Characteristics of Indigenous Cultural Music in the Philippines (A Review of Related

Literature)
Batulan, DQ; Tantoy, OA
1.0 INTRODUCTION
Music has played a very important part in the culture of societies today and in the past. It
is an important form and avenue for personal and group expression of goodness and
happiness. It is also a reflection of all the historical, political, economic, and aesthetic values
of the culture. (Smartkidzlibrary, 2010). Of all the arts, music is regarded as the most
universal in its appeal and acceptance. This universality, however, does not mean that music
is without individual character. Each country has its own kind of music that embodies the
total experience, the collective consciousness of its people.
Indigenous music, specifically is one of the many form, style or genre of music.
Indigenous it means that it existed naturally in a particular region or environment. It is an
amalgamation of worldviews, ideologies, actions and sound structures based on historical
and modern times. Indigenous music can be rooted in, or it can be a combination of,
community and people, purpose and intention. It is contextual, always changing and evolving
with environments and times. It is both a result of assimilation and a form of resistance. For
these complex reasons, Indigenous music cannot be easily defined, compartmentalized or
essentialized. Established traditionalcontemporary dichotomies devalue the true intent of
Indigenous music as it continues to expand and grow in multiple ways of practice, reflecting
the complexity of its meaning within both Indigenous and non-Indigenous communities
(Knight, 2013).
Filipino music is quite diverse as the indigenous people in the Philippines. Indigenous
music before the colonial era was largely functional. Expressed either instrumentally or
vocally or a combination of both. It was deeply integrated with the activities of the natives
and is largely retained and practiced in three regions mainly; Northern Luzon, the Central
Philippine islands of Mindoro and Palawan and the southern islands of Mindanano and Sulu.
However, some other studies focuses only to the different indigenous music, examine
past and present Indigenous music and how both interconnect in a continuum of sound and
meaning thus, how this music reflects to its community where it belong. This study will not
define Indigenous Cultural music; rather, it will demonstrate the different characteristics of
selected indigenous cultural music here in our country.
2.0 Objective of the study
The purpose of this research is to identify the characteristics of Indigenous music of the
Philippines. This research is intended to address the value and benefits of Indigenous music
in todays society based on the past practice of music as an integral aspect of all elements of
life.

3.0 Methodology
Research Design
Content analysis is a research technique used to make replicable and valid inferences by
interpreting and coding textual material. By systematically evaluating texts (e.g., documents,
oral communication, and graphics), qualitative data can be converted into quantitative data.
Although the method has been used frequently in the social sciences, only recently has it
become more prevalent among organizational scholars.
This design is very applicable to our study which is allowing us recover and examine
other existing books, web pages, research projects, thesis etc. which it can help to gather
informations and data that could be useful in our study. At the same time, it allows us
researchers to gather large samples that may be difficult to employ in purely qualitative
studies.
Research Locale
The research locale of the study is the School library of five campuses of Southern Leyte
State University (SLSU). Southern Leyte State University is the state university in Southern
Leyte. It is mandated to provide advanced education, higher technology, professional
instruction and training in trade, fishery, agriculture, forestry, science, education, commerce,
engineering and related courses. It is also mandated to undertake research and extension
services, and provide progressive leadership in its areas of specialization. Formerly the
Southern Leyte State College of science and technology, SLSU as converted through the
passage of Republic Act 9261 on March 07, 2004.
The five campuses that comprise the university are the Sogod-Main Campus, which
focuses on quality programs in science and technology; the Hinunangan Campus in
Agricultural Entrepreneurship; the Tomas Oppus Campus that focuses academic institution in
teacher education; the San Juan Campus that has Business and Administration as its flagship;
and the Bontoc Campus that focuses on fishery development.
Republic Act No. 4352 established Sogod National Trade School on July 07, 1969. It was
converted into Southern Leyte School of Arts and Trades on December 14, 1981 by virtue of
R.A. No. 1250. On March 01, 1995, R.A. No. 7930 converted at SLSU into a chartered
college and renamed the institution to Southern Leyte State College of science and
technology. Republic Act No. 7722 and R.A. No. 8292 integrated SLSCST (Southern Leyte
State College of Science and Technology) to the three Higher Education Institution. Then
finally, R.A. No. 9261 established the Southern Leyte State University and made the college
its main campus.
Republic Act 5380 established the Hinunangan Agriculture and Vocational School on
September 01, 1975. Republic Act 7931 converted the school into a tertiary institution and

renamed it to Southern Leyte Institute of Agriculture and Technology. RA 9261 established

the Southern Leyte State University- Hinunangan after its integration with SLSCST in 1999.
On the other hand, Presidential Decree 2024 established the Tomas Oppus Normal
College (TONC) from being a community college, the school became a State College by the
virtue of Presidential Decree No. 2024 on February 1, 1980. Due to lack of facilities the
college was only allowed to offer a degree up to 3rd year level until 1985. The permit to offer
a 4-year-course in AB and BSED was finally granted by the DECS regional office in 1987.
At present the Southern Leyte State University- Tomas Oppus offered different program;
Bachelor in Elementary Education (BEED), Bachelor of Secondary Education (BSED),
Bachelor of Science in Business Administration (BSBA), Bachelor of Arts (BA), Diploma in
Basic Education Teaching (DBET), Bachelor of Science in Information Technology (BSIT),
Master of Arts in Education (MAED), Master of Public Administration (MPA), Doctor of
Education major in Educational Management (Ed.D.EM.)
Republic Act No. 3938 established the Bontoc Agricultural and Technical School on June
07, 1964 and three years later was renamed to Bontoc National Agricultural and Fishery
School. Batas Pambansa Bilang 494 established to Southern Leyte agro-Fishery Technical
Institute which became a full-pledge tertiary institution on on June 10, 1983. Later, Batas
Pambansa Bilang 888 renamed the school to Ruperto K. Kangleon Memorial Agro-Fisheries
Technical Institute on November 22, 1985. Eventually, R.A. 9261 established the Southern
Leyte State University-Bontoc after its integration with SLSCST in 1999.
The San Juan Polytechnic College was formerly a Municipal High School established in
1946. Eighteen years later, it was converted into Cabalian National Vocational High School
by Legislation. In 1968, Congress changed the school into San Juan Compressive High
School and by virtue of Batas Pambansa Bilangg 569 the San Juan Polytechnic College was
established on June 24, 1983. R.A. 9261 established the Southern Leyte State University-San
Juan after its integration with SLSCST in 1999. Like any other state university in the country,
SLSU observes the four-fold functions of institution, research, extension and procedure.
Data gathering procedure
In gathering the data, we the researchers will ask a referral letter from the librarian of
SLSU-TO to have a permit to conduct a research in the library of five campuses of SLSU
(Southern Leyte State University) to gather information about the study.
We will gather data through evaluating text systematically like for example documents,
graphics, and oral communication and also using web pages, existing books and research
projects in gathering the data.
Data analysis

4.0 Results and Discussion

Music of Cordillera
Music is very much part of life and living. Have a rich variety of songs and music
performed on instruments. Often performed in groups, all members of the community are
welcome and encouraged to join the singing, dancing and playing of instruments. Their music is
communal and participatory. Songs are usually in unison of pentatonic melodies. 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. (Llames, 2015...
http://sppcfreshmen20112012.wordpress.com/2011/08/14/traditional-music-culture-from-norththe-cordillera-administrative-region-car/)
Music of Cordillera
The music of the Highlands of Luzon (Cordillera) helps us discover the way of life of the
Cordillera people through themes about nature, family life, work in the field as well as the
spiritual matters. In addition to songs and chanted poetry, Cordillera music is distinctively made
up of two sound characteristics of instruments based on their respective materials - the first,
made of bamboo ( (flutes, percussion instruments), and the second, made of metal (gongs). These
traditions are on their way to extinction due to the modernisation of the way of life among the
youth of the Cordillera region. Less and less of the young generation are taught/learning the
traditional music of their forefathers. Other threats to their music and most especially, their way
of life are the conflict between state policies and their ancestral rights on land ownership,
megatourism, militarization, and the shift from manual farming to machine-processed farming.
Despite all these, several non-governmental organizations and international organizations like
UNESCO ensure the protection not only of the rich culture and tradition of the Cordillera region
but
also
of
their
people.
(Sources:
http://www.cpaphils.org/cordillera.htm,
http://www.koleksyon.com/filipinoheritage/phil-music/pre-colonial-indigenous-music.asp
,
http://www.intangible.org/Features/kalinga/pages/page1.html)
Music of Mangyans of Mindoro
The music of the Mangyans of Mindoro help us discover the way of life of the Mangyan
with themes about nature, family life, working in the field as well as the spiritual dimension.
While there is a lot of vocal music in the form of songs and chanted poetry, there are also
bamboo instruments such as jews harps, lutes and flutes. The challenges facing the music of the
Mangyan of Mindoro is the threat of industrialization (illegal logging) and marginalization
resulting from encroaching neighbouring ethnoliguistic groups (Tagalog). However, nongovernmental organizations have been put up to protect and preserve the Mangyan way of life
including
Mangyan
music.
(Sources:
http://www.mangyan.org,
http://phch.eccmanila.org/tribal.html, Maceda, Jose (1998). Gongs and Bamboo. Quezon City:
University of the Philippines Press.)

Music of Palawan
The music of Palawan is a brief survey of the music from different indigenous groups
from Palawan such as the Batak, Tagbanua and Palawan. The analysis of the music is done by
relating the music to concepts of soundscape, music suggesting/representing elements of nature,
spiritual and human emotional expressions through the language. An application of the kulial
(song) culminates the module through musical composition and performance. The music of
Palawan expresses reverence for the spiritual as well as the natural physical world through the
epic chants, nature songs and instruments. The human experience of contrasting emotions is also
shown in love songs. Music is used not only as an expressive emotive medium but also as an
avenue for creativity in the context of a cultural and world view among Tagbanuas, Palawan and
the Batak people of Palawan.
(Sources:http://web.archive.org/web/20060716025744/http://www.ncca.gov.ph/about_cultarts/cu
ltprofile/gamaba/intaray.php, http://wpu.edu.ph/tautbato/arts/gallery-template.html)
Music of Visayas
Music from the Visayas is generally viewed as influenced by the Spanish colonial music
tradition with its use of the guitar and its vocal/choral and instrument. While most folk music
from the Visayas was influenced by the introduction of Christianity, fusion and hybridization
have marked the character of the para-liturgical music used in different festivals. There are still
existing ethno-linguistic groups such as the Bukidnon people from Panay who continue to
nurture and practice music dating from the pre-Spanish period. An analysis of the musical
elements of Visayan songs as written by experts on Visayan music is validated through listening
and improvisation on the balitao form. The culminating performance is a re-enactment of vocal
forms such as the balitao, composo or pastores accompanied by the guitar and/or rondalla
instruments.
(Sources:
http://philippineculture.ph/filer/toledo-cebu/Spanish-influences-insong.pdf, http://nirc.nanzan-u.ac.jp/publications/afs/pdf/a128.pdf, http://www.ncca.gov.ph/aboutculture-and-arts/articles-on-c-n-a/article.php?igm=4&i=248,)
Music of the Visayas Instrumental
Instrumental music from the Visayas shows a rich diversity in the musical culture of the
region. The different ensembles, with their respective sounds reflect not only the enthusiastic
musical involvement of the people of the Visayas but also their sentiments, way of life, and
interactions
with
their
environment
and
other
people.
(Sources:
http://mybeautifuliloilo.blogspot.com/2012/01/binanog-festival-of-lambunao-capturing.html,
http://nirc.nanzan-u.ac.jp/publications/afs/pdf/a128.pdf, http://www.ncca.gov.ph/about-cultureand-arts/articles-on-c-n-a/article.php?igm=4&i=248,)

According to (Anupol, 2007), Indigenous music can be instrumental or vocal and this
musical tradition marked rites of passage and life-cycle events for the early Filipinos. In
celebrations, instrumental playing is common whereas solo instrument playing is done for
courting or self-entertainment. The Islamic music tradition, which is part of the ethnic tradition,

is largely based on the practices of the pre-Islamic cultures of the southern part of the
Philippinesa.
(Cayabyab, 2007) stated that Indigenous music in the Philippines was started by different
groups and is premised on an admiration of native instruments which are used in the various
ritual and worldly activities of these peoples. These native instruments are generally grouped
into: wind instruments; chordophones or stringed instruments; idiophones or percussion
instruments that are struck with a hammer, against each other, or against another object like the
hand, and membranophones or percussion instruments using animal skins or membranes.
Nevertheless, the ethnic music was not only made by playing instruments but also by using the
voices of the people. Like the instruments, vocal music expresses and transmits in a concrete and
vivid manner a great variety of the thoughts, beliefs, lifestyles, character and way of life of the
native peoples. Singing is a central component of life among the people. Historically, people
sang solo or in groups according to the composition of the song with or without accompaniment
or lyrics. Improvisation was very prominent and music was made with very little knowledge of
music theory
Vocal music was used long before musical instruments were invented. The beating of two
pieces of wood was used to accompany the most primitive kind of song (Yamio, 2011).
Three main characteristics are exemplified by traditional ethnic music. The first is the
cantata form. A cantata is a vocal composition with an instrumental accompaniment and often
contains more than one movement. In singing, the groups sing in solo or by group and some
songs were sung by accompaniment. Another characteristic that is exemplified is the use of
acapella. An acapella song is a vocal composition without instrumental accompaniment. The
groups also did this when they sang in solo or by group without using any instruments in the
background. Lastly, the sonata form is used - a composition for one or more solo instruments,
one of which is usually a keyboard instrument, and usually consisting of three or four
independent movements varying in key, mood, and tempo (Anupol, 2007).
From these documents, various kinds of interments made of bronze, bamboo, or wood are
cited. These include gongs of various kinds of size and shapes, drums, flutes of different types,
zithers, lutes, clappers, and buzzers. Vocal genres include epics relating genealogies and exploits
of heroes and gods; work songs related to planting, harvesting, fishing; ritual songs to drive away
evil spirits or to invoke blessings from the good spirits; songs to celebrate festive occasions
particularly marriage, birth, victory at war, or the settling of tribal disputes; mourning songs for
the dead; courting songs; and childrens game songs. It is this type of music that is still practiced
today by the indigenous groups. (Corazon Canave-Dioquino, 2015)
(Banas, R. C. (1992) stated one example of indigenous music is the pasyon, a verse
narrative on the life of Jesus Christ. While the pasyon was originally based on material used by
Spanish friars to convert the natives to Christianity, it was also transformed by Filipinos into
something that reflected its own identity, dreams, and traditions. Other Filipino musical forms
also emerged as a result of the intersection of indigenous and Spanish musical traditions. These
include the talindaw (a boat song), the awit (a song in slow triple time), the tagulaylay (a

mournful song), the sambotani (a song sung at a feast), the kumintang (a war song that later
became a love song), among others, all of which flourished during the Spanish colonial period.
Indigenous music before the colonial era was largely functional. Expressed either
instrumentally or vocally or a combination of both, music was deeply integrated with the
activities of the natives. The ancient Filipinos had music practically for all occasions, for every
phase of life, from birth to death.
The understanding of Philippine ethnic music is premised on an appreciation of
indigenous instruments which are used in the various ritual and secular activities of these two
peoples and which are generally grouped into the aerophones or wind instruments; chordophones
or stringed instruments; idiophones or percussion instruments struck with a mallet, or against
each other, or against another object like the hand; and membranophones or percussion
instruments using animal skins or membranes. (Antonio Hila, 2005)

Indigenous music is also the most communal among Philippine musical traditions. Many
instruments are often played by three or more people in an interactive, reciprocal, and
interlocking fashion, highly indicative of social cooperation, togetherness, and an egalitarian
ethos, particularly in the distribution of and access to resources. Musical form is open-ended to
provide maximum opportunity for creative communal interaction or participation. Music is very
much a part of everyday life and serves many uses and functions. (De Leon, 2009)

While there is no written information about the music in the Philippines before the arrival
of Magellan in 1521, subsequent reports made by friars, civil servants and travelers include
descriptions of instrumental and vocal musicsometimes mentioned in passing, other times in
greater detail. From these documents, various kinds of interments made of bronze, bamboo, or
wood are cited. These include gongs of various kinds of size and shapes, drums, flutes of
different types, zithers, lutes, clappers, and buzzers. Vocal genres include epics relating
genealogies and exploits of heroes and gods; work songs related to planting, harvesting, fishing;
ritual songs to drive away evil spirits or to invoke blessings from the good spirits; songs to
celebrate festive occasions particularly marriage, birth, victory at war, or the settling of tribal
disputes; mourning songs for the dead; courting songs; and childrens game songs. It is this type
of music that is still practiced today by the indigenous groups. (Dioquino, 2005)
Although there is some music intended for dance, the best-preserved form of traditional
music is that intended for the voice, with chanting epic poetry as having been the earliest form
and later augmented by instrumental accompaniment. Regarded to have a wide range, as most of
them stretch more than an octave, they are still considered within the capacity of even an average
singer. Many songs in the different Philippine languages, however, share the same tune, such as
the Tagalog Magtanim ay Di Biro, Kapampangan Deting Tanaman Pale and the Gaddang So
Payao. Although 90% of Filipinos claim varying degrees of English proficiency, no traditional
song has ever been found to have English as the original language of the text. The largest body of

songs are those using the various vernacular languages, especially the eight major languages in
the country. Many of the collected traditional songs have a translation in Filipino, the national
language, but most scholars tend to ignore its existence. Songs from the various minority
languages rank second in recognition, while those in Spanish rank third.
The vocal repertoire is performed either in responsorial or solo manner. The singing style
found among the northern groups differs from that of the south. The northern style uses a marked
and rhythmic enunciation of vowels to form syllables or slides, half-speech sounds, and frequent
pauses. By contrast, the southern style uses melismas, long phrases, a narrow range, fluid
singing, and tremolo. A newer Islamic style superimposed on this tradition has a especially
distinct vocal delivery with a high tessitura, a strained voice of various timbres, and a nasal
enunciation. An example of responsorial singing of the leader-chorus type is the Ibaloy ba-diw. It
is used in ceremonies for the dead called du-udyeng or ta-tamiya, as well as on such occasions as
weddings, anniversary feasts or peshit, and thanksgiving rituals.

The leader-chorus singing is also employed by the Bontoc on important feasts like the
chuno, in celebration of a victory or kay-aya, or in a curing ritual like the siyenga. Among the
Tagbanua, in one ceremony, a woman leader sings and dances around jars of rice wine as she
tries to communicate with the spirits. As she dances, a group of young girls follow her, and as
she sings, the chorus repeats the last syllables of her lines. ((Dioquino, 2009)
In indigenous music, various kinds of instruments are made of bronze, bamboo or wood.
These include gongs of various kinds of size and shapes, drums, flutes, zithers, lutes, clappers
and buzzers.
Vocal genres include epics relating genealogies and exploits of heroes and gods; work
songs related to planting, harvesting, fishing; ritual songs to drive away evil spirits or to invoke
blessings from the good spirits; songs to celebrate festive occasions particularly marriage, birth,
victory at war, or the settling of tribal disputes; mourning songs for the dead; courting songs; and
children's game songs. It is this type of music that is still practiced today by the indigenous
groups. (Silent Gardens, 2006)

The vocal traditions stand a little outside, like in every country, we find the most
indigenous aspects in the pieces sung solo or with an instrument. Seperations from north to
south show two different styles: The northern style uses a special rhythmical pronouncation of
vowels and expressive pauses. In the southern style, we find melisma, tremolo and long melodic
phrases reminding of the Islam singing style.
Some vocal genres reflect a significant form of music for an ethnicity, like the Marano
bayok which is a kind of creating language out of music, or the epics stand for one local group
like the Marano Darangen.( Stoevesandt, 2006)

Like the secular songs from the same group, this form of music has a 'beat' even though it
is hard to put it in a form of time signature. Percussions are mainly used for these type of music
and sometimes, a gong is enough.
As closeness to Nature is a main feature of these ethnic groups, one can expect that dance
steps falling under this category is a mimicry of the movements of plants and animals of a certain
locality. Some music is simply called the 'Monkey Dance' or the 'Robin Dance' for identification.
Some of the music falling under this category is ritual music: thus there are dances used
for marriage, worship, and even for preparation for a war. (Sunico, 2008)
PHILIPPINE MUSIC
Author: Beth@Multimedia.226, 1992
The vocal repertoire is performed either in responsorial or solo manner. The singing style
found among the northern groups differs from that of the south. The northern style uses a marked
and rhythmic enunciation of vowels to formsyllables or slides, half-speech sounds, and frequent
pauses. By contrast, thesouthern style uses melismas, long phrases, a narrow range, fluid singing,
and tremolo. A newer Islamic style superimposed on this tradition has especially distinct vocal
delivery with a high tessitura, a strained voice of various timbres, and a nasal enunciation.
An example of responsorial singing of the leader-chorus type is the Ibaloy ba-diw. It is
used in ceremonies for the dead called du-udyeng or ta-tamiya, as well as on such occasions as
weddings, anniversary feasts or peshit, and thanksgiving rituals. The leader-chorus singing is
also employed by the Bontoc on important feasts like the chuno, in celebration of a victory or
kay-aya, or in a curing ritual like the siyenga. Among the Tagbanua, in one ceremony, a woman
leader sings and dances around jars of rice wine as she tries to communicate with the spirits. As
shedances, a group of young girls follow her, and as she sings, the chorus repeats the last
syllables of her lines.
Another type of responsorial singing are song debates, usually between a man and a
woman on everyday topics, particularly love, such as the Bukidnon sala, Kankanay dai-eng, and
the Tagbanua taval-tavalan.
Epic songs may be chanted at weddings, in gatherings to entertain guests or simply as
evening entertainment for the villagers themselves. Epics may last for one or more nights and are
attended with keen interest. Common among ethnic groups in the Philippines, epics describe the
lives of heroes and gods. Some of these are: the Ata Tulalang, the Bilaan Aflulok, the Bukidnon
Olaginon and Agyu, the Ifugao Hudhud, the Ilongo Hinilawod, the Maguindanao Raja Madaya,
the Maranao Darangen, the Mandaya Daut, the Mangguagan Tad-um, the Manobo Ulahingan,
Agyu, and Tuwaang, the Mansaka Manggob, the Subanon Ag Tobig nog Keboklagan and Kag
Sumba neg Sandayo, the Tboli Todbulol, the Tagbanua Dumarakol, and the Tiruray Berinarew.
Solo songs are sung for all kinds of occasions. They may be accompanied by instruments
and/or dancing. Generally, there is no generic term for song, only names of particular song
forms. Among the Kalinga, the dango, ading, and oggayam song forms are traditional in

important ceremonies like peace pacts, weddings, and community gatherings. They are used to
express a declaration, greeting, or statement related to the occasion. The Maranao bayok is
usually sung at weddings and festivities. The singers are specialists who become centers of
attraction at social gatherings where, as protagonists, they vie with each other in extemporizing
allusions and double meanings, much to the delight of their audience.
Songs in connection with life-cycle events abound among all groups. Most common are
lullabies like the Tiruray ambay, the Sama ngindung, the Palawan linggayen pa iga, the Maranao
bomboman, the Mansaka uyug-uyug, the Manobo buwa-buwa, the Maguindanao sengal, the
Ilongot emaga, the Ibaloy tami, the Bilaan yadadang, and the Aeta adiyadi. Some groups have
special songs to accompany rituals for children, such as the Kalinga dopdopit sung on the first
bathing of the child outside the house. During the Subanon circumcision ritual khundit, the
baylan (shaman) chants the manambay. The Kalinga sing the dinnayan, dawak, and paliwat
during an egam ritual which celebrates the rite of passage from boyhood to manhood.
Most numerous of the life-cycle songs are those sung during courtship and marriage
ceremonies. In Sagada, young Bontoc boys sing the tigtigaddo when visiting girls in their
sleeping house. The Aeta maiden of Davao del Norte sings the uranda to her swain and he sings
the kumapuy to his beloved. Manobo courtship songs called sangong-sangong are often
accompanied by an instrumentthe saluray, kugot, or kitara. Courting songs of the Zambales Ayta
are the awara. In Negros Oriental, the Negrito love song is called balak. The kulilal of Palawan is
a love song accompanied by the pagang. Wedding feasts are celebrated with much music making.
There are songs which form part of the ceremony, such as the sapo and ayyeng of the Kankanay.
The Kalinga sing the sugsugna to express gratitude to the couple. In the south, the Manobo sing
the pamada (introduction) at a wedding and the pamal-i kagum as a wedding ceremony speech.
Death is an occasion for extolling the departed with song. The Bontoc have special songs
for the dead. The didiyaw expresses grief and prays for a good afterlife for a small child, while
the fulayao recalls the good deeds of the newly departed. The Kalinga sing the dassar before the
burial of a murdered person so that vengeance for the murderer will take place sooner. Manobo
mourning songs are the dalinday, tud-um, and diaga. At the funeral, they sing the tamandag in the
presence of a baylan so as not to attract evil spirits. On a death anniversary, the Subanon sing the
bahay-bahay.
Occupational songs abound among the different groups. These are sung in connection
with farming, fishing, or doing simple chores. Particularly numerous are songs connected with
the rice-planting and harvesting cycle. The Mandaya sing the indowan to call people to plant
rice. While working in the field, the Bontoc sing the ayoweng. To protect the field from pests the
Kankanay sing the soswa. Harvest songs by the Manobo are the layad-layad and balutuking. In
the north, the Ifugao and Kalinga sing the liwliwa and sugiyaw/owayat in thanksgiving for a
bountiful harvest. The tiyasha is a Bontoc rice-pounding song.
Special rituals with corresponding music are performed for various purposes. There are
rituals for curing the sick, such as the Subanon khundit where the manambay is chanted. The
Bontoc chant the kapya; the Ibaloy, the angba; the Ifugao, the mangolhod; and the Ilongot the

bariling, to ask the spirits to cure illnesses. Rituals are also performed for thanksgiving, such as
the Aeta diniwata or the Batak didayu; for weddings, such as the Bilaan andaray and bansula; for
blessing a new house, as in the Bontoc sabosab; for victory, like the Ibaloy bindayan; for war, as
in the Ifugao chajang; for the datu (chieftain), like the Manobo dumalongdong; or for seeking
special favors, as in the Subanon somodiot.
In the Muslim tradition, the celebration of important feasts such as the visits of
dignitaries or the inauguration of new officials are lavish affairs which include the participation
of epic singers invited from different parts of the province, several instrumental ensembles and
dancers. Parts of the Quran are sung, and gongs are played during weddings. On the other hand,
no instrumental music is played during religious celebrations of Ramadan, the birth of
Muhammad or the Friday noon service.
5.0 Conclusion

After reviewing and reading the existing books, previous studies and webpages, the
researchers can conclude that Indigenous music really played a big role in the Philippine Music
today. Indigenous music of the different areas in this country shared the same characteristics with
one another. They are likely played during rituals, weddings, hunting, harvesting etc...
Indigenous music in the Philippines are sung or played depending on their daily living. Nature
also has played a great role in shaping up the music technology and aesthetics of the various
indigenous musical traditions. Indigenous musical instruments are primarily objects of nature as
they consist mainly of bamboo, wood, shell, animal skin and metal; just as many of the melodies
and rhythms of tribal chants imitate some aspects of nature's sounds and movements.

6.0 References:
Resistance in Indigenous Music: A Continuum of Sound. Lindsay J. Knight, August, 2013.
Anupol,et
al.(2007).
Philippine
Music.
Retrieved
http://philippinesheritage.ph/filer/toledocebu/PHILIPPINE%20MUSIC.pdf

from

Philippine Music, A Historical Overview, http://ncca.gov.ph/subcommissions/subcommissionon-the-arts-sca/music/philippine-music-a-historical-overview/

PHILIPPINE FOLK MUSIC, http://aboutphilippines.ph/files/Philippines_Folk_Music.pdf

Banas, R. C. (1992). Musika : an essay on Philippine ethnic music. Manila : Sentrong

Pangkultura ng Pilipinas. Tiongson, Nicanor (Ed.). (1994). CCP Encyclopedia of Philippine Art
(Vol. 7: Philippine theater). Manila: Cultural Center of the Philippines.
himig.com.ph/features/36-indigenous-philippine-music-tradition-and-transformation

AntonioHila, Indigenous Music, http://www.koleksyon.com/filipinoheritage/phil-m

Dioquino, Corazon C. Musicology in the Philippines. In Acta Musicologica,

124-147. 2005
2006 - 2016

Silent Gardens. https://www.silent-gardens.com/culture.php#.WAb9FP5rjIU

THE TRADITIONAL MUSIC OF THE PHILIPPINES written by Ingo Stoevesandt

http://daisyjanejavier.blogspot.com
Himig: A Collection of Traditional Songs from the Philippines by Raul Sunico
http://en.wikipilipinas.org/index.php/Traditional_Philippine_Music
Elmer Llames, 2015... http://sppcfreshmen20112012.wordpress.com/2011/08/14/traditionalmusic-culture-from-north-the-cordillera-administrative-region-car/)
http://www.slideshare.net/elmerllames/music-of-cordillera-grade7-1st-quarter?

Dioquino, Corazon C. Musicology in the Philippines. In Acta Musicologica,

124-147. 1976
Georsua, Raquel. Traditional Practices among the Subanun in Lapuyan,
Zamboanga del Sur with Special Reference to Music. Master of Music thesis.
University of the Philippines, 1987.
Maceda, Jose. Music in the Philippines. In Handbuch der Orientalistik. Vol.
VI, Part III, 28-39. Leiden: E.J. Brill, 1972
________. Arts of Southeast Asian PeoplesMusic. In Encyclopedia
Britannica. Vol. XVII, 237-241. 15th ed. 1974.
________. Drone and Melody in the Philippine Musical Instruments. In
Traditional Drama and Music of Southeast Asia. 246-273. Kuala Lumpur:
Kementerian Pelajaran Malaysia, 1974.

________. Music in Southeast Asia: Tradition, Nationalism, Innovation.

In Cultures. Vols. I, No. 3, 75-94. Paris: UNESCO, 1974.
________. Philippine Music Life. In Sohlmans Musiklexicon. Stockholm, 1975.
http://www.cpaphils.org/cordillera.htm
http://www.koleksyon.com/filipinoheritage/phil-music/pre-colonial-indigenous-music.asp
http://www.intangible.org/Features/kalinga/pages/page1.html (with audios and videos already)
http://folklore.philsites.net/stories/heroism1.html
http://www.unesco.org/culture/ich/index.php?RL=00015 (with audios and videos already)
http://www.unesco.org/bpi/intangible_heritage/phillipines.htm
Maceda, Jose (1998). Gongs and Bamboo. Quezon City: University of the Philippines Press.
Mirano, Elena Rivera.(1992). Musika An Essay on the Spanish Influence on Philippine Music.
CCP Special Publications Office.
http://www.nhi.gov.ph/downloads/ca0002.pdf
http://www.himig.com.ph/features/49-marcelo-adonay
http://bambooorgan.org
http://bambooorgan.org/home.htm
http://www.bambooman.com/bamboo_organ.php
Baes, Jonas. Westernized Musical Traditions in the Philippines. http://www.ncca.gov.ph/aboutculture-and-arts/articles-on-c-n-a/article.php?igm=1&i=162
Canave-Dioquino, Corazon. The Lowland Christian Philippines. Music Cultures and Regions.
Mirano, Elena Rivera.(1992). Musika An Essay on the Spanish Influence on Philippine Music.
CCP Special Publications Office.
Santos, Ramon P. Art Music Form.
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=147
Hiyas Philippine Dance Company.
http://philippineculture.ph/filer/Hiyas-descriptions-of-dances.pdf
Doon po sa Nayon. http://www.seasite.niu.edu/Tagalog/Cynthia/dances/sa_nayon.html
Rural/Barrio Suite. http://pw1.netcom.com/~ntamayo/folkdance.html (with audio)
Canave-Dioquino, Corazon. Music Cultures and Regions. The Lowland Christian Philippines.

First-ever festival of komedya held in UP. (January 2008) UP

http://www.up.edu.ph/upnewsletter.php?i=590&archive=yes&yr=2008&mn=1.

Newsletter.

Influido
de
http://www.seasite.niu.edu/Tagalog/Cynthia/dances/spanish_influence_dances.htm

Espana.

Santos, Ramon P. Art Music Form.

http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=147
Santos, Ramon P. Music Cultures and Regions. Art Music of the Philippines in the Twentieth
Century.
Santos, Ramon P. (1994) Musika. An Essay on the American Colonial and Contemporary
Traditions in Philippine Music. CCP Special Publications Office.
Santos, Ramon P. (2009-2010) Musika ng Zarzuela-Sarsuwela: Isang Pag-aaral sa Etimolodyi,
Katangian at Kahalagahan sa Isang Uri ng Paghahayag-damdaming Filipino. Philippine
Humanities Review, vol. 11/12. Talusan, Mary. Music, Race, and Imperialism: The Philippine
Constabulary
Band
of
the
American
Colonial
Era
(research
abstract).
http://mtalusan.bol.ucla.edu/research.htm. The Himig Collection features the Philippine Band
Music. Himig: The Filipino Music Collection of the FHL.
http://himig.com.ph/features/23-the-himig-collection-features-the-philippine-band-music
Tiongson, N. (Ed.) (1994). CCP Encyclopedia of Philippine Art, vol. 6: Philippine Music.
Manila: Cultural Center of the Philippines. Tiongson, N. (2009/2010) A Short History of the
Philippine Sarsuwela (1879-2009). Philippine Humanities Review, vol 11/12.
http://www.mangyan.org
http://phch.eccmanila.org/tribal.html
Maceda, Jose (1998). Gongs and Bamboo. Quezon City: University of the Philippines Press.
Palawan Provincial Government. This is Palawan: The New Frontier.
De Leon, Felipe Jr. Gawad Manlilikha ng Bayan MASINO INTARAY and the Basal and Kulilal
Ensemble
http://web.archive.org/web/20060716025744/http://www.ncca.gov.ph/about_cultarts/cultprofile/g
amaba/intaray.php
The Arts of Taut Bato
http://wpu.edu.ph/tautbato/arts/gallery-template.html (article and video)
Revel, Nicole M. (2007). Palawan Soundscape. SOCIAL SCIENCE DILIMAN (JanuaryDecember
2007)
4:1-2,
78-90
http://journals.upd.edu.ph/index.php/socialsciencediliman/article/viewDownloadInterstitial/1238/
1273

Revel, Nicole M. (1996). Kudaman: An Oral Epic in the Palawan Highlands. Oral Tradition, 11/1
(1996): 108-132.
http://www.scribd.com/doc/26842427/Palawan-Music (Powerpoint Presentation)
(The Vanishing Batak Tribe)
http://www.omniglot.com/language/articles/vanishingbataks.php
Cainglet, Enrique (1982). Spanish influence on the West Visayan folksong tradition.
http://philippineculture.ph/filer/toledo-cebu/Spanish-influences-in-song.pdf
Department of Education (1966). Philippine Folk Dances and Songs. Manila: Bureau of Public
Schools, pp. 130, 187, 215.
Eugenio, Damiana (2007). Philippine Folk Literature Anthology. Quezon City: University of the
Philippines Press.
Gutierrez, Maria Colina. The Cebuano Balitao and how it mirrors visayan culture and folk life.
http://nirc.nanzan-u.ac.jp/publications/afs/pdf/a128.pdf
Hiligaynon Literature:
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=137
Magos, Alice. Kinaray-a, Hiligaynon, Ilonggo and Aklanon Speaking People.
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=4&i=248
Muyco, Christine. Tayuyon Music of the Panay Bukidnon of Western Visayas. National
Commission for Culture and the Arts.
National Commission for Culture and the Arts (2001). Philippine Cultural and Artistic
Landmarks of the Past Milllenium. Manila: National Commission for Culture and the Arts.
Peters, Joseph, ed. (2003). Sonic Orders in ASEAN MUSIC Volume 1. Singapore: ASEAN
Committee on Culture and Information, pp. 345-348, 365-366, 369, Track 25 - Pastores (Bohol),
Track 28 Balitao (Bohol).
Scott, William Henry (1992). Looking for the Prehispanic Filipino. Quezon City: New Day
Publishers, pp. 104-156.
Traditional Forms of Music:
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=161

Department of Education (1966). Philippine Folk Dances and Songs. Manila: Bureau of Public
Schools, pp. 130, 187, 215.]
Binanog Dance:

http://mybeautifuliloilo.blogspot.com/2012/01/binanog-festival-of-lambunao-capturing.html
Eugenio, Damiana (2007). Philippine Folk Literature Anthology. Quezon City: University of the
Philippines Press.
Gutierrez, Maria Colina. The Cebuano Balitao and how it mirrors Visayan culture and folk life.
http://nirc.nanzan-u.ac.jp/publications/afs/pdf/a128.pdf
Hiligaynon Literature:
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=137
Iloilo Festivals:
http://festival.nfo.ph/philippine-festival/december/tultugan-festival-drum-bamboo-maasin-iloilo/
Magos, Alice. Kinaray-a, Hiligaynon, Ilonggo and Aklanon Speaking People.
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=4&i=248
Maceda, Jose. Means of Preservation and Diffusion of Traditional Music: The Philippine
Situation in Asian Music 2:1, 14-17. http://www.jstor.org/stable/833808?seq=2
Muyco, Christine. Tayuyon Music of the Panay Bukidnon of Western Visayas. National
Commission for Culture and the Arts.
Muyco, Christine. (Re)Opening a Cultural Memory: The Bamboo Instruments of the Panay
Bukidnon
in
Humanities
Diliman
http://journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/1485
National Commission for Culture and the Arts (2001). Philippine Cultural and Artistic
Landmarks of the Past Milllenium. Manila: National Commission for Culture and the Arts.
Scott, William Henry (1992). Looking for the Prehispanic Filipino. Quezon City: New Day
Publishers, pp. 104-156.
Traditional Forms of Music:
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=161

7.0 Curriculum Vitae

The researcher Ms. Divina Quillope Batulan 19 years, a daughter of Mr. and Mrs. Joseph
Batulan. Residing at Hinapo, Tomas Oppus, Southern Leyte. She was finish her elementary
Education at Hinapo Elementary School, Hinapo, Tomas Oppus, Southern Leyte. And finish her
Secondary Education at San Isidro National High School. And pursuing her Tertiary Education
Southern Leyte State University- College of Teacher Education (SLSU-CTE) taking up Bachelor
of Secondary Education (BSED) specializing MAPE.

The researcher Mr. Owen Abao Tantoy 19 years, a son of Mr. and Mrs. Mauro Tantoy Jr.
Residing at San Ramon, Bontoc, Southern Leyte. He finished his elementary Education at
Bontoc SPED Center, Bontoc, Southern Leyte. And finish his Secondary Education at Sogod
National High School. And pursuing his Tertiary Education at Southern Leyte State UniversityCollege of Teacher Education (SLSU-CTE) taking up Bachelor of Secondary Education (BSED)
specializing MAPE.