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Mandaue Christian School, Inc.

School ID: 404573
LEARNING KIT IN MUSIC 7

TOPIC: MUSIC OF CORDILLERA DATE GIVEN: SEPTEMBER 25, 2020

QUARTER: FIRST QUARTER – WEEK 6 DUE DATE: (to be filled in by the teacher)
COMPETENCY: Analyzes the musical elements of some Lowland vocal and instrumental music selections.
BIBLICAL INTEGRATION: 2 Chronicles 5:13 ESV
And it was the duty of the trumpeters and singers to make themselves heard in unison in praise and thanksgiving to
the LORD, and when the song was raised, with trumpets and cymbals and other musical instruments, in praise to
the LORD, “For he is good, for his steadfast love endures forever,” then the house of the LORD, was filled with a cloud.
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At the end of this lesson, you will be able to target the following goals:
1. Differentiate the vocal and instrumental music of some lowland music.
2. Explore the musical elements of some lowland music.
PART 1
VOCAL AND INSTRUMENTAL MUSIC
Music means a vocal or instrumental sounds (or both) combined in such a way as to produce beauty of form, harmony,
and expression of emotion. It include common elements such as pitch, rhythm, dynamics, and the sonic qualities of
timbre and texture.
Vocal music is a type of singing performed by one or more singers, either with instrumental accompaniment, or
without instrumental accompaniment (a cappella), in which singing provides the main focus of the piece. Vocal
music is music that uses and emphasizes the human voice. Sometimes instruments are used, but the voice is the most
important part. Vocal music, any of the genres for solo voice and voices in combination, with or without instrumental
accompaniment. It includes monophonic music (having a single line of melody) and polyphonic music (consisting of more
than one simultaneous melody).
Instrumental music is a recording without any vocals, although it might include some inarticulate vocals, such as
shouted backup vocals in a Big Band setting. The music is primarily or exclusively produced using musical instruments.
While hundreds of musical instruments exist, the vast majority can be placed into one of five categories, namely
woodwind, brass, string, keyboard, and percussion. While instruments had been in common usage throughout the
Middle Ages, their function was primarily to double or to substitute for voices in vocal polyphonic music or to
provide music for dancing.
Cordillera Administrative Region
- Provinces are Abra, Apayao, Benguet, Ifugao, Kalinga, Mountain
Province.
- 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.
I. Characteristics of Music of Cordillera
1. Music is very much part of life and living 5. Songs are usually in unison of pentatonic melodies.
2. Have a rich variety of songs and music performed on 6. Music and other components of their culture are
instruments transferred from generation to generation through oral
3. Often performed in groups, all members of the tradition. Oral tradition is cultural material and traditions
community are welcome and encouraged to transmitted orally from one generation to another.
join the singing, dancing and playing of instruments. Oral may refer to speech communication as opposed to
4. Their music is communal and participatory. writing.
II. Important Activities Where Music is Utilized
1. Peace pacts 4. Rites of passage
2. Healing rituals 5. Weddings and festivals
3. Invocation of the gods 6. Other life cycle events such as birth, coming of age, work,
marriage and death
III. Vocal Music
A. Life Cycle Music B. Work or Occupational Song
1. Birth to Childhood • Sowe-ey- Rice pounding song of Bontoc.
• Owiwi- lullabye of Kalinga that relate a child’s life • Dakuyon- kalinga song for hunting bats.
• Dagdagay- song of Kalinga that foretells the baby’s • Dinaweg- Ilongot song for catching wild boar.
future. • Owayat- song for gathering firewood of Ilongot.
• Oppiya- kalinga song, sung while cradling Love, • Chey-assa- Bontoc rice pounding song sung in a groups.

2. Courtship and Marriage C. Ceremonial Music

• Chag-ay- an expression of secret love of Bontoc. • Kapya- song of Bontoc for curing ceremonies.
• Oggayan- greeting and advice to newlyweds of Kalinga. • Angba- song of Bontoc for curing ceremonies.
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• Dawak- song of Ilongot for curing ceremonies.

3. Death Rite Music
• Didiyaw- song to a dead child of Bontoc D. Entertainment Song
• Sangsangit- a dirge of Isneg. • 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
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.
24. 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.
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)
Diwdiw-as is 5 or more different
Tongatong -is a bamboo percussion Bungkaka-
size of slender bamboo that is
instrument used by the people of bamboo
tied together.
Kalinga to communicate with spirits buzzer of
during house blessings. It is made of Kalinga.
bamboo cut in various lengths.

Saggeypo it is a bamboo pipe that is closed on Solibao is hallow wooden Igorot

one end by a node with the open end held against drug topped with pig skin or lizard
the lower lip of the player as he blows directly
skin this is played by striking the
across the top. The pipe can be played individually
by one person or in ensembles of three or more.
drum head using the palm of the
hand.

Ulibaw- bamboo Jew’s harp of Kalinga

. Pateteg- bamboo leg xylophone
(http://sppcfreshmen20112012.wordpress.com/2011/08/14/traditional- music-culture-from-north-the-cordillera-administrative-region-car/)
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SUMMARY: Music of the Cordillera

 Vocal Music – Hudhud (chanted epic poetry)
 Instrumental Music- Bamboo Stamping Tubes (Tongatong), Bamboo Pipes in a Row (Saggeypo), Bamboo Buzzers
(Bungkaka), Bamboo Jew’s Harp (Kubing), Patteteg (Bamboo Leg Xylophones), Gongs (Gangsa Topayya and Palook)
 Cultural Context (History and Traditions) – – Apayao, Bontok, Ibaloi, Ifugao, Kalinga, Tingguian
 Composition: Chanted Poetry, Songs (children’s songs, lullaby, spirit songs, narrative legends), Dances
 Social Functions: Music for Worship and Rituals, Work (Planting), Sleep, Courtship
 Performance Styles / Techniques
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ACTIVITY 1. Listen and watch of the following videos – Cordillera Music. Videos are available in Gakkou.

1. Hudhud Chant song: https://www.youtube.com/watch?v=qJiq6pdEZSs

2. Owiwi song & Tongali Nose Flute: https://www.youtube.com/watch?v=BP65z73xwUc
3. Dagdagay song of kalinga: https://www.youtube.com/watch?v=sDnUyo1ZDa0

My Own Hudhud: Describe the sound of the Hudhud, a chanted epic poetry, fill in the columns below in terms of the
elements of music.
Timbre Dynamics Rhythm/Beat Pitch Form
(sound/tone quality: (soft or loud) (pattern of sounds Sounds are higher or the structure of
bright, dark, brassy, and silences) lower a musical composition
reedy, harsh, noisy, or performance.
thin, buzzy, pure,
raspy, shrill, mellow)

ACTIVITY 2. Song Composition. Create a song of 8 lines in the box. It may be about: love, honor, peace efforts or
bravery.

Processing Questions: After, listening to the songs and watching the videos, answer the following:

1. What instrument was used in “Owiwi song”music? What is the function of the music in the society?

2. Describe the instruments used. What is the instrument made of? How was it played? What instrumental
substitutes can be used using environmental materials present in your house?

3. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) employed bring about the
message of the music?

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 Are you done now with the activities? Did you submit it to teacher?
WELL DONE! Now let’s keep going, prepare for the next lesson.