Filipino musical instruments and airs of long ago

MUSICALINSlRUMENTS AIRS OF LONG AGO ~Y .~

£NORBERTO 'R:OMUALDEZ

I

•

\

\ \

\

I j

Lecture delivered at the Conservatory of MuSic, '

i

University

I I

.

of

the

Philippines

0n iJ'Xovember 25th, 1931.

,

C0PÂ¥1UGHlI', '11932. BY NORBERTO ROMUALDEZ

FIUPINAS HERITAGE 1I8C: .\RY

J \ \

INDEX INTRODUCTORY TOPICS .......... ...... ....... . ...... ... ...... .

PERCUSSION INSTRUMENTS: I. i< alutafig ..... . ..... ....... ... .. ' 11. 13unllaka or ~ilbil . . .... .. .... .. ............. .

111. Sulibaw ..

IV. Tugo .. ... ...... ..

V. -Lud~g .. . ..... .. ..

VI. Neguet .

VII. G'ansa ..

VIII. Kulintafigan ............... .. .. .... .... .... .. .

I X. Gabbafig ..

X. Subifig ...

Page 3

6 · 7

. 8

. .. 9 9

... to ··. 11 .. 12 . ..... 13 .. 14

WI'ND INSTRUMENTS : Xl. l3ansik ........ ..

16 XII. ' Tulali ....... .. .. .. .... ........ ... .. ... ..... .. .. . 16 I XIII. l3alifigifig .......... 17 XI \)!. E. antoy . .. . ... ..... .. ... .. ...... ... ..... ....... . ... ........ . ... .. 18 XV. Sahunay .... ... . .... ..

18 XVI. Pasiyak .

19 XVU . .. Pasiyok .. .. ............. ........... .. .. ·· 19 XVIII. Diwdiw·as ... . ......... .. . 20 XIX. Playing the Diwdiw-as (a picture) .. ... .... . ..... 21

,

••••

~

.... I • • • .•

STRINGED INSTRUMENTS : Xx. Pas-ifig .............. ............................. .... ... ..... 22 XXI. Karaga guitar . . 23 . . . 24 XX II. Buktot.

XX III. Buttifig.. ....... .. ... .. . . . . ... .

24 XXIV. Gurimbaw .25 XXV. Kudyapi.

26 XXVI. Litguit ... .. 27 . .. 27 XXVII. Bontok Violin .

X~VIII. Negrito Violin . .. ... ... ....... 28

'

Index MUSICAL 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

I I. 12.

13.

14.

15.

AIRS : Ayegkha ............ .............. ... .. .. .. . · 29 Toddanan . .. .. .. ...... .. ..... ......... . ... .

29 . ....... · ..... · .... 30 Pagpag ....... .. ........ .. .. ... .. .. ...... .. . . ........... · 30 Ayoweng .

Milling aVoweng ......... .. . ... .. ...... .. .. · ... ..... ...... .. .. .. .. 31 .. .............. ... .. .... .. .. ............ ......... 31 Tud·ob ...... ... ..

Whistle .......................... .. .. ...... .......... .. ...... .. ........ 32 tagungo .... ...... ...... .. ... .... .. .. ... .. ..... .. .... .. .. " ....... .. . 32 Annaoy ... ....... ... ......... .. .... .. . ...... ......... .. .. .. ·33 Kalooye ... ....... ..... ..... ... .. ... .. ... .. ... .. 33 Kadumaiig .. . .. . .. .. . . .. . .. .. . .. . . . . .. .. . .. .. .................. 34 Panilan ......... . .... ...... .. ....... .. .. .. .......... ........ . 34 Diwdiw·as ...... .. ........ .. ...... .. .... .............. ...... .. ... ...... 35 Kalusan .. .. .. .. .. .. .. .. .. .. . . .. .. ... .... .. ... .... ............ .. .. ... 36 Bunkaka .. .. " · .. · ....... .. .. ..... . .. .... . .. ...... ... .... 36

CLOSING REMARKS ....... ............. .... ...... .. .. .... .. ... ...... J7

I

FILIPINB MUSICAL INSTRUMENTS AND AIRS OF LONG AGO (LectJU'e deliveI'ed by Jusf,iee Norberto Romualdez at the â&#x201A;Źonsel'Vatory of Music, ~,niveI'Sity of the Philippines, on November 25th, 1931, at 5 :30 p. m.)

Mr. Director, Members of the Faculty, Ladies and Gentlemen:

l NASMUCH as my subject is the Filipino Music, let me tell

J' you a story about an agong.

c3J

Long ago, there was in one of the villages of Sulu a big agong. It was tied to one of the branches of a tree in the middle of the village. Whenever the proximity of invaders was noticed, the agong was sounded to warn the villagers.

I To sound. the agong there was hanging from the same tree a piece of rock tied 'with a rope, the lower end of which dangled to the ground.

One night, Samburaya, an inhabitant of the village, was on his way home, having taken in the market more wine than was good for him. He was walking in the zig-zaggy gait naturall wi,t h a drunk man, and his feet got entangled with the rope of the agoiig. He fell down, and in doing so, he jerked the l'ope, thus causing the instrument to sound very loudly.

The villagers were, of course, alarmed, and they gathered their weapons and they all ran to the tree only to find Samburay:a there, dead-drunk and lying on the ground. So, they took l\,(l.ld of him, and as a punishment, they tied him to the tree. The next morning, they found him there, apostrophizing the &gong, gnashing his teeth at it and saying: "You, trouble maker, with your empty head and noisy tongue!"

Now, I hope, m~ dear music lovers, that none of you will find thas lecture empty and noisy like that Suluan &gong.

The story goes on and says that the people since then called Samburaya gonggong, possibl~ from agoiig. The word gong-

4

FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO

gong is equi:valent to the Tagalog haiig'al and to the Bisayan huiigog, and pl'obably, to the Englfsh dumb-bell.

Now, coming to my subject, we aU know that Music was known in the Philippines even before the coming of the Spaniards.

The most FJrimitive inhabitants of these Islands, - the Negritos, - whom we call ita in Tagalog, and ati or agta in Bisayan, had their own music, before the Indonesians and the 'Malays brought theirs upon these shol1es; At a later period, the Chinese and Japanese merchants left their types of reed, stringed and pereussion instruments.

These diverse music influences were already at work when the Occidental people reached these Islands.

Many articles have bee):! written albQut the subject. Pigafetta, Magellan's companion, the Jesuit Father Chicino, ami Delgado, also Wals y Merino, and Mallat have dealt with Filipino Music in their works; Later on, Mr. bean C. Worcester in his book entitled "The Non-Christian Tribes of Northern Luzon" refers to some native musical instruments, airs, and dances. MI'. W. A. Reed, in his study of the Negritos of Zambales, describes some native instru,ments of music. Professor Otto J. Scheerer's "The Nabaloi Dialect" contains an account 6fthe music of the Benguet Igorot. The late Mr. Epifanio de los Santos published an article entitled "Folklore Musical de Filipinas", where some musical instruments, airs and dances are described. In the Census of the Philippines of 1903, some reference is made to the. Filipino music (Cf. Vol. PFJ. 535-571).

Professor Otley 'R. Beyer's "Manl:lscript S0urces in PhHippine Ethnography" contains descriptions of the music Hfe in the entire Islands. The Director of this Conservatory, Dr. Francisco Santiago, in his published work entitled "The Development of Music in the Philippine Islands" has traced the history of the Filipino Music. Mr. Alfred L. Kroeher in his work entitled "Peeples of the Philippines", published in New York in 1919, mentians some Filipino musical instruments. Mr. Raymundo C. Banas in his book "The Music and 'l\heater of the Filipino People" also -speaks of the eady music of the Filipinos.

But the phrase Filipino Music as we now un'd erstand it in common parlance, requires an explanation. Strictly speaking, not all music claimed to be Filipino, are of real Filipino origin.

We call now Filipino music, any music adapted to the peculiar taste of the Filipino people, although of foreign origin.

5 I

The faet is that due to the imluence of the Occidental cultUl1e whieh is deeply 110@ted in @Ul1 ways 3Ind customs since the sixteenth eentul1Y, the native aq-ts have suffered a great deal @f tI:ansformatlion and our fundamental ideas, as well as the w.ay of giving expFessi@n j;@ the ilieelings @f our soul have undel1gone a change on aee@unt of their sul'ijection to new modalities. And the change has . been t@ such an extent that the n3ltive ways and ideas appear to us now as mere vague reminiseences of a l1emotie past, a pietml1e rendered nebulous with I'lassing on of the ye3l11S. Our music nas suilifel1ed the same fa:te; but, thanks to a patriotlic spiri,t of renaissance, a'n d to the enthusiasm of scholars in digging up the past t@ study FiliI'li,no culture and art in all their pl1istine iliorms, s@methoing is now done to preserve wnh endeari¡n g loyalty, the few. remnants af our @ld, truly oriental civilization. Thus we I'lerpetuate the vibrations of the Filipino soul for music - sad !lind melaneh@lie but , w1thal, clea:rly energetic in sI'liw af i,t s softness and delicaey. ;Let us p@pul!llrize the knowledge of what is aurown in music.

I(j1his is !lin imp@rta:nt manidiestation of the pSlYchology of a pe@ple. We woulCl (.iol{e to help spl'ead out among our youth, the knowledge of, !lind appreei!lltian for. our native airs, so thati we may I'lrice a:nd tl'easure, love and cherish them, in the al1chives .of our mos¡t dell!l' traditions in the reliquary of our hearts. . i[ shaH JiJegin with the musicwl instruments, and after, i sha:i'lpass t o the musical 3Iirs.

The field is large. The materia:l on hand is not abundant.

My pFepaFati@n 3Ind a:biHty to undertaike the subiect are very limited. lin addition to ail th3lt, the time, I w@uld better say the @dd times, !Il eould spa,r e @n the w.@l'k were scarce and short. 'l'hel1efol1e, :Ii aI'lpeail in advanee to Y@Ul' generpus indulgence. fin pl'esent ing the native musiea.I instruments, I s!IJ. al~1 follow the e:iassimieati@Th genel'aililY adoI'lted, to wit: percussion instruments, wind instl'uments, amd stringed instruments.

PERCUSSI@N IIN SrmlJMENTS.

~ ]

iNSTRUMENTS af I'lel'eussi0D are supposedly I>ne most pl1imi,tlive. 'Fhe cIapI'li,n g of tl\.e hands, aiDd the sta:mping af the feet, exempHfy t!IJ.e ii'I1St and crudest a,t temI'lts @f . man 3>t rhythm and music. \ @enel'ailly, the pereussion instruments are intended anly ['o r rhythm, but thel'e are some that produee a kind of melody.

,1

6

To give you an idea of these instruments, I shall show some repr@ductions of several @f them.

r

One of the m@st primitive of our percussi@n instruments is undoubtedly the kalutaiig which is still used in some Tagalog provinces, as for instance, in Marinduque. The instrument is composed of two pieces of sticks of about 45 and 40 centimeters long and 4 centimeters in diameter, made from a certain kind of wood called ta.n-ag. It is sounded by simply striking the t)'Vo pieces, one against the other.

The following IS a reProduction of the kalutaiig:

J.

...,.-

KALUT A ~G

As to the word kalutang, I think that it is a compou11d of the particle ka (which' in this case means c0Ihpany l,i ke in ka-sarna, kababayan, etc.) and the root Iuta wb:icn in Bisayan meims separated. This compound name therefore kalutaiig, suggests the 'instrument itself ; i. e. tW0 separate pieces @f wood, e,0unded together.

rlong Bunkaka - This bamboo instrument about centimeters is also called bllbil arid it is very much used among t he 40

Tingyans and the Benguet Igorots. I think that ,t he terms buitkaka and bilbil are both onomatopoetic nilmes that is to say,- taken from the very sound produced by, t he instrument.

It is played by striking the splitted end of a bamboo against the left palm.

FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO

7

The following figure is that of a bunkaka:

II. BUNKAKA or BILBIL. .

It also produces some limited melody, - the change of tune being effected by the different ¡ways of striking it against the palm and also by leaving open or, by stopping with the right thumb, the hole in the handle. The etymology of the term bunkaka is very apparent. It bears the Filipino philological characteristic which means open. The instrument is open at one end.

By way of digression, FilipinQ dialeets Rlre eminently onoma¡topoetic, and the vowels play an important part in the conveyance of ideas. For example, to express the idea of open, the principal vowel sounds produced in opening the mouth are used, U -A. Conversely, to express the idea of closing the corresponding vowel sounds produced in closing the mouth are used, - A-U. Thus, we' have in Tagalog, Bisayan and Ilokano, the buka which means to open or to untie. In Bisayan, we have the word ta~up (accidentally pronoun<led in Tagalog ,takip) which means to cover or close. The term bunkaka therefore, with the vowels U-A, suggests the idea of opening, in accord~nce with these laws of Philology. v Slilibaw - This is a hollow wooden drum in use Rlmong the Ibaloi [gorots. lIhe nead of the instrument is covered wi~h the skin of an animRiI. The pla:ll'er must be half-s~ated ~nd . the Sulibaw is held on his lap. A reproduction of the instrument is shown below. Its actual length is about half a meter, the diameter of the head being about 15 centimeters.

8

FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO

III. SUUBAW

It is played by striking the palms of the hand against the tight-fitting skin diaphragm. It is simply a rhythm instrument to mark the time of dance. As to the etymology of the name sulibaw, it is undoubtedly a compound of the particle suli which conveys the idea of repetitien, i. . e. "repeated striking", and baw the onomatopoetic expression of the sound produced. In itself suli must be a compound of the words "sauli" from uli the root of muli, ulit, sulit of the Tagaleg dialect.

Tugo - Among the Tiruray people in Kotabato, there is a drum called tugo. This. word tugo must be an original native word because it has only two syllables. It is my persuasion that in the Filipino dialects, the original roots are of no more than two syllables. The root tugo may have served as such for the Bisayan word tugod which means the bottem. The idea of the bottom is not altogether foreign to the shape and form of this drum. .

The tugo is about 25 centimeters long and about 20 centimeters in diameter, its shape being as follows:

FILIPIN@

M~SICA1.

./

INS'T1RUMEN'TS AND AIRS OF LONG AGO

9

IV. TUGO.

III Basilan, Mindanaw, they have a long and rather small drum wH;j'1 SKin at bonh enas, canea agofig bowa.

Thelte is a great variety of native drums. We have for i.l1Btal!ce 1}he drum af the Apayaws called ludag which is shown in t he next l'eproauction. The actualleng'th of the drum is about ane meter and a half. It is made of wood hollowed in its whole len'gtih, i,t s lower end being c'lased. The name ludag which i'n Bisayan dialect means to la~ aown, is given ¡ to the instruments, prohahly on account af tihe way it is played, that is, by having it laia an the laps of the performer. 'l!1l'te :fiigul'e a] ludag is presented below. The instrument is ali>out one mete!: and 20 centimeters long, being a!bout 30 cenllimetel's t he dia)l.'lleter af it s head.

/

V.

JLI\!1D II!G.

Among 1}he Tirurays 0] Kotaba1ia there is anatliter dr~m caned neguet a reproducti0n a] which is here. The negUet is about 30 centimeters high, its head being of about 20 centimeters in diameter.

10

FII¡.lPINO MtJSICAL INS'ifRUMENTS AND AIRS OF LONG AGO

VI. NEGUaT. /

It is made of the base of the trunk of palma bra va, hl1llowed and open on its upper part, this part being covered with a deer skin. The neguet reminds the Indian drum whose chief representative to the Nagara known as Dundubhi in the old San::.krit epics. Such drum is rel'l0rted by Dr. A. M. Meer'warth, Asst. Curator, Eth'l'logral'lhiGal Museum, Petrogl"ad Russia, in his work entitleed "Guide to the Musical Instruments Exhibited in the Indian Museum, Calcutta," published in Calcutta, India, in 1917, page 18, plate XII, Nos. 204, 222.)

With reference to drums, there is in Eisayan a genevaJl name, guimbal, used in, Tag3ilog, Bisayan and Bikol di3ilects meaning drum. It is to be noted th3it one 0f the towns of Iloilo Province bears this name of Guimbal, probably because in ancient times many drums were manufactured there, in the same way in which a town of Laguna is calUed Paete, fr0m paet (chisel) because in past years there were m3iny carpenters and sculptors in that locality.

It may be said in passing that the word paet was added a final e at the end to give it a Spanish :fiorm, I,i,k e Kabite from Kawit, J:'>arafiaque from Palanyag, Malate from Maalat, Marinduque from MaaIindok, Masbate from Masbat, from Masibat, Antique from Hamtik and so on.

in some regions of Northern Luz0n llhere is a drum called tambul, a name which I think is a Gorruption of the Spanish "tambor."

FILIPINO MI!JSICAL I'NSTrlRIJMENrrS AND AIRS OF LONG AGO

11

Gansa - This is a generall name applied to a kind of bronze gong. Am@ng the .Apayaws and the Ifugaws, the common denomination is gansa, the bigger one being called koongan and the smaller ene, mlos, while in Sulu, the bigger one. is named makatupag. In Mindanaw and Sulu t,h e generic name is ag\)ng, named a<lso gansa in same localities in Mindanaw. The gansa is played by h@lding with one ha.nd the cord whic4 holds the gong in position, a.nd with the other beating it with the palm @f the hand or with a padded drumstick.

The figures bel@w are these of a gansa and ' its corresponding stick. The diameter of the ga.nsa is about 25 centimeters.

VIL GANSA ,

Let me say a word about the name gansa. As you see, I write i,t gansa without any nasal sound in the first syllabic, tha.t is to say, following the mast c@mm@n orthography, without g after the n.

My reason is that gansa is an old Filipino name of copper or brass. The word is rep@rted by Fr. C@sgaya in his dictionary as used in Pangasinan in the year 1865. The Ia.te Mr. lEpifanio de los Santos in his article above mentioned writes the word gansa, without g after n. ~n the census of tine Phmppim! Islands @f ]903, (page 536, Volume I) the word is printed gantas which must be a misprint.

,J

12

FILIPINO MUSICAL.INSI'RUMENiTS AND AIRS OF LONG AGO

Kulintaiigan. This is a graduated gong the sets af which have a range fl'om ane and a haIr to two actaÂĽes. Sametimes thel1e are eight gangs in a set, The kuJintaiigan shown in the figul'e below has only seven gongs. The usual size of a kulintaiigan is about one meter long

VI'm. KULINiTAJ'rGAN.

This instrument is used in Sulu.

The name kulintaiigan is a deriva't ive of kulintaiig because the ending an is Filipino suffix which among other mean.-. ings, signifies a place where a certain thi.ng is usually done or made, like saboiigan from saboiig, upo-an fr.om upo in Tagalag; the sa;me rule beiRg faund in 1iOlme i,n the other iFliHpino dialects. The word kuJintaiig, I thinlk is very similar in its farmation to the word sulibaw, the origin af whose root uli means repetition. The word kuJintaiig may be decomposed into kuHn a contaction of ka-ulin, from uli, and the onomatopoetic wOl'cl taiig, expressing the sound produced by each gong 01 the instrument . . The idea of repetition is of caurse unavoiclable ~ e­ cause of the llifferent gongs compasing t11.e keyboarcl.

Gabbaiig ---"- It is a native xylophone used in SUiln. ![n t he beginning it was constructed out of wood with a bamboo keyboard on top. In modern times, however, instead of the bamboo kayboard, it is made of metal.

The most ordinary gabbaiig has its ma'i n bocly shapecl like a coffin ancl macle out af woocl. Across its open top al1e laid wooden sticks (usually seven in number~ of diifel'ent lengrths and sizes and placed about one centimeter or less apart from each other. Across the extreme wider end of course is placed the biggest and largest stick and the rest are placed alongside with it respectively according to their length and size. The sticks are sometimes cushianecl on a layer of insulating cloth in oJlder that, as they vibrate when struck, the

.f.'ILIPINO MUSICAL INSTRhlMEN"FS AND AIRS OF LONG AGO

13

sound is clear and pure, Jiladded, s0ft, but not deadened by direct contact ' with the wooden body.

A

figu'~e

of a gabbaiig is given below.

IX.

GABBAJ\1G , / '

The gabbaiig is about 60 centimeters long, its width on each end being p.roportionate to the length of the instrument.

The gabbaiig reminds us of the cymbalum or dulcimer, of , which tl'ie authors speak as the predecessor of the old clavichord.

I

The gabbiliig is played by harp.tnering the crossing sticks wi,t h a wooden llammer; and, although as we ha.ve already said, Jilercussion instruments were Jilrimarily and are generally intended lor Fhythm, still, it is also true, that some Filipino percussion instruments develop some melody like the bunkaka or bilbil. New, the gabbaiiJ!" en the other hand is more than an exceptien to the rule. Because, although it is a pereussion instrument, yet it is more mainly melodic rather¡than rhythmic only.

The constI'uction of its keyboard, the di]feFent lengths and sizes 0] the stieks, aff0rd t he varied tunes necessary ]01' melady. ' The aneient gabbaiig, that is, the enewith a wooden keyboard may more properly be called xylophone, than some native gabbaiigs of today. From the etymology of the word in Greek, ky.1o means w0ed a>:n,d the ending phone as Y0U know, me~ns sound.

Subiiig - We may include among the percussion insb-uments a jew's harp made o:li bamboo called subiiig, mentioned

by Pigafet ta, Magellan1s eempa>nion, in his book "primmo vi~gio intomo al globo tenaqueo." ,

14

The subifig presents a great ¡ variety in shapes and. names according to the regions where it is used. Lt is made of a piece of bamboo, one end of which is cut off so as to leave a projecting tongue.

This tongue when struck causes the movement Q;f an inside split of the same piece of bamboo, the end of which split, being in front of a cOI!cavity and free to move acr@ss a small longitudinall hale along beth sides of said split, causes the vibration of the air through the smaIl long opening.

Here is the figure of one kind of subifig:

.0'

m

, . . Jf X.

SUBII'lG (front and back sides) /

This submg is about 40 centimeters long.

It is played by striking to and fro and with the right thumb, the projecting tongue, and placing the instrument horizontally in between the lips precisely at the concavity where the end of the interior split moves. The mouth of the performer thus serves as the resounder of the instrument which' may produce some limited melody by increasing ' or decreasing the force of air blown through the said concavity, and also, by projecting or withdrawing the lips accordingly but wi,th@ut separating them from the instrument.

The subifig is called kuIIibaw arirong the Negritos, aphiw among the Igorots of Bontok, barimbaw among the Tagalog people, subifig in the Bisayan Island.s, Kulaifig in Kotabato and kubifig in Lanaw. All of these names are onomatopoetic.

FILIPINO MUSICAL INSTRUMENTS¡ AND AIRS OF LONG AGO

1Ii

Of course, I do not include as musical percussion instrument, the hollow log beaten with the end of a club, which was called i~ Bisayan bayog and used as an offcial announcer of the town, for which reason it was usually hung either in the municipal building or near it. The bayog was used to call the cuadrilleros or policemen, the somatenes, the aIguaciles, or the polistas, or to announce to the inhabitants of the town, any extraprdinary occurence.

Neither do I include the Bisayan karatong or the Pangasinan Iipakpak, or Iipalpak as called in a Pangasinan Dictionary above cited, written by Fr. Cogaya. The karatong is like a bayog but made of bamboo and, of course, very much smaller.

The Iipakpak is a bamboo divided at one end into two segments which sound when clapped against each other. It was used as a "matraca" during the latter part of the Holy Week, for occ;1sions or instances when the bells ordinarily should be used. Both karatong and lipakpak are also onomatopoetic names.

WIND INS'FRUMENTS

~

MONG.the

musical wind instruments, we must not forget of course, to mention first and foremost, the human lips wi,t h which we can ~roduce the most perfect melodies by whistling which is common to all human races and very much indulged in by the Filipinos.

Leaves of certain plants aI'e also used by some naturally gifted Filipinos as musical instruments by simply applying them to the lips and blowing in a certain way so as to produce a solid sound like like that of a clarinet and thus play all kinds of melodies.

But, coming to the Feal contrivances made by mali, by which musical sounds are produced with the wind as a prihdpal factor, I shall first mention the flute. There is a great variety of Filipino flutes not only as to the number of holes, but also as to the length. There aFe flutes more than one meter long.

16

FILIPINO MUSICAL INSllRUMBNTS AND AIRS OF LONG AGO

I ~here

'I!~ugaos,

is one called unguifig am0ng the and paIandofig,/' giaiigan among the people of Davao, Mindanaw. This instru. ment is made of bamboo and has one hole for the mouth and three for the fingers.

There is a four-hole flute called bansik amcmg the Negritos of Zambales, and made of mountain cane. This js one af the -musical instruments referred to by Allan Reed in his work men--- tioned hereinbefore.

Here is a bansik which is about 40 centimeters long and about two and a hal:( centimeters in diameter':

XI. BANSIK.

Among the Tingyans there is a bamboo flute called kalaleiig which the late Mr. Epifanio de los Santos mentioned in his article abave referred to.

Y') The people of Igbaras, Iloilo, have their flute Cailled tulali '-V'ry much like that European flute, with one hole for the mouth --.../a nd six for the fingers. In some regions of Samar and Leyte it is called palawta, a name corrupted evidently fram the SpaInish flauta. .

r The figure shown below is that of a tulali, an instrument of about 50 centimeters long and abcmt 3 centimeters in diameter:

XII. TULALI.

In Pangasinan they have a flute named tulaIi, described by Mr. Juan Banes in his article entitled "Some ~ative Musical Instruments of Pangasinan" published in the manthly called t.The Music Lover" in its last issue. I

There is a nose flute called baIiiigiiig or baJiiiig among the YI ,,)and A.payaws, and named kipanaw amang the 'Fifigylfns of Abra, which has t hree ar fou¡r hales. It is also made of bamboo.

The player plugs up one nostril with a mass of soft vegetable fiber and blows the flute with the other nostFil. The flute is pla:yed pressed ag3linst t>l1e o}!Jen nostril.

The baliiigiiig is about 45 centfmeters long and about 3 in diameter. Its figure is shown below:

~entiriJ.etel's

XIII. BALIr'lGII'lG .

/

n)iut named Among the Bisayan people there is a clarinet called Iantoy subiiig among the Sub3lnos of Mindanaw. It is also

.,J

made of bambao and has four or six holes for the fingers. The lantoy is mentioned in the Bisayan version of that Oriental ÂŁable called "The Turt le and the Monkey", which in I1ok:mo is called "Ni Pag-oiig ken ni Amken", in Tagalog, "Ang Buhay ni Pagoiig at ni Matsing" and in Leyte Bisayan "Si Amoay ug si Haiigagay", reported by IDr. Rizal in a journal in London in the year ]889, wheFe he compares the story with a Japanese fable entitled "Saru kani Kassen" (The War between the Monkey and the Crab). (Vide "Elscritos Ineditos del Dr. Rizal" by E. de los Santos, published in "CuHmFa Filipina" of December, l!9U~.. 'Ilhel'e are dififierent ways o:fi preparing the lantoy, as may be seen in figures in the reproduction below. The Iantoy is about 50 centimeters . long and about 3 I centimeters in dia.

18

FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO

l!

.. ,,.~ ,

.•' .. d .

XIV. LANrrOY. (rrhe additional figures above and below the LANrrOY show two different ways of preparing its mouthpiece) .

I remember that when I was a small boy, I used· to see the _ boys of my town make Ian toys with the petiole of the papaya ,leaf. . ,/ The natives of Sulu have a bamboo flute called sahunay. ' It has six holes for the fing ers and one for the mouth. A / trumpet made of coconut leaf is attached to the lower end. Here is the figure of a sahunay:

XV . SAHUNAY.

The sahunay is about 50 centimeters long, its maIn body being about 3 centimeters in diameter.

\ ~'~~~==~~~~~~~~~-=~~~~~~~

~ .

I A wllItel' wh.isllle l:alHec;l pasi:yak is still usec;l illl some regions (\ :Ii the isllllnd 0f iPanaY'. 'lit is a ~ipe-like instrument pJayed 0:y putting water in lihe liu0e t hus ~roducilllg a whistle-Hke sounc;l and by blo.w,i.ng into t he pipe thFOUgh. a smwll hole at the eml 0] the pipe, H~e tile lantoy of fig.Jlre a. 'Fhe variation is 00tainec;l my ap~Jying mODe OF less f0rce 0f llIir.

XVI.

\

F'I".SI¥ AK.

XV II. W1'ISIYClK.

The\PaSyok)~ 0ne @f tHose toy ~nsbuments likie 1!he lIuru~ot, maae of lI'eaif----0"] 1:0e0ntl;t OF nipa, and wen kn0wIll IlIm0ng th e 'Fagal0g, Fa'mpangllln a·n d EisIDY'RIn people.

I

20

FILIPINO MUSICAL INSTR JMENTS

~ND

MRS OF LONG AGO .

We now come to the especially interesting wind instrument usea amang the Ti,figyalls af Abra, callea diwdhv-as, a pan-pipe maae 01 several l'lieces af hamlIDIDID reeas ana li>laMi at their IDlDen ends by movi'llg the i,n stnlment is playE)d mostly ""--\)Y" women.

The figu re of the diwdiw-as is this:

l

XVll l.

DlwmW ¡ AS.

/

/

Upon seeing the diwdiw-as, one cannat help remembering the Chinese musical instrument called sheng, because both have pipes. It is not impossible that the Chinese sheng or the Filipino diwdiw-as is the origin of the ancient Greek musical instrument called syrin'X!, from whh~h aceara~ng ta the belief of some authars, IDl!lr IDrgan of taaaf has heen aerivea a,f,t er passing through many different stages 01 fIDr.m. In fact, we know that there was a time when all musical instruments were called organs. Really, one of the meanings of the word organ is that of an instrument or implement. It is interesting to know that in the Indian Museum at Calcutta there is an ifndian musical instrument similar to the Ohinese Sheng, which they called Gourd Flute. (Vide, the cited work af Dr. Meerwar1ih, page 13, plate VII, No. 117).

As you see, this diwdiw-as has five pipes. Now, the song reported by the late Mr. Epifanio ae los Santos which you will hear by and by is also called diwdiw-as and has five notes only. But the diwdiw-as sometimes has mOFe than five pil'les.

One ''lord about the way I write the name diwdiw-as. I take it that the name is a derivation of the old root diwdiw which is preserved in Bikol, Bisayan and Pangasinan dialects, although in this last dialect it has the form of diwriw for euphonical reasons. Diwdiw means to appraach, almost to . reach an object especially with the end of the fingells or With the lips, this last bei,n g the way in which the instrument is

FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO I

21

played, as the lips, during the performance, pass from one .tube to anether with0ut t0uching the tubes. The ending as is found in some Filipine d,i aleds as a suffix meani,n g opening, absence. sepaorati0n. distance. Thus we have the Tagalog words butas, bUkas, kupas, taas, luwas, etc. and the Bisayan words baw-as, takas, haw-as, lukas, lugas, etc. In' the word diwdiw-as, the ending as means distance, separation of the mouth from the ins1}rument. I separate the suffix as with a hypeh.in ol1der to aveid Wl'@ng pronunciatien.

The diwdiw-as is :played in the fOl'm shewn in the figure below which is a hand made copy of a picture appearing in Mr. Worcester's above mentioned book (p. 873. plate LVII) .

As you see, the diwdiw-as in this figure has seven pipes.

XIX . PLAYING THE DlWDIW-AS .

'F0 this kind 0f instruments we may add the Tagalog tambuli which is generally a trumpet made of horn used to call people.

22

FILliPINO MUSICAL INSTRUMBN'fS AND AIRS OF LONG AGO

STRINGED INSTRU.MENTS

(mffi:HE pas-iiig amang the AFJayaws, IgaJJots, is a gtUH;a'l' made

of bamboo. The b~mboo is cut before ane nod and after the next. Two cords are slit loose aside by side from the outer skin fibers of the bamboo itself and these are gi¡v en tension by means of brides. A hole (sometimes twa) . is then bored' ar cut into bambao just under the twa cards, to serv:e as resounding holes. Tb.e strings aFe FJieked 'wHih I>he fiJilgeJJs or beaten With a stick. " -

Here is the figure of the pas-iiig:

xx.

PAS¡rl'rG.

The pas-mg is about 45 centimeters lang and about 10 centimeters in diameter. " The pas-iiig of the Apayaw must be the guitar called kugloiig of the Bagobos and Atas of Miridanaw. Similar to the pas-iiig, there is among the Iphugaws a guItar which they call pantig.

This way of using as strings the outer skin fibers of the bamboo itself is also fol1lowed among the Karaga FJeaple an iIlne east coast of Mindanaw, who have their guitar made of bambao with the same kind of strings around the bamboa, as shawn in the following figure: . .

I

,

, "

'.

.:'

;;

FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO

XXI.

23

KARAGA GUlT AR.

Judging from the sound,. "pas-iiig" it must have been derived, as from ham pas, lipas, kupas, lampas, in Tagalog and paspas, upas in Bisayan from the word "pas" meaning to strike 01' to go tJ\t'1'ough, cUl'iously enough almost indentical to the English pass, amI. to the Spanish paSllJr, comp3.$, and iiig the onomatopoetic word from the sound produced.

Among the Negritos of Bataan there is a guita'T called kabuiigbuiig, similar to the pas-iiig of the Igorots. This kabuiigbuiig must be the slllme guitlllr found by Mr. Allan Reed among the Negri,t os @f Zamblllles llInd reported by him in his work mentioned before. !lit is idenliica,l to the g.uitlllr called kuiigkoog in Pangasinan and to the lloklllno guitar found among the Bugney people in Cagayan VaJlley.

It is remarkable that in India they have a musical instrument alm@st indentical to the pas-iog, which they called over there Tsaung, (Vide, Dr. Meerwal'th's w@rk above cited, page 5, pla<te I, N@. 7).

Thel1e is in some r~gions @f the Bislllyan isllllnds a guitar called buktot, a word in the Filipino dialect generally meaning a hump-baeked person, to whic¡h the instrument resembles 'in its resonat@r which is usually a coconut shell and sometimes is gourd.

"-Ftl\J~c:- HERrTAGE l~'3PA9~

24

FILIPING MUSICAL INSTRUMENTS AND MRS OF LONG AGO

Here is the figure of the buktot:

XXII. BUKTOT

We find also a native guitar which is very IHfely o:li Eurepean origin. It is called kutibeng in Bokos, bigwela in Tagalog (evidently from the Spanish viliuela, a diminutive of viola) and sista (from the Spanish sexta) in the regions of Samar and Leyte.

Probably the llokano name of kutibeng applied before to the real native guitar, the old pas-ing, but also used to t he occidentalized guitar, fol' which reason the present kutibeng is also called in Isabela cinco-cinco, frem tile Spanish "cinco" (five) on account of its five strings: a more exact name than the Spanish-Bisayan sista. In Leyte there is a guitar like ukelele called guitara from the Spanish guitarra. ( We also have among the Yogad people of Isabela a guitar called butting whose figu,re appears below:

XXIlI. BUTII IS!Y .

The butting is abeut one meter long. The name of tihe instrument which in English would be pronounced butting may remind you that I am simply butting into a subject where I necessarily plead guilty of scarce knowledge, music not being in line with my pro:liession. You know very well that I am not a professional musician.

At any rate, going back to our subgect let me tell you that

F'I1J~LN(j)

I I

MlJSIG:1!:L INSII'R!UMENTS AND AIRS OF LONG AGO

250

buttiiig is a ba.mboo bow tied with hemp or lukmoy fibers or even ba.na.na ifiUi> ers as strings. There is a.lsa a.mong the Negritos o'li Z3Imbales a musicall instrument like the Yogad buttiiiga,n d which is also described in Mr. Allan Reed's- work. The buttiiig is very simil3lt to _the ba.mboo bow found among theAp.ayaws, the onl\Y' dif:lierence liJeing llha.ll the Apayaw bow bears a coconut shell an the ventral side of the interior middle of the bow, to act as a resonator;- This Apa.yaw instrument is the so-called gurimbaw a.mong the Negwi,t os o:li 'FayaliJas, where the bow is called busog, the b3lmboo joint--bias, the string-gaka; made :lirom fibers of a v,i ne called l~moy the same as in Isabela, while the coconut resonatol" is called kuhitan. Here is. the iiigure a:li a gurimbaw.:

XXIV_ GIJRIMBAW_

j

- This instrument is' also about one meter long.

If the Chinese had the theory that only eight are the saund-giving -bodies, tia wit : stone, met3l1, silk bamboo, wood skin, goul'd and clay, in the Philippines we use besides these materials, othel's like ric:e stalk, and also hemp, and several fibers for strIngs and bows.

The butf,iiig is pl3ly.ed by holding -it with one hand and picking the strings with the other with the aid of a stick.

Since both ha.nds a.l'e busy, the tune is then varied by running alang a.niV edged, 'liiiX1ed ehject sucn as a }'lost, :lior example, or the like.

There is no doubt tha.t tne bow as musical instrument is known f,r am the most a.ncient times. The \!lassics emphasize the terFible saund of A}'l0llo's D0W when he killed the Gl'eeks to avenge Cnryses his priest.

Because the sound of the string is thin and weak; -the inventi'Ve mind of man in tl\.e iPhilipflines }.ike in Asi!!, foun.d the of resona.tor. Thus we have tha.t of the gurimbaw.

Anothel' Filipino stringed instrument is the kudyapi, made of wood which resembles an elongated guitar usually having' two strings. On accaunt af iots size it is plaÂĽed in simi1a.r pasftion as a cello, f0r which reason it has at its lower end a stick in a way of support.

L!.dea

26

FILIPINO MUSICAL INSTRUMENTS AND MRS OF LONG AGO

Here is a figure @f the kudyapi:

XXV. KUDYAPI.

The kudyapi varies in size. Generally, it is about one and a half meter long.

For the benefit of those who are interested in seeing a kudyapi actually, )I may mention that there is one in the Museum of the Ateneo de Manila which I gave to the Jesuit Fathers in 191~. It was played on for me by some Tagbawa people of the island of Palawan when I was in Puerto Princesa presiding over the court of first instance.

As above indicated, the Fili.pino musica!l instruments, in a similar way as the Filipino ai,r s, have undergone foreign influence, like the tulali in Panay, the palawta in Leyte and Samar, the kutibeiig in Ilokos, the bigwela among the Tagalog p.eople and the sista or guitar among the natives of Bisayas, or kitara in some regions of Luzon.

In the kudyapi we have a detail which denotes 1ihe 0hinese influence. I refer to the nods placed f@r changing the tones of

FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO I

27

the string, and which remind these of Chinese stringed instruments.

The kudyapi is called \l:etyaphi among t he Tiruray people in Kotabato. There is a Il'reat variety of long guitars similar to the kudyapi, like the kuglong of the Bagobos and Atas, the aydlumg of the Mamanwas; the tampipi of the Subanon people; and the kudlong of the Manubos, which instruments are made called saguibadbad or banti which wood is light and tough.

As te the name lmdyapi, e1" ke~yaphi according to the Tiruray people, it must be n@ted tha.t in [ndia thel1e is a stringed instrument wh@se resona.f@r is called kachapi, which means tortoise. ¡ As you see the word kachapi is close to the Tiruray ketyaphi (Vide, the cited work of Dr. Meerwarth, p. 8).

In the line of violins, we have among the Negritos of Tapas, iKapis, a bamboo violin called litguit. It is made in a peculiar form with tw@ strings. !Helle is a litguit aoeut 45 centimeters long. and ab@ut 4 centimeters in dia.meter a.\1d a Bontok violin of about the same length.

XXVI and XXVII . L1TGUIT and BONTOK VIOLIN.

28

FILlP~NO

MUSICAL INSTRUMENTS AND AIRS OF LONG AClO

It is to be observed that the name litguit which means <Ito rub or ]llroduee fricti(;:m," thus inaicating the way the instrument is]lllayed, presents a v!llri'!lItic!ln in 'Leyte. There we ]llrOnOlmce it lutgot, not litguit, although it is the same word with the same meariing. This is due to the Filipino dialectal phonology, where the sounds of i !lind u are interchangeable.

The real pronuntiation of the vowel u can yet be detected among Filipino inhabitants in some regic;:ms, especially in Pang asinan. In ]llronouncing the u, they d0 not project their lips lilfe ' ~he Spaniaras in pr0noUoncing the u in the w(i)rd tu, (i)r the Americans in pronoUoncing"double 0 as in book, look, took, etc. The ancient Filipino way of pronouncing the vowel u is by withdrawing a little, and not projecting, the lips, as in the Bisayan words kaun, bug-at, takup, a pronuntiatjon which is very close to the Taga,]og words, kain, itim, big-at, takip. In the Pangasinan dialect there are many words where such vowel still has special pronuntiation, as t:anem (to pl!llnt), piket (to adhere), kalateket (Spanish m!ll~raca~ ana many others.

This word Iitguit or lutgot has variations in the Bisayan ludgod, and Iidguid, both bearing the idea of rubbing.

The foreign influence is also shown in the Filipino vioLin. Among the Bontok people, we see how the Iitguit has evolutionized into a bamboo violin already with a bamboo handle.

Finally the Fitlipinos are aading to t heir musical instruments a kind of violin more similar still to the European violin, as we see in this reproduction of a violin of the Negritos of Zambales.

XXVIII . NEGRITO VIOlIN .

FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO

29

'£here are m:llny other Filipino musical instruments, hut I limit myself to those already presented because they are, I think, the most representative. I do not forget that imprecation of Samburaya to the Sulu:lln big agong. Lest your patience be taxed too much, not only with the noise, but also with the length of this lecture.

I finish with the musical instruments.

I

MUSICAL AIRS

~

T being a professional musician, I prefer to leave to those more learned and better prepared the analytical study of our old musical airs from the standpoint of the principles :lind theories of t he art, rather, Science 0f Music.

I shall confine my efforts to the presentation of the different airs that I have found, ' commencing from the simplest ones, as far as the width of the scale used is concerned.

We have first this simple air of only two notes used among the Bontok Igorot people, who call it ayegkha, an evening song or a serenade. This song was dictated to me in 1926 by some Bontok people.

S) -,,: i d I (' Ir mE rTF Id Ir 'I rr Idid I AYEGKHA. (This piece is taken from the Progress ive Music Series, Philippine edition, Book One. page XXXIX. 2nd. edition. and is here published by permission of the publishers. Silver. Burdett and Co .. New Yo rk .)

The next is a song of three notes dictated to me by one called tJ'tek, :lI native of Santa Cruz, liilabaw, in the same year 1926. The name of the song is toddanan.

2) &JoB (1 vi Fd1$ -II: ri)rorl ~rpr"rcrl TODDANAN. ~Tibis

piece belongs to the collection of Filipino folk airs sent by the author of this lecture ·to Silver. Burdett 1'& <;;0 .• New York. under number 146. as sourCe material prepared for The Progressive Music Series. Philippine Editiof ' and is now published by permissio n ).

30 FILIPINO MUSICAL INS'FRUM'ENrrS AND AIRS OF LONG AGO I think these songs and the following may be used as themes by our composers for fugues, sonatas, etc.

The foHowing song has three notes, a;nd is called pagpag and used lI,mong the Bont@k people. It was sung to me by Manuel Lafasne (aJiias Anikt@l) and by three Bontok women named Agnes Tsoyapan, Adela Gablay and Ursula Ka;nayan. The song is used i.n pounding rice in wedd.i ng occasioNs. The ;f'irs,t part is sung @y girls a;nd the second part lily boys.

.

wrl~

3)~~I:J 131ÂŁ4 Jl~iJB9 Jib JItJJ IJ 1_ '~~ IJ JlgJJI J JI:s JI J I~E Boys:

PAGPAG. (This piece is the number 14(') of the collection of Filipino folk airs sent" b y the author of this lecture to Silver. Burdett and Co .. Ne w York. as source macerial prepared for The Progressive Music Series . Philippine Edition. ' and is now published by permissio n} .

This theme may, perhaps, be deN'elo!ged into a rewl canllon.

Y@u willl now hear aN(,)jjher ai,r df th~'ee notes alls@. . 'Dhds is one of the songs called, among the Bontok Igorot people with the generic name of ayoweiig which means "evening song". This is sung in social gatherings and repeated ImtH the singers are exhausted in answering one another with their impromptu words. This song was sung to me by Lorenzo Tangad, Kayad, Tsaykon, Tsuaya and Mariano Almendral in 1926. You will notice that it contains some contrapuntall design.

4) &~ cltF¡'I~ 'If~: IF

am ~ ~ IWJffWnl

tiP #f~'1-1;3

I

AYOWEJ\lG .

(This piece bears number 134 in the collec~ ion of Filipino folk airs furnished Silver. Burdett '" Co .. New York by the author of this lecture. as s"uree material prepared for The Progressive Music Series. Philippine Edi~ion. and is now published by permission).

FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO

JI

Of course the strict occidental rules of Harmony are not in force in those regioIl$ where these songs remain in full use.

I .

Now we come to a four-notes Igorot song, a milling ayoweiig. This name of ayoweiig, as above indicated is similar to the Tagalog iundiman, and to the Bisayan balitaw, in that these two last are also generic names. '['he ayoweiig is usually sung during the sugar cane milling. Two groups of men engaged ' in the work tur.n aroun,d the mill and sing alternately,

MILLING AYOWEJ'<G. (This piece ~ taken from The Progressive Music Series. Philippine Edition .

Book Two. page XL. 2nd. edition. and is ' bere published by permission of the publisbers. Silver. Bu.rdct. 8 . Co .. New York) .

The song @f foul' n@tes li@ be ,h eard now is-from Agusan, Mindanaw, called tud-ob, used in the 'harvest of rice. It was dictated to me by Gregorio Barrios, a Manubo, native of Bunawan, Agusan. The first three bars of the music are hummed.

TUD ¡OB. ~1fhis

piece is 'he number Ii! 7 of tbe-¡coIIection of Filipino folR airs sent by .be au.bor o~ this le"ur' te Silver. B'u rdeu 8 Co .. New York. as source ma:terial prepared for The P.cQgressive Music Series. P:hiJippine Edition. and is now publisbed b.y per.m ission).

Now let us hear an air :Drom Zambales. '11his is a whisUe air of four notes, used by the sailors to call the wind.

32

FILIPINO MUSICAL INS"I1RUMENTS AND AIRS OF LONG AGO AtlliIJilum

~

7)~ tlI'.ctarf'J,llN!f\P, i'

~

crwrr

Ef C· tr E1 ~f ~J'I WHIS'J1LE .

(This piece bears the number ! ,t"4 in the c" Ucoti"n o~ Filipino foil( airs sent by the author of this lecture to Silver, Burdett \'6 Co ., as source material prepared for the The Progressive Music Series, Philippine Edidon •. and is now published by permission).

The next is a music played on four agongs. It is originated from Sulu. Its name is tagungo.

8) ~all:.oJ)IJ1J InJ)IJjJI-olJlfl~llJjJ I TAGUNGO. (This piece is taken from The Progressive Music Series, Philippine Edition.

Book Two, page XXXVI. second editio n and is here published by permission -of the publishers, Silver, Burdett a Co .. New Yo rk) .

In pFesenting these songs we cannot go by regions iii', as announced by me, we follow order acording to (wmplexit y. So, having heard a song from Sulu, we shall now hear a song from Bontok, called annaoy.

This air of five netes is sung by tb.e Igoret peeple when they build rice terraces, for their rice plantations. The men do the digging of earth and building of the terraces and the women transport the earth to the plaees fOF terFaces. The song commenees when the load of earth is pIaeed en 1!he head ·of the women who do the transporting.

FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO

33

g) ~a j:1J./1; I; li.)I)""I; rJrCiI [' I

WIJJIJ LII}n,liJ,hp ANNAOY. (lih,s is ~he piece number 137 in the collection of Filipino folk airs sent the authOfl of this lecture to Silver, Burdett ~ Co., New York, as source material prepared for The Progressive Music Series. Philippine Edition. and is now published by permission).

by

Let us now hear a song of five notes, which some beggars of Bakulod, Occidental Negros used at the time I was there, from 1914 to 1919. The song commences with the phrase "kalooye man ninyo".

KALOOYE ....

(This piece bears number 66 in the collection of Filipino folk airs sent by the author of this lecture to Silver, Burdett and Co .. New York, as source ma terial prepare for the Progressive Music Series, Philippine Edition. ' and is now published by permission).

The influence of the Spanish music is, I think, clear in this piece.

The next air is one caBeG kadumafig, a song of fiv.e no~es also used by the Ibilaws Oli nongotles af Niueva Ecij'a , reparted by the late Mr. Epifanio me los Sa,ntas.

KADUMAJ'lG, (This piece is the number 247 in t,he collection of F ilipino fo l,k aiÂŤ sent by , nhe author of this lecture to Sil iler, BurdHt fj Co" New York, as souÂŤ. material prepa red for The Progressive Musi< Series, Philippine Edition, and is no w published by permission),

Among the Negritos of Zambales, there is a song of five notes called panilan. It is used by them when they are dancing while one of them is cutting the bee-hive. Before the last note, the dancers set up a shout. The dance is repeated,the beginning representing the fight with some be'e and the last part the taking of the bee-hive.

aery

lotJlnnlJ!1nl,J 1]3 ( Th is piece by the author of material prepared no w published by

PAN lLA N, bears the number 115 in the collection of Filipino folk airs ,s enl this lecture to Silver, Burdett fj Co" New York. as sour.. for The Progress ive Music Series. Philippine Edillion, and is permission).

We shall hea'r now the song caiNed diwdiw-as, Net played on the instrument beari,n g the same nairne, bhlt having before us again the picture ef the Igerot lady fJiaying tl:J.e diwdiw-as.

This air has been collected by the late Mr. Epifanio de los Santos when he was provincial governor of Nueva Ecija.

FILIPINO MUSICAL INSTRUMENTS AND AIRS OF LONG AGO

35

DIWD IW-AS. (Whis pie<:e by the au~ner of material · prepared now published by

bears rohe number 247 in tl he t!ollection o~ Fi lipino folk airs sent this leC(i urc to Silver, E'>urdctt U Co .. New York . as sou rce for The Progressive M usic Series. Philippine Editi.on. and is permission).

(XIX.

PLAYING THE D/WD/W- AS).

The following song is from, Batanes Island and has six notes. It was dktatecl to me in 1923 by Atanasio Dapilan. [t is a l'QwiI'Ig song wheJ;e the ]ilil@t Si1llgS and t,h e crew answers.

KALUSAN. (This pie« is taken ~rom Whe I!'rogressive Music Series. I!'hllippine Edit ion.

Book Two. page XXII . 2nd . edinioD. and is here published b¥ permission of the publishers. Silver. BurdeH a Co .. New Yor.k ~.

Lastly, I shalll present a n3ltive pie<:e calHed I)unkaka. We have come across the term oe]c!lre, whEe speakin g ab(!)ut il'Jer, cussi(!)I'l instruments (See iFi@uore [)iI, pages 6, 7~, bUlt ~hs iiilffie it is the name giveR, t(!) a scmg. It has 'she notes. [ t was played ta me in the year 1926 an a violli n by De.metrio M~saway, a Tingyan, native of Pefi3lITubia, Abra. I think it is a Ilie<:e very litt le influenced if at aliI by lE u'l"@pean mtlsic.

715 [) ~

iF !g Iur 'I'Sa I#_.~ I~~~ II (I

IfbnCllil~~I-JaIPJfrl31 ~ I BtlNKAKA. (This pieae is the number 142 in ~he eollect.ion o~ Filipino folk airs sent by the author of this lecture to Silver. Burdett a Co .. New Yook. as so urae material prepared for The I!'rogressive Music Series. Hhilippine Edition. and is now published by permission) .

There 3Ire many other Fi'J.ipino musicall 3I1.r s, but, in my opinion, the @nes you ihea·r d here tonig!nlt , ave the mast typically native, at least fr"bm 3Imong those of my callec1;ian.

Before <:oming however to closi,n g remarks, be;liore leaving, 1 think th3lt it is my duty to tha,n k Pro]. An,t onia J. Molina, for his valuable stlggestions wi,t h regard t@ the l'lresenllatian of the. subject and especially, :fiar tIne han(!)r a] appearing oe'liol1e you tonight. ~ also want to thank Mr. Ri<:ar da is. Galang, Curator of the Division of Antlill'@p(!)lagy @l t;he Na1;ianall Museum, for the faci'lities he sa helpfully af:fiarded me in my r esearch work. Of c@urse, I a'p preciat e tihe help rendered me tonight by Miss Amelia Miarfori, Mr. Martiniano Esguerra, Mr. Frl;llncisco Dumlao, and Mr. HeracJ.ia Guev:ara in playing the musical airs.

FILIPINO MlJSICAL INSTRUMENTS AND AIRS OF LONG AGO

37

CLOSING REMARKS Notwithstanding the fact that I have (I am afraid) abused you:r patience with this lengthly lecture, much remains to be said about the subject and much more remains to be researched for and studied.

I :rejoice to learn that the corresponding authorities are to attend to this important matter by creating a commission to go to our pl'ovinces and to gather first-hand information, de visu et aure, regarding our old musical instruments and airs. I certainly hope that this excellent idea will be earned out in the firm conviction that much very valuable and interesting information will be gathered. ~Ianning

In the meantime, I humbly pray this distinguished audience to take this lecture as a humble tribute, a sincere attempt to render some service to Filipino musical art.

I THANK YOU.

\

\

\

Reprinted March 29. ),968

..

\

\\

· .

'\