Cordillera Administrative Region

Provinces Capital
Abra Bangued
Apayao Kabugao
Benguet La Trinidad
Ifugao Lagawe
Kalinga Tabuk City
Mountain Province Bontoc
 CORDILLERA
It is the country's only land-locked
region. It has a mountainous
topography and dubbed as the
"Watershed Cradle of North
Luzon" as it hosts major rivers
that provide continuous water for
irrigation and energy for Northern
Luzon.
Characteristics of Music of Cordillera
1. Music is very much part of life and living
2. Have a rich variety of songs and music
performed on instruments
3. Often performed in groups, all members
of the community are welcome and
encouraged to join the singing, dancing and
playing of instruments
4. Their music is communal and
participatory
5. Songs are usually in unison of pentatonic
melodies
6. 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
(http://sppcfreshmen20112012.wordpress.com/2011/08/14/traditional-music-culture-
from-north-the-cordillera-administrative-region-car/)
Important Activities Where Music is Utilized
1. Peace pacts
2. Healing rituals
3. Invocation of the gods
4. Rites of passage
5. Weddings and festivals
6. Other life cycle events such as birth, coming of
age, work, marriage and death

(http://sppcfreshmen20112012.wordpress.com/2011/08/14/traditional-
music-culture-from-north-the-cordillera-administrative-region-car/)
 Vocal Music
Life Cycle Music
Birth to Childhood
Owiwi- lullabye of Kalinga that relate a childs life
Dagdagay- song of Kalinga that foretells the babys
future.
Oppiya- kalinga song, sung while cradling
Love, Courtship and Marriage
Chag-ay- an expression of secret love of Bontoc.
Oggayan- greeting and advice to newly weds of
Kalinga.
Death Rite Music
Didiyaw- song to a dead child of Bontoc
Sangsangit- a dirge of Isneg.

Work or Occupational Song

Sowe-ey- Rice pounding song of Bontoc.
Dakuyon- kalinga song for hunting bats.
Dinaweg- Ilongot song for catching wild boar.
Owayat- song for gathering firewood of Ilongot.
Chey-assa- Bontoc rice pounding song sung in a
groups.
Ceremonial Music
Kapya- song of Bontoc for curing ceremonies.
Angba- song of Bontoc for curing ceremonies.
Dawak- song of Ilongot for curing ceremonies.

Entertainment Song
Hudhud- epic song of Ifugao, a leader chorus style.
Alim- leader chorus style of music of Ifugao where
to groups of singers reply to 2 make leaders.
Dang Dang-ay- Kalinga entertainment song
Hudhud- chanted epic poetry
consisting of poems about heroism,
honor, love and revenge was declared
in 2001by the UNESCO a Masterpiece
of the Oral and Intangible Heritage
of Humanity. It is a long tale sung
during special occasions. This
particular long tale is sung during
harvest. A favorite topic of the hudhud is a
folk hero named Aliguyon, a brave warrior.
Hudhud Chants of the Ifugao
The hudhud is recited and chanted among the Ifugao people - known for their
rice terraces - during the sowing and harvesting of rice, funeral wakes and other
rituals. Estimated to have originated before the 7th century, the hudhud -
comprised of some 40 episodes - often take three or four days to recite. The
language of the chants, almost impossible to transcribe, is full of repetitions,
synonyms, figurative terms and metaphors. Performed in a leader/chorus style,
the reciter - often an elderly woman - occupies a key position in society. There is
only one tune, common to the entire region, for all of the verses. Very few
written examples of hudhud exist.

Threats: The conversion of the Ifugao to Catholicism weakened their traditional

culture. The hudhud was linked to the manual harvesting of rice which is now
mechanized. It has been replaced at funeral wakes by television and radio.
Although the rice terraces are inscribed on the World Heritage List, the number
of cultivators continues to decrease. The few people who know all the poems
are very old, and young people are not interested in this tradition.
 Hudhud hi Aliguyon
( Ifugao )

Once upon a time, in

a village called
Hannanga, a boy was
born to the couple
named Amtalao and
Dumulao. He was
called Aliguyon.
He was an intelligent, eager
young man who wanted to
learn many things, and
indeed, he learned many
useful things, from the
stories and teachings of his
father. He learned how to
fight well and chant a few
magic spells. Even as a
child, he was a leader, for
the other children of his
village looked up to him with
awe.
Upon leaving childhood,
Aliguyon betook himself
to gather forces to fight
against his fathers
enemy, who was
Pangaiwan of the village
of Daligdigan.
But his challenge
was not answered personally
by Pangaiwan. Instead, he
faced Pangaiwans fierce son,
Pumbakhayon.
Pumbakhayon was just as
skilled in the arts of war and
magic as Aliguyon. The two of
them battled each other for three years, and
neither of them showed signs of defeat.
The two of them
battled each
other for three
years, and
neither of them
showed signs of
defeat.
Their battle was a tedious one,and it has been
said that they both used only one spear! Aliguyon
had thrown a spear
to his opponent at
the start of their
match, but the fair
Pumbakhayon had
caught it deftly
with one hand. And
then Pumbakhayon
threw the spear back to Aliguyon, who picked it
just as neatly from the air.
At length Aliguyon and
Pumbakhayon came to
respect each other, and
then eventually they came
to admire each others
talents. Their fighting
stopped suddenly.
Between the two of them
they drafted a peace treaty between Hannanga
and Daligdigan, which their peoples readily
agreed to. It was fine to behold two majestic
warriors finally side by side.
Aliguyon and Pumbakhayon
became good friends, as peace
between their villages flourished.
When the time came for
Aliguyonto choose a mate,
he chose Pumbakhayons
youngest sister,Bugan, who was little more than a
baby. He took Bugan into his household and cared for
her until she grew to be most beautiful.
Pumbakhayon, in his
turn, took for his wife
Aliguyons younger
sister, Aginaya. The two
couples became
wealthy and respected
in all of Ifugao.
 MUSICAL
INSTRUMENTS
1.Gangsa is a single hand-held smooth
surfaced gong with a narrow rim. A set of
gangsa, which is played one gong per
musician, consists
of gangsa tuned to
different notes,
depending on
regional or local
cultural
preferences.
Gangsa is played in two ways. One way is called
"toppaya" and the other is called "pattung."

In "toppaya" style, the musicians play the

surface of the gangsa with their hand while
in a sitting position, with a single gangsa
resting on the lap
of each musician.
In the "pattung" style, a gangsa is
suspended from the musician's left hand
and played with a padded stick held in
the musician's right hand. In the
"pattung" style of playing, the players are
standing,
or they keep in
step with the
dancers while
bending
forward slightly.
2. Kalaleng or Tongali (nose flute) Because
the kalaleng is long and has a narrow internal
diameter, it is possible to play different
harmonics through overblowingeven with the
rather weak airflow from one nostril. Thus, this
nose flute can play notes in a range of two and a
half octaves. Finger holes in the side of the
bamboo tube change the operating length, giving
various scales. Players plug the other nostril to
increase the force of their breath through the
flute. (http://en.wikipedia.org/wiki/Nose_flute)
3. Tongatong
-is a bamboo percussion instrument used by
the people of Kalinga to communicate with
spirits during house blessings. It is made of
bamboo cut in various lengths.
4. Diwdiw-as is 5 or more
different size
of slender
bamboo that
is tied together.
5.Saggeypo it is a bamboo pipe that is
closed on one end by a node with the open end
held against the lower lip of the player as he blows
directly across the top. The pipe can be played
individually by one person or in ensembles of
three or more.
6. Solibao is hallow wooden
Igorot drug topped with pig skin or
lizard skin this is played by striking
the drum head using the palm of
the hand.
7. Bungkaka- bamboo buzzer
of Kalinga.
8. Kullitong- polychordal
bamboo tube zither of Kalinga
9. Ulibaw- bamboo Jews harp
of Kalinga.
( Called as Kubing among the among the
Maguindanaon and other Muslim and non-
Muslim tribes.)
10. Patangguk-
bamboo quill-shaped
11. Pateteg-
bamboo leg xylophone
12. Paldong-
bamboo lip-valley
GLOSSARY OF MUSIC TERMS & SYMBOLS

1.Hudhud (chanted epic poetry)

2.Tongatong (Bamboo Stamping Tubes)
3.Saggeypo (Bamboo Pipes in a Row)
4.Bungkaka (Bamboo Buzzers)
5.Kubing (Bamboo Jews Harp)
6.Patteteg (Bamboo Leg Xylophones)
7.Gangsa Palook (Gongs played with sticks)
8.GangsaTopayya (Gongs played with hands)
 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, works 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
modernization 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 or issues between state
policies and their ancestral rights on land ownership, mega-tourism,
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.
 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, works 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
modernization 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 or issues between state
policies and their ancestral rights on land ownership, mega-tourism,
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.