UNIVERSITY OF CALIFORNIA PUBLICATIONS

IN

AMERICAN ARCHAEOLOGY AND ETHNOLOGY

Vol. 15, No. 2, pp. 187-206

May

10,

1919

NABALOI SONGS
BY
C. R.

MOSS AND

A. L.

KROEBER

UNIVERSITY OF CALIFORNIA PRESS

BERKELEY

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UNIVERSITY OF CALIFORNIA PUBLICATIONS

IN

AMERICAN ARCHAEOLOGY AND ETHNOLOGY

Vol. 15, No. 2, pp. 187-206

May

10,

1919

NABALOI SONGS
BY
C. K.

MOSS

AND A.

L.

KROEBER

CONTENTS
PAGE
Introduction

187
translations
]

Words and

88

Transcriptions Analysis of music

193
_

195 195 198

Tonality and scale

Intervals

Rhythm and Summary

structure

199 202 203 203 205

Comparisons Other Nabaloi songs Other groups

INTRODUCTION
The following songs are from the Nabaloi of Kabayan and from the neighboring Nabaloi-Kankanay of Buguias both in Benguet, northern Luzon, Philippine Islands. These two Igorot groups began to come under Christian influence only toward the close of the period of Span;

The words were recorded and translated in The melodies were transcribed by ear by Teodoro Francisco, instructor of the Kabayan school band. For the analyses and comparisons A. L. Kroeber is responsible.
ish rule of the islands.

1915 by C. R. Moss.

188

University of California Publications in

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Arch, and Ethn.

[Vol. 15

WORDS AND TRANSLATIONS

1.

GIMANGAMAN
Gaya, gaya, may-

1.

Gayumko gimangaman gayumko gimangaman.

;

kaga.
2.

Iti all

kamajon:

iti all
;

kamajon.

Gaya, gaya, maykaga.

3. 4.
5.

To nankoma komayan to nankoma komayan. Gaya, gaya, maykaga. Jo i olop si Babad jo i olop si Babad. Gaya, gaya maykaga. To ak i chibchiban to ak i chibchiban. Gaya, gaya, maykaga.
; ;

1.

My spear,

the sacrificial spear

my

spear, the sacrificial spear.

Ex-

perience, experience then.

2.

There came a centipede; there came a centipede.

perience, then.
It

Experience, ex-

3.

climbed up and down;

experience then.

it

climbed up and down.

Experience,

4.

You

bring with you Babad; you bring with you Babad.

Experi-

ence, experience then.

5.

He

will tell

me what

it

predicts

he will

tell

me what

it

predicts.

Experience, experience then.

2.

OYAMI

1.

Ma

alis

Oyami ma
;

alis

Oyami.

2.

3. 4.
5.

6.

Angagto ni timpepi; angagto ni timpepi. Tuay idaguanmoso? Tuay idaguanmoso? Idauko'd chi Kayapa; idauko'd chi Kayapa. Nak isadat ni baka; nak isadat ni baka. Idako nan Kamora; idako nan Kamora.
Is

1.

2. 3.

coming Oyami is coming Oyami. She is carrying a timpepi; she is carrying a timpepi. "Where are you taking it? Where are you taking it?"
;
' '

4.
5. 6.

I will take it to

Kayapa

I will take it to

Kayapa.
it

I will

exchange

it

for a baoa; I will exchange

(I) will sell to
its

for a baca.

(I) will sell to

1

Kamora;

Kamora."
is, dj.

"J"

somewhat approximating

English value, that

1919]

Moss-Kroeber: Nabaloi Songs

189

3.

ORANGAK ALID BAYBAY (KANKANAY)

;

1.

2.
3.

4.
5. 6.

Orangak alid baybay orangak alid baybay. Orangak chi sepjiakto orangak chi sepjiakto. Kuanko, sasengunko; kuanko, sasengunko. I chanom i waswasto; i chanom i waswasto.
;

Ji angulot

waswasto;

ji

angulot

waswasto.

7.
8. 9.

Sorangto, sorangto; sorangto, sorangto. Sidanko ch.ua 'n singi sidanko chua'n singi.
;

Simbik
Insabik

i i

mabdin
kalonto
;

bil
;

simbik
i

mabdin

bii.

insabik
ji

kalonto.

10. Ji agontolotolok

agontolotolok.
;

11.

Kin makaok

manok kin makaok

manok.

12. Ji agontolotolok; ji agontolotolok.

13.
14. 15.

Sorangko ni bayingko sorangko ni bayingko. Ta tobako kinkauko ta tobako kinkauko.

;

Dangdang
I I

inakanto

dangdang
;

inakanto.

1. 2.

am am

fish

from the ocean from

its

fish

shore

am am a

a fish from the ocean.

fish

from

its

shore.

3.

I said,

"I

will go against the current"; I said,

"I

will go against

the current.
4.
5.

6. 7.

8. 9.

The water, the flowing water; the water, the flowing water." But muddy was the water but muddy was the water. For this reason, for this reason for this reason, for this reason. I went against the current of two brooks I went against the current of two brooks. I found a pretty mate I found a pretty mate.
; ;
; ;

All night I tried to engage her all night I tried to engage her, 10. But she would not agree but she would not agree.
; ;

11. Until

crowed the cock until crowed the cock.

;

12. 13. 14. 15.

But

she would not agree

On

account of

my

but she would not agree. shame on account of my shame

;
;

Then tobacco I requested then tobacco I requested. A cigar I was given; a cigar I was given.
;

4.

PALANAJO
Palanajo.
i

1.

Ma

alis

Palanajo
i

ma
;

alis

2. 3.

Balitok

toktokto

balitok

toktokto.
i

Yabyab

tangidato; yabyab

tangidato.

190

University of California Publications in

Am.

Arch, and Ethn.

[Vol. 15

4.
5.

Siwisiwi takdayto

siwisiwi takdayto.
i

Sulibau

ulpoto; sulibau
i i

ulpoto.
i

6. 7.

Chapochap
Salochang

chaponto

chapochap
salochang
i

chaponto.

tagdangto

tagdangto.

1.

2. 3.

Is coming Palanajo; is coming Palanajo. Gold is his head gold is his head.
;

4.
5. 6.

Bellows are his ears; bellows are his ears. A sieve for gold are his hands a sieve for gold are his hands.
;

Drums

are his thighs;

drums

are his thighs.

;

Instruments for hunting gold are his feet

gold are his
feet.
;

instruments for hunting

7.

A basket for gold dirt are his ribs

5.

a basket for gold dirt are his ribs.

BAKLATANKO

1.

Baklatanko's Kamising; di binalyanto'd Gusaran-i.

Iman
2.

imayoroti.

Baklatanko's Lamsis-i; di binalyanto'd Daklan-i.

Iman
3.

imayoroti.

Baklatanko's

Kuan

Bijar; di binalyanto'd Kabayan.

Iman
1.

imayoroti.

I will invite

Kamising; where he
is

lives is

Gusaran.

That one
2.

a celebrator of the pachit.

;

I will invite

Lamsis where he
is

lives is

Daklan.

That one
3.

a celebrator of the pachit.

;

I will invite

Juan Bijar where he

is

lives is

Kabayan.

That one

a celebrator of the pachit. 2

6.

TIKDAUAK, PITINGAYAK

1.

2.

Manbalayjak

Tikdauak, pitingiak; pitdauak, pitingiak. chi bato manbalayjak chi bato.

;

3.

Bato'n agkutokutol; bato'n agkutokutol.

4.
5.
6.

Ma

alis

Iidungko

ma

alis

Ildungko.

7.
8.

Toak inkasokaso; Agto at pangoso Yomut, ikitanko; Inkaya kayadoko

;

toak inkasokaso.
agto at pangoso.

yomut, ikitanko.
;

inkaya kayadoko.
men who
cele-

The song

is

continued by using the names of the other rich

brate the pachit.

1919]

Moss-Kroeber : Nabaloi Songs

191

1. 2. 3.

am

a frog, I

am

a frog
;

am

a frog,

am

a frog.

I live

under a stone

I live

under a

stone.

4.
5.

stone rough-surfaced; a stone rough-surfaced. Is coming my mate is coming my mate.

;

6.
7.

He was taking hold of me he was taking He did not quite let go he did not quite
; ;

hold of me.
let go.
is

This

is

how

it

was

I tied

a string; this

how

it

was

I tied a

string.
8.

Then

I pulled it

then

pulled

it.

(Etc.)

7.

KABADYOK (KANKANAY)
;

1.

Kabadyok

lablabang

kabadyok

lablabang.

2.

Panagtago'd Mankayan; panagtago'd Mankayan.

Inabatkoi babasang
;

3.
4.
5.

inabatkoi babasang.
;

Imbagbagaday sakang imbagbagaday sakang.

Anitay sumay sagang; anitay sumay sagang.

6.
7.

8.

Ta asi tamasagang ta asi tamasagang. To mowada, mowada; ta mowada, mowada. Ta mankoi sin baiko ta mankoi sin baiko.
;

1.

My horse
black.
I I

is

spotted white and black

my

horse

is

spotted white and

2.
3.

4.
5.

caused it to run to Mankayan I caused it to run to Mankayan. met a young unmarried woman I met a young unmarried woman. She asked me to have commerce she asked me to have commerce.
;
;

"Wait

6.
7.

wait until the rising sun. Then (I) will have commerce; then (I) will have commerce. Then if you have (a baby) then if you have (a baby)
;

until the rising sun

8. I will

rear

(it) in

my

house; I will rear

(it) in

my

house."

8.

BALUGAK ALID LOKO (KANKANAY)

(Repeat.)
(Repeat.)

1.

Balugak

alid loko, ho-ho-o, ho-ho-o.

2.
3.

Pangkaljo'd ja bangsaljo, ho-ho-o, ho-ho-o.

Tap
Inay

imaydali too, ho-ho-o, ho-ho-o.

ti

(Repeat.) (Repeat.)

4.
5.

salsalangto, ho-ho-o, ho-ho-o.

6.

7. 8.

Agda kami kuskuso, ho-ho-o, ho-ho-o. (Repeat.) Ampay, "Tui daguanmo?" ho-ho-o, ho-ho-o. (Repeat.) "Ondaukami'd ngo'd sagud," ho-ho-o. (Repeat.)
Kami'd mangadan Gaud,
ho-ho-o, ho-ho-o.

192

University of California Publications in

Am. Arch, and Ethn.

[Vol. 15

1.

am

a dove from the lowlands, ho-ho-o, ho-ho-o.

2.
3.

Take away your tools, ho-ho-o, ho-ho-o. Because are coming people, ho-ho-o, ho-ho-o.

4.
5. 6.

The direction

is

from the north,

are

ho-ho-o, ho-ho-o.

We

don't see

all,

ho-ho-o, ho-ho-o.

Question:

"Where

7. 8.

"We "We

will go also to

you going?" ho-ho-o, ho-ho-o. Sagud," ho-ho-o, ho-ho-o.

ho-ho-o, ho-ho-o.

will get

Gaud,"
9.

SALASALAGKA'N BOLAN

1.

Salasalagka 'n bolan; salasalagka 'n bolan.

2.
3.

Panakchanko 'd Kaptungan; panakchanko 'd Kaptungan.

Bato, bato, gatinan
;

bato, bato, gatinan.

4.

Bulo, bulo, pachiman; bulo, bulo pachiman.

Brighter, brighter, shine you

1.

moon

brighter, brighter, shine you

moon.
2.

I will follow the trail to the hot lands

I will follow the trail to the

hot lands.
3.

4.

Rocks, rocks to step on rocks, rocks to step on. Bamboo, bamboo to hold to bamboo, bamboo to hold
;

to.

10.
1.

PANSADONKA'N AMONIN

2.
3.

Pansadonka'n amonina; pansadonka'n amonina. bakbad si Atodinga; mo bakbad si Atodinga. Agtoampta'n mambadina; agtoampta'n mambadina.

Mo

4.
5. 6.

Ampasud timongauka; ampasud timongauka.

Imanakka
ni chua
;

imanaka ni chua.
singa sendesos ngoruchian.
;

Pasigtayo panchuana; pasigtayo panchuana.

7.

Singa sendesos ngoruchian

1. 2.

3.

4.
5.

Come from the South civet cat come from the South civet cat. You cross the path of Atoding you cross the path of Atoding. He does not know how to make a journey to trade; he does not know how to make a journey to trade. Better had you stayed at home better had you stayed at home. You would have had children two; you would have had children
; ;

two.
6. 7.

Ready Equal

to divide

between us; ready to divide between

us.

to a

hundred (pesos) the younger; equal

to a

hundred

(pesos) the younger.

1919]

Moss-Kroeber : Nabaloi Songs

193

11.

BAGBAGTO

Bagbagto, bagbagtolambik
Bibikan, bibikalonay
;

tolarubik, tolambibikan.

kalonay, kaloninkanay.

Pinkanay, pinkaaganay; aganay, aganayakta.

Nayakta, nayaktakompa
;

takompa, takompayaan.

Payaan, payaatiban; atiban, atibalangau.

Balangau, balangauistan ngauistan, ngauistanabau. Tanabau, tanabautikan bautikan, bautikamadun.
; ;

Kamadun, kamadiyongnas

diyongnas, diyongnasaas.

Asaas, asaasdipnas; asaas, asaasdipnas.

12.

SALANGI (KANKANAY)
yanut.

Salangi, salangi, yanut; salangi, salangi, yanut.

Elastoi, elastoi,

yanut;

elastoi, elastoi,
;

Salagoi, salagoi,

yanut

salagoi, salagoi, yanut.

Salagoi, salagoban; salagoi, salagoban.

Num
A

agakati

mobidayak

num

agakati

mobidayak.
live.

If I do not die, I will live; if I do not die, I will

;

Kankanay, kankanayonko kankanay, kankanayonko.

Kankanay,
I will

remain a Kankanay; a Kankanay, I will remain a Kankanay.

Some
rhymed.

of these songs give the impression of being

more or

less

Compare

especially

numbers

3, 4, 5, 7,

8, 9.

"Whether the

Nabaloi feel these apparent rhymes as such, is difficult to say. Primitive people of course are almost invariably ignorant of rhyme. But the Philippine peoples have been subject to so many and ancient

from higher civilization, that the question cannot be dismissed offhand, and attention to the point in inquiries among other
influences

pagan

tribes of the islands seems desirable.

TRANSCRIPTIONS
1.

MODERATO

z
gaya gaya

Gayankogi
2.

natnga

man

gayankogi

namga man

mayka-

ka

ADAGIO

Ma-

a-

)i-

si

o-

ya-

mi

ma- a-

li-

si

oya-

mi

194

University of California Publications in

Am.

Arch, and Etlm.

[Vol. 15

3.

MODERATO [KANKANAY]

1
0ra-

ngak

a-

lid

bay-

bay

Ma5.

a-

lis

pa- lo-

na-

jo

ma- a-

lis

pa- lo-

na-

jo

Mosso

Baklatankos Ka- mi- sing dibi- nal- yan^ tod

Gu- sa- ran imau-

imayoro-

ti

ADAGIO

Titdawak

tit-

lunga-

yak

nambalayak

ti-

ba-

to

7.

MODERATO [KANKANAY]

i
Ka
8.

m
ilab-

ba yok

labang

ka ba yok

ilab-

la

bang

MODEBATO [KANKANAT]

w
Balugak
alid

lo*

ko

ho-

ho-

ho-

ho-

9.

AD AGIO

^<
Sala-

'

^J
buIan

i^
ka

^
buIan

Ka

10.

ADAGIO

Pansalong-ka-

na amo-

ni-

na

na amo-

na

1919]

196

University of California Publications in

Am. Arch, and Ethn.

[Vol. 15

by putting it at the end of the song as we do, by accenting or holding it. In general there is no method of determining the tonic and then proceeding to build the native scale upon it, since an assumption as to either scale or tonic The only feasible plan seems to be really predetermines the other.
the basal tone, whether
or at the beginning, or
to proceed empirically

by the method

of trial

make every

possible assumption as to

and error; that is, both scale and tonic, and

to

to

(though unconscious) system that one of the several eventuating schemes which shows the greatest coherence and applies most consistently to the total body of music known from the
accept as the native
tribe.

Some approach

to such a

scheme

is

often discernible after suf-

ficient analysis

and arrangement; and

if it is

this

framework within which

not too irregular, is of course the primitive equivalent of our "scale." For the Nabaloi, the assumption of the last note of the song or
the melodies incline to move,

melodic unit as being in some degree the tonic, seems to work out rather favorably. The table, in which for the sake of convenience
all

the melodies have been transposed as if they ended in C, shows

that on the assumption that the tonic comes finally, six of the twelve

a scale (F) A[j B[? C E[> F G. This in turn consists of two halves, thus subtonic, minor third, fourth, fifth tonic, minor The total range of the scale is a tone more than third, fourth, fifth.
songs
fall into
:

an octave: the greatest observed range within any melody is less than an octave. There is clearly no feeling for the octave as an
interval.

The

first

three songs in the table,

numbers

10, 2-4-9, 1,

show

this

scheme quite rigidly. Moreover, they all begin a minor third higher than they end that is, they open on the first note of the scale above
:

the assumed tonic.

Three other songs, numbers 12, 7, 8, begin differently and do not conform so strictly in range or choice of tones. But their notes fall
within the same
scale.

The four remaining

songs,

numbers

5, 11, 3, 6,

agree neither with

the preceding six, nor with each other, except in one feature: they replace the minor third by the second. With allowance for this substitution,

and twice of that of

for A[? and once of

for F, three of

them also fit the suggested scale. undoubtedly akin to number 7, as is shown by both beginning on the fifth below the final. Only number 6 stands wholly apart.
3
is

Number

It is possible that, Nabaloi intervals being less definitely fixed in

1919J

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197

O ~*

CD

CD

198

University of California Publications in

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first six

[Vol. 15

the musical consciousness than ours, the E|? of the the

songs and
at

of three of the last four are a

;

somewhat fluctuating attempt

the same interval

it

or, that, the

was sometimes apperceived

same interval being sung in all cases, as E[? and sometimes as D by the

transcriber.

In either event, the

and

could be similarly equated

with the more regular

Ab and
is

F.
it is

Plausible as this interpretation appears,

however possible that

only a tendency and not a rule in Nabaloi music. The lower part of the table shows the result reached when the notes of songs 5, 11 and 3 are arranged as, without correction, and
the finality of the tonic

without regard for "tonality," they will best

fit

the scale indicated

by the preceding six songs.

ber

Except for the addition of D[? in

' ' ' '

num-

3, they fit this scale absolutely as soon as they are allowed to end that is, are on the note of the scale next above or below the tonic
;

transposed so as to close with

Eb

or

Bb

instead of C.
in this

What

is

lost in regularity of signalization of the tonic,

is

alternative interpretation,

therefore gained in regularity of adher-

ence to scale.
fall in the
all

Of

forty-three notes in the twelve songs, forty

now

scheme F-Ab-Bb-C-Eb-F-G, an ^ tne three exceptions are between C and Eb. The assumption of the invariable coincidence

and tonic yields seven deviations from the scale. two interpretations is the more satisfactory, it is hard to decide. That one or the other comes near to representing the actual melodic basis of Nabaloi music, and that there is such a recognizable basis, is highly probable from the fact that more than half of the songs accord rigidly with the double hypothesis of a certain scale and
of last note

Which

of the

of the relation of the closing note to that scale.

This scale

may

oe

described as lacking semitones, built

up

of intervals of a tone

and a

tone and a half, free from the concept or influence of the octave, and That it is more fluid than the scale of modern non-pentatonic.

European music need not surprise among a primitive or semi-primitive It is at any rate the prevailing framework for a rather people.
definite style.

INTEEVALS
The frequency
of the several intervals between successive notes in
is

the same ten songs

also

shown

in the table.

It

is

interesting that

whereas melodic ascents tend to be by small steps, descents are more sudden. Nearly half the ascents do not exceed a full tone at a time,

1919]

Moss-Kroeber: Nabaloi Songs

199

two-thirds are within a minor third, the greatest leap

the fourth.

upward

is

to

more than three-fifths are greater than a tone, nearly half greater than a minor third, the fourth is the commonest interval after the second, and the fifth occurs.
intervals

Of descending

When
they do

the songs are grouped as previously, they differ

much

as

in scale.
ASCENDING

DESCENDING
Minor
Major
Fourth
....

SONGS
2-4-9,
12, 7,
1,

Second

10

16

5, 11, 3,

8139 5544 24234 8228 6131

Minor Major
third third

Second

third

third

Fourth

Fifth

11

It is clear that the songs that adhere most closely to the prevailing Nabaloi scale are also the ones that are most given to the use of the typical ascending and descending melodic intervals.

The ascending major chord minor C-Eb~G in 2-4-9 and 5.

C-E-G

occurs in songs 1 and

8,

the

EHYTHM AND STEUCTUKE

The rhythm
structure
is

of these Nabaloi songs presents no difficulties; their

an unvarying and perhaps indefinite repetition of a snatch of melody never more than eight or ten measures long. In all but one instance (number 3, which is very
very simple.

They

consist of

brief), the

or units,

melody consists of either two or three themes or phrases, which are closely similar. Numbers 1, 5, and 11 contain
All the others are of double unit type, although
unit.
units,

the unit three times.

numbers 8 and 12 repeat the process within the therefore be construed as built on a plan of four

These

may

though for

number

12, at least,

' '

two plus two

' '

seems a better interpretation.

Generally the two or three recurrences of the unit

variations in rhythm.
is

show only simple

toward singing the Melodically the tendency recurrence with lower notes or at least with a lower close. There
effect

seems to be no feeling for the kind of climactic

brought about

by

the introduction of a slightly higher note or two after a

of the theme

number
of the

of repetitions

a device employed by

many

Indians of California, most of whose songs follow the same plan of monotonously repeating a melody consisting of two, three, or four
variations of a brief theme.
inclination to

The Californians, however, evince less work the general course of their songs melodically down-

200

University of California Publications in

Am. Arch, and Ethn.

[Vol. 15

wards; so that in this feature the Nabaloi are more in accord with
the spirit of most primitive music, in which this trait
is

said to be

conspicuous.

On

the whole there are probably few peoples

who have

attained to the same degree of civilization as the Nabaloi, whose songs, if the present examples are representative, are so consistently regular
in their simplicity of structure.

in

Number 1 was recorded with its first measures written as two bars common time, and its last note prolonged over an additional three-

The words, however, indicate a tripartite division of the melody, and the rewriting of this as presented is also more convincing musically. The ending at Y does not match as closely with that at Z and at the termination of the melody as is usual but a very
fourths note.
;

similar handling occurs in

number
-(-

5.

Both these songs might be

construed as built on the plan (a

the addition of a coda.

&)

+ &; that

is,

as bipartite with

The only other

tripartite song,

number

11, is

merely a -4- a -f- a: the three phrases are identical, and it is the words rather than the air that indicate the complex a -(- a -f- a and not the

mere unit a

as the melody. It therefore follows that there is some doubt whether any Nabaloi songs are to be considered as basically constructed on the scheme of three repetitions of the unit. Numbers 2, 4, and 9 prove to be but a single melody, although they

were separately transcribed and their words are distinct. The air is typical in structure, rhythm, scale, and intervals. Number 4 has been recorded a fourth lower than 2 and 9 but is unquestionably the idenmelody. The second note of the second measure is F in the recorded text, which has already been noted as an error of transcription for E.
tical

Number

3,

which belongs to the Kankanay, or at

dialect, is

least has the

words in that
with the usual
form.

the one song of the group that does not fall

It has already

into natural divisions.

scale.

been noted as irreconcilable

B[>, it

If its one

could be read as

would con-

The

text repeats the

' '

words orangak olid

~bay~bay before going

on to another

stanza.

"

It is therefore possible that only half of the

melody has been given. The tripartite division of number

1 has already been mentioned.
It

and similarity of structure might be added that the break

5

to at

comes in the middle of a word, so that its actuality is not wholly certain. In the record, the last two measures were written as a single four-fourths bar, but the parallelism of parts justifies the version
presented.

1919]

Moss-Kroeber: Nabaloi Songs

6 has

201

Number

much
:

the narrowest melodic range of

any song
it

in

the collection, falling within a minor third.

to the type of 2-4-9

Rhythmically

belongs

the two shortest notes in the unit immediately

preceding the long final. Like that air, it is recorded in common time but, as this arrangement makes the point of division Z, which is
;

indicated
a bar,
it

by the words as well as the structure, fall in the middle of would probably be better to regard each unit part as com-

posed of three two-fourths measures. In the original transcription, the last note of the song is made to extend over most of an additional bar.

Number

is

peculiar in that the two parts are parallel in duration

but not in content.

The

first

half consists of a measure three times

repeated without variation, and serving as a kind of introduction to the melody proper in the second half. This is perhaps the reason

why

the second half, contrary to Nabaloi custom,

moves on a higher

level of pitch.

Number
at Z,

8 has as

its

but with the middle one as

melodic content the notes of the major chord, It breaks initial, final, and fundamental.

and each part

is

again halved at

W. The

second and third quar-

The result is that the two halves of the song are not symmetrical, or tend to be so inversely. The phrasing of the words does not coincide with the phrasing into either halves or quarters of the music. This is the only piece in the collection with
ters are identical.

suspended accent, that Number 10, which

is,

a pause coming where stress

is

expectable.

is

"regular" in scale, consists of two halves

which are rhythmically

identical, with the second throughout moving a tone lower in pitch. Number 11 is presented as recorded, in eight two-fourths measures.

Words, rhythm, and pitch however show that the natural divisions fall at the points Y, and that the three resulting parts are identical.
That
note
is,

the song stanza consists of three repetitions of a phrase of

five-fourths duration, accented

on the second of the

five.

The accented

is the highest in pitch. This is the only instance of a song or theme commencing on an up-beat, except for the grace notes in the

following.

Number

12,

which

is

not strictly a Nabaloi song but from the

its first

neighboring Kankanay, repeats except for lowering all but the

plan of number 10.

final

part identically in the second, note one tone. This is the exact

and

Triple time, triple grouping of accents or measures into the unit, triple grouping of units into the stanza or song, are all less com-

202

University of California Publications in

Am. Arch, and Ethn.

[Vol. 15

mon

Three-fourths time

than double or quadruple arrangement in this series of melodies. is always accompanied by double or quadruple

phrasing of the accents or of the theme units, and vice versa. There are several songs that do not follow triple arrangement at any point in their scheme. But these either divide dichotomously until the

quadruple measure

is

short, there is not a single

reached, or group double measures in fours. In song in the collection that adheres con-

sistently to a twofold, threefold, or fourfold

time units.

grouping of its various due to an unconscious avoidance perhaps of exaggerated symmetry, which might quickly pall in music so simple and regular as this. The stanza or air of all the songs varies only from
This condition
is

12 to 15, 16, 18, or 24 quarter notes in duration.

Song
1

Units in stanza

3 2

(2) 3
2

4
2 3

That the rhythms of

the fact that there
is

this

music are not specialized

is

shown by

not a single case of a change of time and only one of an approach to syncopation. Trochaic rhythm prevails heavily over iambic.

1918]

Moss-Kroeber : Nabaloi Songs

203

5. 6.

Very simple and regular rhythms. Themes including not over four accents, more frequently only
three.

two or
7.

Elaboration of the theme into the stanza or air proper by its repetition two, three, or occasionally four times, sometimes without
change, sometimes with only a lowering of pitch, sometimes with change in both rhythm and pitch, but never with considerable alteration.
8.

Identical repetition of the stanza or air, as

to

many

times as the

words demand,

form the song.

COMPARISONS
OTHER NABALOI SONGS
Since the above was written, two farther Nabaloi 5 songs have come to the attention of the author. These are given by Otto Scheerer on

page 149 of volume n of the Philippine Ethnological Survey Publications.

They are
chi

13.

Andoa- ak

Kayapa,

andoa-ak chi

Kayapa

14

Kmibal

kimbal

dyo

/L

/*

204

University of California Publications in

Am. Arch, and Ethn.

[Vol. 15

Assuming as before that the last note is the foundation of the scale used, and transposing to C, we find the melodic framework to be
:

13

ab

bb bb

c c

eb eb

f
f

14

in short, exactly that previously determined as typical of Nabaloi

music.

The consecutive
of

intervals

conform

less closely;

but as these must

needs be more variable than the

moment

mens.

scale, a discrepancy would only be very marked or based on a considerable series of speciFor the two songs together they are
if
:

Second Minor third

Ascending 2
1 1

Descending
7

3 1

Major third
Fourth
Fifth

2 1

The only new interval is the ascent to the fifth. The first measure of 14 is identical with the first
except for the longer final note.

of

number

7,

The approach to the "tonic" final monly used in the preceding songs: a
Major third below
Second below Second above

is

through the note most com-

full tone below.

8
1,

5, 6,

2-4-9, 11

3, 7, 13,

14

Minor third above

10, 12
4

presented as first published, but divides at Z into two balancing parts. This plan yields two units of seven quarter notes each or more probably, of two measures in three-fourths time, with

Thirteen

is

the last note prolonged.

This analysis dissolves the apparent synco-

pation in the third bar. Fourteen is very brief and does not subdivide. It is clear that these two songs, independently noted by another
observer at some years' interval, agree thoroughly in scheme with those already analyzed, and thus tend to corroborate both the accu-

racy of Mr. Francisco's transcriptions and the legitimacy of the

interpretations offered.

1919]

Mos#-Kroel)er: Nabaloi Songs

205

OTHER GROUPS
The only other Filipino music known to the authors is published 6 She by Miss Densmore in the American Anthropologist for 1906. a of one which must be admitted "Igorot" song, transcription gives to be as thorough a rhythmic and structural chaos as she says it is. The three lowest and the two highest Its tones are C, D, E, G, A.
evidently form two levels which are felt to be distinct, although the

melody leaps back and forth between them, rising from C to G and A, and falling from G to all three of the lower tones. By assuming E
as the fundamental,

we can

transcribe this air to

fit

externally into

the Nabaloi scale: A[>-Bt)-C-Eb-F.

of the song,

have

is

also

But this does not meet the spirit and seems arbitrary. Whatever structure the song may certainly of a different type from the structure of the

simple Nabaloi songs. Miss Densmore also gives two Negrito songs. The first, Amba, is a brief theme, consisting essentially of a reverse progression of the scale C-D-E-F-G-A. This is not like anything Nabaloi. The semitone interval

F-E

(the

without Nabaloi parallel.

embellished; in this

two tones adjoin in the melody) is practical^ In its repetition, the theme is rhythmically process, A becomes A-B^-A and A-B A, and F
This device
is

becomes F-GJj-F and F-G-F.

also not Nabaloi, if the

present transcriptions are accurate.

The second Negrito song, Uso, seems

theme, but this
is

also to be based

on a simple

The range of tones is C-D-E-F-G-A-B-C-D, or considerably more than in any known Nabaloi song. Again the semitone appears. The theme ends
not adhered to after
its first

statement.

in the second
fifth

measure on stressed G, which is reaccentuated in the and sixth measures. If this G is assumed as the fundamental
to C, the scale

and transposed
the same pivots
It

becomes

F-G-A-B^-C-D-E-F-G,

with

more crowded filling. may be added that both songs begin on an up-beat, which
as in Nabaloi, but
' ' ' '

F-C-G

is

uncharacteristic of the Nabaloi style.

It is clear that neither the

Igorot

nor the Negrito songs of Miss

Densmore show much resemblance to Nabaloi music. The same author gives also the approximate tones of three sets of Moro gongs, each set being played as an instrument. It is probable
that the

Moro are unable and must therefore put a

a

to control or
set

modify the pitch of these gongs, together as best they can from such pieces

New

series, vin,

611-632, 1906.

206

University of California Publications in

Am. Arch, and Efhn.

[Vol. 15

as are available.

It is also

unsound

to

compare the notes of a musical

instrument with the tones sung by the unaccompanied voice, particularly when the manufacture of the instrument is not under thorough
mastery.
as
Still,

a collocation

may

be attempted.

Transposed to show

the note on which the melodies usually end, the tones of the
:

gongs are

Nabaloi song scale Samal Moro gongs Samal Moro gongs Lanao Moro gongs

F
C

CCJF

FG GAbA
A

Ab

Bb Bb

Eb

BC CD

F F

GB FG

G G A

The compass of the instrument is in every case greater not only than that of any one Nabaloi song, but than the abstracted Nabaloi

At the same time, the scheme is not so very different, if allowance is made for the probable inability of the composer of each instruscale.

ment

to secure all his

Thus, lower
of F, the

in the first

gongs of precisely the pitch he may have desired. Samal set may have been accepted as an
Afc>,

approximate substitute for

the same
It
is

in the second set in place

is

upper

in place of C.

true that this

speculation;

but the recording of the tones of a considerable number of such gong instruments might well throw some light on the intervals of native
Filipino vocal music,

and would

in

any event be of

interest in itself.

Transmitted, March 14, 1918.

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