VISAYAS

Balitaw

The balitaw is the song traditionally associated with the Visayas region, similar to how the kundiman and
kumintang are associated with ancient Tagalog music.

The music of the balitaw is usually written in 3/4 time. It is also danced to, although it originally was
something that was merely sung. This folk air has a more developed form called balitao romansada. The
traditional instrument used to accompany the balitaw was a three-string coconut-shell guitar; later, a
harp was adopted as the instrument of choice because more chords could be played on it. When
performed today in modern rendition, a five-string guitar is used.

The balitaw is a debate or dialogue song in which a young woman and a young man compete to see who
is better at improvising romantic verses. Using song to disguise the intimate sentiments of courtship
reduces the embarrassment involved in meeting potential mates.

Ili Ili Tulog Anay

Ili Ili Tulog Anay is a traditional Ilonggo folksong from the Panay Island in the Philippines. The lyrics are in
Hiligaynon, a dialect mainly used in Iloilo. It is traditionally sung by an older sister or elder female
relative to pacify a baby and encourage sleep while the mother is at work or on errand away from home.
It is a beautiful song that captures Filipino values on close family ties and the important role of women
in child rearing.

The instrument being played is a Philippine guitar. Sometimes, it’s a clavinova. Other times, there’s no
instrument; just the soloist (it is, afterall, a lullaby).

MINDANAO

Tagonggo

Tagonggo or tagunggo is a type of music traditionally played by male musicians dressed in their festive
fineries. It is outdoor music, while the related kulintang ensemble, by contrast, is chamber music. The
main instrument of tagonggo music is the tagunggoan, from which it takes its name.[1] The tagunggoan
consists of six to eight hanging gongs in a pentatonic scale. In addition, the instrumental ensemble
consists of several medium-sized gongs called mamalala; several small, high pitched, and shallow gongs
called pong; one or more tambor (snare drums); and one or more garagara or panda'opan (cymbals).
The last two are either of Chinese or European origin.

Occasions or purposes for playing tagonggo include sending off or welcoming dignitaries, honorific
serving of betelquid, and wedding celebrations. Tagonggo players go at the head of the parade either on
foot or aboard a vehicle or motorboat. Tagonggo is also played in ceremonies called kalilang sa tong to
appeal to the spirits for a bountiful harvest or for a rich catch of fish.

Darangen

Darangen is meant to be narrated by singing or chanting. Select parts of it are performed by male and
female singers during weddings and celebrations (traditionally at nighttime), usually accompanied by
music from kulintang gong ensembles, tambor drums, and kudyapi stringed instruments. It is also
traditionally accompanied by several dances, each interpreting specific episodes of the epic. Depending
on the part being performed, the performance can last a few hours to a week.[6][7] The epic also
incorporates Maranao customary laws, social values, and practices prior to the Maranao conversion to
Islam in the 14th century.