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    Music of The Cordillera 7 2nd Quarter

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    Trisha Meneses
    The document summarizes the music of the Cordillera region of the Philippines. It describes that Cordillera music is an integral part of the community's culture, often performed communally with songs and instruments. It then outlines some of the major characteristics of different types of Cordillera songs like lullabies, love songs, and work songs. The document also provides details on important musical instruments used in the region like the gangsa gong, nose flute, bamboo zithers and drums. It highlights one major form of song called hudhud which are epic oral traditions recited during special events that are under threat due to modernization.

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    © All Rights Reserved
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    Music of The Cordillera 7 2nd Quarter

    Uploaded by

    Trisha Meneses
    92 views30 pages
    The document summarizes the music of the Cordillera region of the Philippines. It describes that Cordillera music is an integral part of the community's culture, often performed communally with songs and instruments. It then outlines some of the major characteristics of different types of Cordillera songs like lullabies, love songs, and work songs. The document also provides details on important musical instruments used in the region like the gangsa gong, nose flute, bamboo zithers and drums. It highlights one major form of song called hudhud which are epic oral traditions recited during special events that are under threat due to modernization.

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    Music of the Cordillera 7 2nd quarter

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    The document summarizes the music of the Cordillera region of the Philippines. It describes that Cordillera music is an integral part of the community's culture, often performed communally with songs and instruments. It then outlines some of the major characteristics of different types of Cordillera songs like lullabies, love songs, and work songs. The document also provides details on important musical instruments used in the region like the gangsa gong, nose flute, bamboo zithers and drums. It highlights one major form of song called hudhud which are epic oral traditions recited during special events that are under threat due to modernization.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    92 views30 pages

    Music of The Cordillera 7 2nd Quarter

    Uploaded by

    Trisha Meneses
    The document summarizes the music of the Cordillera region of the Philippines. It describes that Cordillera music is an integral part of the community's culture, often performed communally with songs and instruments. It then outlines some of the major characteristics of different types of Cordillera songs like lullabies, love songs, and work songs. The document also provides details on important musical instruments used in the region like the gangsa gong, nose flute, bamboo zithers and drums. It highlights one major form of song called hudhud which are epic oral traditions recited during special events that are under threat due to modernization.

    Copyright:

    © All Rights Reserved
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    Music

    of Cordillera
    CORDILLERA
    It is the country's only land-locked
    region. It has a mountainous
    topography and dubbed as the
    "Watershed Cradle of North
    Luzon" as it hosts major rivers
    that provide continuous water for
    irrigation and energy for Northern
    Luzon.
    Characteristics of Music of
    Cordillera
    1. Music is very much part of life and living
    2. Have a rich variety of songs and music
    performed on instruments
    3. Often performed in groups, all members
    of the community are welcome and
    encouraged to join the singing, dancing and
    playing of instruments
    4. Their music is communal and
    participatory
    5. Songs are usually in unison of pentatonic
    melodies
    6. Music and other components of their
    culture are transferred from generation to
    generation through oral tradition.
    Oral tradition is cultural material and
    traditions transmitted orally from one
    generation to another
    Oral may refer to speech communication as
    opposed to writing
    (http://sppcfreshmen20112012.wordpress.com/2011/08/14/traditional-music-culture-
    from-north-the-cordillera-administrative-region-car/)
    Vocal Music
    Life Cycle Music
    Birth to Childhood
    • Owiwi- lullabye of Kalinga that relate a child’s
    life
    • Dagdagay- song of Kalinga that foretells the
    baby’s future.
    • Oppiya- kalinga song, sung while cradling
    Love, Courtship and Marriage
    • Chag-ay- an expression of secret love of Bontoc.
    • Oggayan- greeting and advice to newly weds of
    Kalinga.
    Death Rite Music
    • Didiyaw- song to a dead child of Bontoc
    • Sangsangit- a dirge of Isneg.

    Work or Occupational Song


    • Sowe-ey- Rice pounding song of Bontoc.
    • Dakuyon- kalinga song for hunting bats.
    • Dinaweg- Ilongot song for catching wild
    boar.
    • Owayat- song for gathering firewood of
    Ilongot.
    • Chey-assa- Bontoc rice pounding song sung
    in a groups.
    Ceremonial Music
    • Kapya- song of Bontoc for curing ceremonies.
    • Angba- song of Bontoc for curing ceremonies.
    • Dawak- song of Ilongot for curing
    ceremonies.

    Entertainment Song
    • Hudhud- epic song of Ifugao, a leader chorus
    style.
    • Alim- leader chorus style of music of Ifugao
    where to groups of singers reply to 2 make
    leaders.
    • Dang Dang-ay- Kalinga entertainment song
    Hudhud- chanted epic poetry
    consisting of poems about
    heroism, honor, love and revenge.
    It is a long tale sung during special
    occasions. This particular long tale
    is sung during harvest. A favorite
    topic of the hudhud is a folk hero
    named Aliguyon, a brave warrior.
    Hudhud Chants of the Ifugao
    The hudhud is recited and chanted among the Ifugao people - known for their
    rice terraces - during the sowing and harvesting of rice, funeral wakes and other
    rituals. Estimated to have originated before the 7th century, the hudhud -
    comprised of some 40 episodes - often take three or four days to recite. The
    language of the chants, almost impossible to transcribe, is full of repetitions,
    synonyms, figurative terms and metaphors. Performed in a leader/chorus style,
    the reciter - often an elderly woman - occupies a key position in society. There
    is only one tune, common to the entire region, for all of the verses. Very few
    written examples of hudhud exist.

    Threats: The conversion of the Ifugao to Catholicism weakened their traditional


    culture. The hudhud was linked to the manual harvesting of rice which is now
    mechanized. It has been replaced at funeral wakes by television and radio.
    Although the rice terraces are inscribed on the World Heritage List, the number
    of cultivators continues to decrease. The few people who know all the poems
    are very old, and young people are not interested in this tradition.
    MUSICAL
    INSTRUMENTS
    1.Gangsa is a single hand-held smooth
    surfaced gong with a narrow rim. A set of
    gangsa, which is played one gong per
    musician, consists
    of gangsa tuned to
    different notes,
    depending on
    regional or local
    cultural
    preferences.
    Gangsa is played in two ways. One way is called
    "toppaya" and the other is called "pattung."

    In "toppaya" style, the musicians play the


    surface of the gangsa with their hand while
    in a sitting position, with a single gangsa
    resting on the lap
    of each musician.
    In the "pattung" style, a gangsa is
    suspended from the musician's left hand
    and played with a padded stick held in
    the musician's right hand. In the
    "pattung" style of playing, the players are
    standing,
    or they keep in
    step with the
    dancers while
    bending
    forward slightly.
    2. Kalaleng or Tongali (nose flute) Because
    the kalaleng is long and has a narrow
    internal diameter, it is possible to play
    different harmonics through overblowing—
    even with the rather weak airflow from one
    nostril. Thus, this nose flute can play notes in
    a range of two and a half octaves. Finger
    holes in the side of the bamboo tube change
    the operating length, giving various scales.
    Players plug the other nostril to increase the
    force of their breath through the flute.
    (http://en.wikipedia.org/wiki/Nose_flute)
    3. Tongatong
    -is a bamboo percussion instrument used by
    the people of Kalinga to communicate with
    spirits during house blessings. It is made of
    bamboo cut in various lengths.
    4. Diwdiw-as is 5 or more
    different size
    of slender
    bamboo that
    is tied together.
    5.Saggeypo it is a bamboo pipe that is
    closed on one end by a node with the open end held
    against the lower lip of the player as he blows
    directly across the top. The pipe can be played
    individually by one person or in ensembles of three
    or more.
    6. Solibao is hallow wooden
    Igorot drug topped with pig skin or
    lizard skin this is played by striking
    the drum head using the palm of the
    hand.
    7. Bungkaka- bamboo buzzer of
    Kalinga.
    8. Kullitong- polychordal
    bamboo tube zither of Kalinga
    9. Ulibaw- bamboo Jew’s harp of
    Kalinga. (Called as Kubing among
    the among the Maguindanaon and
    other Muslim and non-Muslim
    tribes.)
    10. Patangguk-
    bamboo quill-shaped
    11. Pateteg-
    bamboo leg xylophone
    12. Paldong-
    bamboo lip-valley
    Hi! I’m Patricia
    Thank you for
    listening

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