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MUSIC IN G R A DE 5

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OVERVIEW

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 i g e n ous M us i c
l o ni a l In d
Pre-Co

MUSIC IN THE PHILIPPINES WAS DEEPLY

INTERTWINED WITH INDIGENOUS BELIEFS AND
PRACTICES. TRADITIONAL INSTRUMENTS, SUCH AS
DRUMS, GONGS, BAMBOO FLUTES, AND STRINGED
INSTRUMENTS LIKE THE KULINTANG, ECHOED
THROUGH THE LAND. THESE SOULFUL MELODIES
WERE WOVEN INTO THE FABRIC OF RITUALS,
CEREMONIES, AND DAILY LIFE, SERVING AS A
SACRED CONNECTION TO ANCESTRAL SPIRITS AND
NATURAL FORCES.
 i g e n ous M us i c
l o ni a l In d
Pre-Co

INSTRUMENTS: INDIGENOUS GROUPS ACROSS THE

PHILIPPINES COMPOSED MUSIC USING VARIOUS
TRADITIONAL INSTRUMENTS. SOME notable ones
include:
⚬ Kulintang: A set of gongs played melodically.
⚬ Gangsa: A single flat gong.
⚬ Tambol: A cylindrical drum.
⚬ BAMBOO FLUTES : LIP-VALLEY FLUTE AND
RING FLUTE
KU LIN TA N G
GANGSA
KUBING
 O FLU TE
BAM BO
 i g e n ous M us i c
l o ni a l In d
Pre-Co

AWIT AND KURIDO (CORRIDO):

• DURING THE CONVERSION OF EARLY FILIPINOS
TO CHRISTIANITY, THE ANCIENT EPICS WERE
REPLACED BY A MUSICAL SHOW CALLED AWIT
AND KURIDO (OR CORRIDO).
• THIS FORM OF ENTERTAINMEnt featured dances
and songs, adapted and performed in various dialects su
ch as Pampango, Ilokano, Ilongo, Tagalog, and Bicol
 IDIOPHONES
THESE INSTRUMENTS PRODUCE SOUND BY VIBRATING
THEIR OWN SOLID MATERIAL
• CONCUSSION IDIOPHONES: INSTRUMENTS STRUCK TOGETHER OR AGAINST EACH OTHER (E.G.,
CYMBALS, CASTANETS)

• FRICTION IDIOPHONES: INSTRUMENTS THAT PRODUCE SOUND WHEN RUBBED (E.G., MUSICAL
GLASSES)

• PERCUSSION IDIOPHONES: INSTRUMENTS STRUCK WITH A STRIKER (E.G., XYLOPHONES,

TRIANGLES, BELLS).

• PLUCKED IDIOPHONES (LINGUAPHONES): INSTRUMENTS THAT NEED TO BE PLUCKED (E.G.,

JEW’S HARP)

• SCRAPED IDIOPHONES: INSTRUMENTS THAT ARE SCRAPED TO PRODUCE SOUND (E.G., COG
RATTLES, WASHBOARDS)

• SHAKEN IDIOPHONES: INSTRUMENTS THAT REQUIRE SHAKING (E.G., MARACAS)

• STAMPING IDIOPHONES
: INSTRUMENTS THAT PRODUCE SOUND WHEN STAMPED ON A HARD SURFACE (E.G., TAP SHOES, I
 Membranophones Chordophones

THESE INSTRUMENTS PRODUCE CHORDOPHONES CREATE SOUND

SOUND THROUGH A VIBRATING BY VIBRATING STRINGS. EXAMPLES
MEMBRANE (E.G., DRUMS, KAZOOS). INCLUDE THE PIANO, CELLO, AND
OTHER STRING INSTRUMENTS.
 Aerophones Electrophones

THESE INSTRUMENTS PRIMARILY ELECTROPHONES ARE ELECTRONIC

USE AIR TO CREATE SOUND. INSTRUMENTS THAT GENERATE
EXAMPLES INCLUDE THE PIPE SOUND USING ELECTRICITY.
ORGAN, OBOE, AND OTHER WIND
INSTRUMENTS.
 s and pract i ces
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RITUALS AND CEREMONIES:

Music accompanied religious ceremonies, harvest festivals,

and rites of passage.

ORAL TRADITION:

Music was passed down orally, from generation to

generation.
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STORYTELLING:

INDIGENOUS music often told stories—of heroes, love,

nature, and creation.

COMMUNITY BONDING:

Music fostered community cohesion. People gathered to

sing, dance, and celebrate together.
 s and pract i ces
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COSMOLOGICAL SIGNIFICANCE:

MUSIC WAS INTERTWINED WITH COSMOLOGY—

CONNECTING EARTHLY LIFE TO THE SPIRITUAL
REALM. It was a bridge between the seen and unseen
 h c entur y
16th-17t

THE ARRIVAL OF THE SPANIARDS BROUGHT ABOUT

CHANGES IN CULTURE, RELIGION, AND MUSIC.
 h c entur y
16th-17t

LITURGICAL MUSIC: SPANISH COLONIAL MUSIC, BOTH

SACRED AND SECULAR, THRIVED FROM 1565 TO 1898.

SECULAR MUSIC: THE SPANISH INTRODUCED NEW MUSICAL

FORMS, INCLUDING PUNTO BASED ON POPULAR TUNES LIKE
“BAHAY KUBO,” “ALOHA OE,” AND EVEN THE PHILIPPINE
NATIONAL ANTHEM.
 le spanish col
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THE MIDDLE SPANISH COLONIAL PERIOD LEFT AN

INDELIBLE MARK ON PHILIPPINE MUSIC, BLENDING
TRADITION WITH NEW INFLUENCES AND SHAPING
THE MUSICAL IDENTITY OF THE ARCHIPELAGO.
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LITURGICAL MUSIC: THE SPANISH DISCOVERED THAT

FILIPINOS WERE A SINGING PEOPLE. MUSIC WAS DEEPLY
INGRAINED IN THEIR DAILY LIVES.

PEDRO CHIRINO NOTED IN 1604 THAT FILIPINOS PRESERVED

THEIR TRADITIONS THROUGH SONGS.
THESE SONGS WERE PASSED DOWN ORALLY AND RECOUNTE
D GENEALOGIES, MYTHS, AND RITUALS
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LITURGICAL MUSIC: THE SPANISH MISSIONARIES

INTRODUCED LITURGICAL MUSIC TO THE PHILIPPINES. THE
CHANTS OF THE CHRISTIAN CHURCH REPLACED
INDIGENOUS SONGS.

ORGANS, HARPS, AND GUITARS BECAME PART OF RELIGIOUS

CEREMONIES, AND HARMONIZED MUSIC ECHOED THROUGH
THE CHURCHES.
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ERADICATION OF INDIGENOUS MUSIC: THE SPANISH

COLONIAL REGIME AIMED TO SPREAD THE CHRISTIAN FAITH
AND ERADICATE EXISTING CULTURAL PRACTICES.