyo B a i 1 a yog wen lay awi lip Lay
a b c d e f g h i j k 1 m n 0 P q r
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, h i
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
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PUZZLE NO. 15: GENERAL CROSSWORD NO. 1
PUZZLE NO. 16: GENERAL CROSSWORD NO. 2
APZ22
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.
611
APZ23 612
DOWN
1. 3. 4. 5. 6. 7.
8.
10. 11. 12. 14. 15. 22. 24. 25. 28. 29. 30. 31. 34. 35. 37. 39. 40. 42. 43. 46. 47.
49. 52. 55. 57. 58. 60. 61. 63. 65. 66. 67. 68. 70. 73. 76.
77. 78. 79. 80. 81. 82. 86.
'Manang Biday
this song title
A rondalla string instrument. Yes. Often eaten at fiestas. Spanish word for the. Part of Bontok male apparel. Tagalog word siyam means a number between one and ten. What is the number? This song begins with the words: Ilukat '. 'Atin Ku Pung Singsing': part of Opposite to hindi. 'Leron Leron Sinta': part of this song title. Often combined with festivities of Ati-Atihan. Title of respect used when greeting an elder. Tribe with 'a a ' in name. Principal city in Mindanao. 'No Te Vayas': part of this song title. Dance 1 ike a duck. Gansa is a . Special dessert of ice-cream and fruit. There are several dances about this insect. 'Saad': part of this dance title. Another part of song in 25 above. Sa is Tagalog word for --. Tribe name with three letters. Tagalog word for on. Needs a saucer. A dance from Spanish times. Bamboo castanets. Name this song:
Biro part of this song title.
dance title used once of this Isneg.
'Magtanim Ay Di Exclamation. 'Alitaptap ': the part Tribe called or Spanish word for the. Moro form of decoration. Many dishes are from capiz shell. Same answer as 58 above. Moro drum. Ifugao G-string. Some Bontok houses do/do not have cogon roofing. Tagalog buwan means . 'A La Jota': part of this dance title. — Atihan. The lowest instrument in the rondalla is instrument. Spanish word for us. Part of the chant Bicbic. Okil may decorate around the . Isa. Vinta. Opposite to out. 'Am-maga ': part
a
of this chant title.
APZ24 613
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APZ25 614
PUZZLE NO. 1
MUSICWORD NO. 1
ANSWERS
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PUZZLE NO. 2
MUSICWORD NO. 2
3 2C H I
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APZ26 615
PUZZLE NO.
PICTUREWORD
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PUZZLE NO. 4
PICTUREWORD NO. 2
5S I P A N I
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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
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APZ28 617
MYSTERY WORD PUZZLE NO. 2 K A W A T
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MYSTERY WORD PUZZLE NO. 3 © ® B U N K A K A
B O A B I L U S S A R G ® P B N O A L D O A I A N L B I R N N G S ® A E N U G ® D S K N S G M O C T A V I N G N A T N I L
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MYSTERY WORD PUZZLE NO. 4
Word: SULING
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Word: SACHS-HORNBOSTEL
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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 7+n - Subanon 8+p - Manobo 9+b - Badjao
10+g - Maranao
MATCH THE WORD:
1+k - Luzon 2+0 - Visayas 3+m - Iloilo 4+p - Banaue 5+d - Jolo 6+n - Cavite 7+c - Palawan 8+e - Mindanao 9+f - Leyte
10+a - Manila
MATCH THE WORD:
1+d - Sarongola 2+c - Palo Sebo
16+r 17+d 18+k 19+i 20+O
Places (4)
Games
3+f - Luksong Tinik
MATCH THE WORD:
1+p - Talawi 2+q - Salip 3+m - Duyog 4+0 - Lulay 5+h - Binalig 6+a - Tinikling 7+k - Dahil Sa
Music
lyo 8+i - Bang Adhan 9+n - Pamulinawen
11+q 12+g 13+r 14+j 15+i 16+s 17+b 18+h 19+t 20+1
(5)
4+a -5+e -6+b -
(6)
10+e 11 + d 12 + r 13+c 14+b 15+g 16+j 17+f 18+1
- Tiruray - Tasaday - Hanunoo - Yakan - T'Boli
- Aklan - Pagsanjan - Zamboanga - Baguio - Sul u - Rizal - Cebu - Samar - Tagaytay - Taal
Piko Si pa Tumbang Preso
- Idaw - Sinulog - Ela-Lay - Ullalim - Atin Ku Pung - Bicbic - Alsig - Tagonggo - Tahing Baila
Singsing
PUZZLE NO. 15
GENERAL CROSSWORD NO. 1
ACROSS
1. 3. 5. 7. 8.
10. 13. 16. 18. 20. 22. 23. 24. 26.
Sebo Isa Dugso No Nipa Moncadena Tinikling Bunkaka Lul ay Dabakan
Yakan Ay R.P. Abaca
DOWN
1. 2. 4. 6. 7. 9.
10. 11. 12. 14. 15. 17. 19. 20.
Sa Buid Saad Singkil Nino Apat Mindanao Kubo Vinta 111 Ka 1 i n g a Alay A . P . A . Diwata
APZ32 621
28. 31. 34. 35. 37. 38. 39. 42. 45. 46. 48. 49. 51. 53. 54. 55. 56.
Dandansoy Go Oo Gitara Tuba Ilo. Jolo Cogon Suling Buho Rice No Hat Nail Okil Yano Palakis
PUZZLE NO. 16
GENERAL CROSSWORD NO. 2
ACROSS
1. 3. 7. 9.
12. 13. 15. 16. 19. 22. 24. 25. 26. 28. 29. 30. 31. 32. 34. 37. 39. 41. 43. 44. 48. 49. 50. 52. 54. 55.
Ubo La Sinulog CCP On A La PAL Dalawa Tatlo Ka G Kris Alay Di Ka Te In As Atin Wind Canao Ela Oo Clara Sipa Pear One So Do Luzon
21. 25. 27. 29. 30. 32. 33. 36. 40. 41. 42. 43. 44. 46. 47. 50. 52.
DOWN
2. 4. 5. 6. 7. 8. 9.
10. 11. 14. 17. 18. 20. 21. 23. 27. 28. 31. 33. 35. 36. 38. 40. 42. 44. 45. 46. 47. 51. 53. 54.
Band Kolitong Carabao Agong No Wano Tatlo Wine Luzon Piko Carinosa Game Nanay Bahay Sa 1 i p One Ten
Bic Si Bunkaka Oo Saad No Cap Palakis Haplik Sa Apat Way TR Osa San Leader Davao lit Kill Isa Da Ng Nose Lapu Capiz Ay Palo Dos Noo On De
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
622
623
ACKNOWLEDGEMENT OF SOURCES
FOR
CURRICULUM A AND CURRICULUM B
Acknowledgement of sources for Curriculum A
and Curriculum B comprises six (6) sections,
namely:
624
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 ,,«„„ m i x 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 f e a s t - 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. Conver t ing a Moro to C h r i s t i a n i t y - M a j u l (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 . M c D o n a l d .
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 couple
Vugso
- P. Brennan, at Museum of Costumes, Manila, 1980.
- 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
Growing rice
- P. Brennan, 1981
- P. Brennan, 1980
Page 862 Ifugao dancing
Ifugao market day
- P. Brennan, 1981
- 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 ch i l d - 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 ( B u l a c a n ) - A l e j a n d r o ( 1 9 7 8 : 2 0 0 )
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 transcribed 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.
O k l l 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 d a b a k a n 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 - A lv ina (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, i n s t r u m e n t s . 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 O c t a v l n a and collection. Banduftfila
B Supplement (vi) Fort Santiago - A. Brennan.
Working in fields - Photograph P. Brennan.
AUDIO AND VIDEO CASSETTE TAPES
There is an identical Audio Tape, and an identical Video Tape, for Curriculum A and Curriculum 8.
652
AUDIO TAPE
Side A
TRIBAL
1. H u n t i n g t k z Boaft - Bayanihan on Tour, Monitor MFS428.
2. Tribal Instruments -
Gansa
Sullbao
Kallzlzng
A^lw
Banglbang
Paldong
Bunkaka
Kolltong
- Bayanihan on Tour, Monitor MFS428. 'Tallp'
- Bayanihan 6, Monitor MFS723. 'Idaw'
- Kayaw, Villar MLP/MLS-5173. 'Tupay-ya'
- Bayanihan on Tour, Monitor MFS428. 'Hunting tkz Boaft'
- Bayanihan, Monitor MFS322. ' B a n g l b a n g Funeral Dance'
- Kayaw, Villar MLP/MLS-5173. 'Bamboo Mouth Flute'
- Philomena Brennan and John Terry.
- Philomena Brennan and Maligaya Dance Company.
3. Bontok Waft Vancz Bayanihan Sings! Monitor MFS372.
4. Music of the Hanunoo: The nine Hanunoo excerpts on Tape
Hanunoo Music from the Philippines, Ethnic Folkways Library FE4466.
5. E a l l m a c - B i l a a n - Bayanihan on Tour, Monitor MFS428.
6. Ifugao Gansas
7. Blcblc
Alslg
Ullallm
Ela-Lay
Salldumay Mang-Anl
Philomena Brennan field recording at Banaue, Mountain Province, 1981.
Kayaw, Villar MLP/MLS-5173.
Kayaw, Villar MLP/MLS-5173.
Kayaw, Villar MLP/MLS-5173.
Kayaw, Villar MLP/MLS-5173.
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
10. Idaw
Kayaw, Villar MLP/MLS-5173. 'Sallp'
- 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
Kudyapl
Suling
Kublng
Babandll
Bayanihan on Tour, Monitor MFS428. 'Pangalay'
Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Patundug'
Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Makablmban'
Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Tlnumbuk a Tlnadtad'
Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Vuyog Mode on the Babandll'
654
Vabakan
Gandlngan
Agong
Kulintang
3. Blnallg
4. Taking Balla
5. Gabbang
6. Sagayan Sa Kulong
Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Vuyog Mode on the Vabakan'
Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B. 'Slnulog Mode on the Gandlngan'
Bayanihan on 'Pangalay'
Tour, Monitor MFS428.
- 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'
- Ang Mga Kulintang sa Mindanao at Sulu, Kagawaran ng Pananaliksik Sa Musika, 1980. 'Blnallg' (Nuling, Cotabato).
- Bayanihan, Monitor MFS322.
- Bayanihan on Tour, Monitor MFS428. 'Pangalay'
- Bayanihan Sings! Monitor MFS372.
Side B
7. Talawl
Bang Adhan
Radja Indaftapatfta
Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B.
Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B.
Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B.
Bungbung Mangmang
8. Slnulog
- Music of the Maguindanao in the Philippines, Folkways Ethnic Library FE4536A/B.
- Ang Mga Kulintang sa Mindanao at Sulu, Kagawaran ng Pananaliksik Sa Musika, 1980. ' S l n u l o g ' (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 Haw
2. Pamullnawzn
3. Ckltckltftltcklt
4. Words to Ckltckltftltcklt
5. Polkabal
6. Maglalatlk I
7. Maglalatlk II
8. Vakil Sa lyo
9. Kondansoy
10. Lulay
11. Words to Lulay •
12. Lzfton Lzfton Slnta
13. Words to Lzfton -Lzfton Slnta
14. Atln Ku Pung Slngslng
Philippine Rondalla Folk Dances, Plaka Pilipino TSP-5223 (WL-72-71).
Bayanihan Sings! Monitor MFS372.
Bayanihan Sings! Monitor MFS372.
Philomena Brennan.
Bayanihan, Monitor MFS322.
Bayanihan, Monitor MFS322.
Philippine Rondalla Folk Dances, Plaka Pilipino TSP-5223 (WL-72-21).
The World Famous Pangkat Kawayan, A & W Records International AWL-1002.
The Historic Bamboo Organ of Las Pinas (Philippines), 1975.
Bayanihan, Monitor MFS322.
Philomena Brennan.
Bayanihan Sings! Monitor MFS372.
Folk Songs of the Philippines, Folkways Records FW8791.
Souvenirs from the Philippines, Volume 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 - Phi l ippine Rondalla Folk Dances, Plaka P i l i p i n o 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 ( 1 9 8 0 : 6 1 ) .
d. Kulintang - Goquingco ( 1 9 8 0 : 1 4 2 - 1 4 3 ) .
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
14A Lulay
15A Walay Angay
Page APZ3 ID Atln Ku Pung Slngslng
2A Ckltckltftltcklt
3D Haplik
40 Tlklos
5A Condansoy
6A Lulay
7D Lzfton Lzfton Slnta
80 5aad
9A Pamullnawzn •
lOD Bahat/ Kubo •
110 Kalapati
12A Itlk-Itlk •
13A Wanawg Biday-
14D fewde 0 Pende
15A Tlnlkllng
16A Sampaguita •
- Collected P. Brennan.
- Collected P. Brennan.
- San Pedro (Maceda and Garcia 1953:1).
- Collected P. Brennan.
- Kasilag (Maceda and Garcia 1953: 148-149).
- Collected P. Brennan.
- Aquino (1976 11:129).
- Collected P. Brennan.
- Collected P. Brennan.
- Collected P. Brennan.
- Aquino (1976 :77).
- Collected P. Brennan.
- Collected P. Brennan.
- Collected P. Brennan.
- Collected P. Brennan.
Kasilag (Maceda and Garcia 1953:140)
Transcribed P. Brennan from Bayanihan Philippine Dance Company, Bayanihan Sings! Monitor (MFS372).
Collected P. Brennan.
Collected P. Brennan.
Pages APZ4 and 5 All drawings - A. Brennan.
Page APZ6 Three figure designs
Two designs
- Casino (1973:51).
- 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 - Col lec ted P. Brennan
Page APZ23 470 Pamullnawzn - 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)
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