Music educational and ethnomusicological implications for ...

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)


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)


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


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)



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)



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


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)



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)



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


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.)


§§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


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.

http://iu.lA.bao

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

http://kalle.le.ng

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 aîui 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 aîw 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 aîui 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.

http://kalLe.le.nq

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


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 pfâglong (above, in Fallmac-Bllaan),

an improvised part could be added to Vugô if played

STYLISTICALLY. This string accompaniment is by no

means necessary, as the bells alone are authentic.

Pugô dance instructions follow: Vug6o [l] - \vl)

(freely adapted and re-interpreted, as observed,

from Aquino II 1976:121). Vugô 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 Vugô .

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 Vugô.

A simplified version of Vugô 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 Vugô, 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


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


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 ^î^j^îsîgWkv^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.

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H.

M.

L.

••.>/] rrnrnum ivL mi

h± ? (

•.J7-. .1 ? li'i >

J = Hit with wooden mallet = Hit with felt mallet

http://J77l.rrn.rm

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]


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


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


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 daling 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

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L.H.

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A83

SB24

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A84 427

SB25

Transition

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SCALE ^

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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

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AGONG Intro.

Ostinato

H,

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2 Gongs rjjn izJi

Rnk L.

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GANDINGAN Intro.

Ostinato nmn^mn} ,QJ H. I

3 Gongs M.:

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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

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T'' r r

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A88 431

SB28

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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


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


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/

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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


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


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 -

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A108

SB35

451

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A109 452

SB36

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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

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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 .

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a: B P 5'M n n 11 n n 11 ^= /B/

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$

nir J J 1.1 n f i ^ ^ N s Ok

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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 — _ : :

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A137 480

SB46

It ». % H *. t » -ir-Y nnu 11 11 V, X

j l I I I I ^ « « i

ite


Pampango

D lO- M- P 1. n: n:

^ ^ ^ • •'

te P i ^ ^ s 4-

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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


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


PUPIL'S BOOK

I N D E X

Page

(Pupil 's Bk.)


§§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


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


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)

tTrTTIJyîriMJ^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^:,*-^^^^^

îrîr ^ , ^ , , , \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^^^\^\î''

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)


513

Summarize slides illustrating Tribal culture:

m

X/A"'

514

B SUPPLEMENT (ii)


Summarize the culture of Philippine Tribes:

.jxsi0>h.,;w-

515

P u p i l ' s B k . - 11


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


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


2. It is sung by a 3. Comment on the breathing:

Listening Sheet

(2) BANG APHAN


2. It is sung by a 3. Comment on the breathing;


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


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


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)


Summarize slides illustrating Moro culture;

B SUPPLEMENT (iv)


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.


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

-< —I

•—1

-< o z o Bi

CQ

l u

CO

Z

U J

-a o

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)


Summarize slides illustrating the culture of the Filipino Christians :

534

"^,.,,. -iji^^j,' ..^p^iflJifc'^'^ •

B SUPPLEMENT (vi)


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


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


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^0î art J JIJ 0 bet-sa-lay^jê 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-deÂ) 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 ,/sîng-ka lae

J y ^

^ l u -sa- lu - ingâ 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 'î-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^


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


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


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.

UU^^n ^ ,.,nv>A i r a - f - i ' - t - l a / ~ a n i - t - a l i c o / H T a•^•^av>t^ An i Where a appear in th in the puzzl dance titles La Jota Mono title may be throughout t example, may separate wor each puzzle, placed: La cases, only and this is

word is e puzzle e simply consist

adena. togethe

he puzzl be foun

ds in di underli

Jota Mdn

t i t Spa

as n. of mo

In the r, or e. Th d as 0 f f e r e n ning d cadefia

a sectio denoted:

n of t La J

le, capi nish wor

Some F re than puzzles

the word us. La J ne long t spots emonstra or La J

he title Ota Mono

tali se d s u s i i 1 i p i n one wo , all s may Ota Mo word, in the tes ho Ota Mo i s _ u s

adena.

ery

d letters do not ng n are shown 0 music and rd: for example, the words of a be scattered ncadena, for or as three word grid. In

w the_title is ncadena. In some ed in the puzzle

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


MAINLY RURAL CHRISTIANS' MUSIC AND DANCE

The words for this puzzle will be listed under two sections: Music and Dance.

Music: Leron Leron Sinta Dance: Binasuan

Magtanim ay di Biro Pandanggo Sa Haw

Atin Ku Pung Singsing Lights in a Glass

Carinosa Tinikling

Rice Song Lubi

Lulay Katlo

Music from Iloilo Balintawak dress

C.A.B. Paseo de Bicol

Bandurria Itik-Itik

APZIO 599

p

R

N

C

L

A

R

A

A

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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.)


PUZZLE NO. 8


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)


PUZZLE NO. 9


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


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


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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4. Remove five letters from each line. The remaining letters will give the names of six Philippine instruments.

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.

4.

1. 2. 3. 4. 5. 6. 7. 8. 9.

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

(a (b (c (d (e (f

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

1 na

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


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


APZ22

PUZZLE NO. 22


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

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7 L E R 0 N L E R 0 N S I N T A

APZ26 615

PUZZLE NO.

PICTUREWORD

7P

8K U B I N G

3

NO.

2S U A L A K 0 U T 9M

IIV

1

L

6 W I N N 0 W I N

12G

130 R I C

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1 4 R I C E T E R R A C E S

PUZZLE NO. 4

PICTUREWORD NO. 2

5S I P A N I

1 T I N I K L I

13B I N U

9F lOS U N K A

H G

A G

N K A K A

I 2 P U K I 0 L

3 S U L I B A 0 11

4N I P A

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19D U G S 0

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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

A L A T P T A K I L L Y I N G 0 ® B I R K T U I T 1 A L ® N

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Word: RONDALLA.

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

N 0 T I I D N A

E D U D A I T A P A

P A Y D

N A I 0 G N 0 L G A I

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Word: SULING

® ® G N I L B A N G I B G K ® ® W P

u A T

S N N

L G A

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D E I I S®

l A A O B K U O A S) F L M M

A B I K A A L A G G S I R A N U

A B 0 P N L A N B G L 0 N I A N ® ® P 0 I 0 R P E G G T N A G N I D N A

Word: SACHS-HORNBOSTEL

MYSTERY WORD PUZZLE NO. 5 © 0 R I

M B S N A I ^ L NCI

Y®®H W o r d : C H I T C H I T R I T C H I T

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


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


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


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.





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.



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.


Philomena Brennan.

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.


Philomena Brennan.


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


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.


- San Pedro (Maceda and Garcia 1953:1).


- Kasilag (Maceda and Garcia 1953: 148-149).


- Aquino (1976 11:129).




- Aquino (1976 :77).





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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