This is the Grade 7 Music self-learning module for Quarter 2, Module 3: “Instrumental Music of Cordillera.” It was prepared by DepEd MIMAROPA Region for home-based learning under the Alternative Delivery Mode (First Edition, 2020). Learners explore the gongs, drums, and bamboo instruments of the Cordillera highlands. They also learn how these instruments are played and what role they have in Cordillera life, and then make and perform their own rhythmic patterns.
What learners will learn
The module lists these learning competencies. The learner:
- describes the musical elements of some vocal and instrumental selections from Cordillera, Mindoro, Palawan, and the Visayas after listening (MU7LV-IIa-f-2);
- discovers ways of producing sounds on a variety of sources similar to the instruments being studied (MU7LV-IIb-g-4);
- improvises simple rhythmic or melodic accompaniments to selected music from the Cordillera, Mindoro, Palawan, and the Visayas (MU7LV-IIb-g-7); and
- performs music from Cordillera, Mindoro, Palawan, and the Visayas with accompaniment (MU7LV-IIb-g-6).
By the end of Lesson 1, learners are expected to:
- tell apart the distinct characteristics of Cordillera instrumental music, especially the gangsa ensemble and the bamboo solo and ensemble;
- classify Cordillera instruments using the Hornbostel-Sachs system;
- analyze the elements of music found in Cordillera instrumental music;
- improvise percussion instruments from materials in the environment; and
- create a rhythmic pattern in the style of Cordilleran instrumental music.
Cordillera and its music
The module describes the Cordillera as the country’s only landlocked region. Its name means “knotted rope.” It is home to indigenous groups collectively called the Igorot. Instrumental music is defined as music without lyrics, made only for instruments. In the Cordillera, it serves the same purpose as vocal music: instruments are played during ceremonies, rituals, and celebrations.
Cordillera instrumental music has two distinct sound characteristics, based on what the instruments are made of:
- Metal, mainly gongs
- Bamboo, mainly flutes and percussion instruments
The module warns that these traditions are at risk. It names modernization, conflicts over ancestral land, mega tourism, militarization, and the shift to machine farming as causes. It adds that few young people today learn this music.
The instruments, by Hornbostel-Sachs classification
Gongs (idiophones)
The gangsa is a single hand-held, smooth-surfaced gong with a narrow rim. A gangsa ensemble usually has five to six flat gongs and is played standing. It is played in two ways:
- Gangsa toppaya: the gong rests on the player’s lap and is struck with the palm. It is played at weddings, peace pacts, and festive gatherings.
- Gangsa palook (pattung): the gong is held in the left hand and struck with a wooden mallet. The players, usually men, stand or do step-dance movements, bending slightly forward, together with women dancers.
Drum (membranophone)
The solibao is a hollow, conical wooden tenor drum of the Igorot, Bontoc, and Ibaloi. It is covered with deer, pig, or lizard skin and is struck with the palms of both hands.
Bamboo instruments
| Instrument | Classification | Key facts from the module |
|---|---|---|
| Tongali or kalaleng | Aerophone | A nose flute played with one nostril. It covers about two and a half octaves. |
| Diwdiw-as | Aerophone | A panpipe of 5 to 8 pipes (saggeypo) tied together. It has no finger holes. |
| Saggeypo | Aerophone | A Kalinga bamboo pipe closed at one end by a node. It comes in six sizes and is played solo or as an ensemble. |
| Paldong | Aerophone | A Kalinga lip-valley flute with four finger holes. Men play it for serenading and courting, and it often imitates bird calls. |
| Kolitong | Chordophone | A Kalinga bamboo tube zither with six strings, plucked with the fingers. Men play it at night. |
| Tongatong | Idiophone | Bamboo tubes stamped on the ground. Kalinga people use it to communicate with spirits during house blessings. |
| Bungkaka or bilbil | Idiophone | A Kalinga bamboo buzzer used by women, struck on the palm or wrist. It is believed to drive away evil spirits. |
| Pateteg | Idiophone | A Kalinga leg xylophone of five to six bamboo blades laid on the thigh. The Isneg call it talonggating. |
| Ulibaw or kubing | Idiophone | A Jew’s harp, usually bamboo. Men use it for short-distance courtship. |
Vocal music with instruments and performance practices
Courtship songs are often sung in song-debate form. They are accompanied by the kuglong (two-stringed lute) and the saluroy (polychordal zither). The module also discusses the love incantation, a ritual chant believed to have magical power. Its examples are the Tamuyong, Dango, and Oggayam (greetings and advice at Kalinga weddings) and the Salidummay and Dangdayang-ay (entertainment).
Cordillera music is performed at:
- birth, coming of age, weddings, and funerals;
- rites, rituals, and ceremonies;
- prayers to the gods; and
- peace agreements and covenants.
Activities in the module
- Do You Still Remember Me? A review of Cordillera vocal music from the previous module.
- Getting To Know: Guess the material, playing method, and classification of ten pictured instruments.
- Draw My Music: Design a graffiti or freedom wall about Cordillera instrumental music.
- Organize Me: Fill in a graphic organizer with insights from the discussion.
- Put Me Together: Sort the instruments into idiophone, chordophone, membranophone, aerophone, and electrophone.
- Listen and Analyze: Listen to tongatong, bungkaka, and gangsa music. Then describe the melody, rhythm, timbre, and tempo.
- Making Music: Copy the pateteg rhythm using bamboo sticks, spoons, wood, or plastic bottles.
- Complete Me: Fill in a matrix on musical functions, ethno-linguistic groups, sound characteristics, and socio-cultural functions.
How to use this module
- Learners: Start with the 15-item pretest (What I Know), then work through the parts in order. The module asks you to finish every activity before moving on. Write all answers in your activity notebook, not on the module. End with the reflection questions in What I Have Learned.
- Parents: For Activity 7, your child repeats a rhythmic pattern ten times, practices, and records the performance on a phone. Siblings may join in. Help send the recording to the teacher through Messenger, e-mail, or another platform.
- Teachers: Activity 7 comes with a rubric that scores rhythmic accuracy, time (steady beat), and expression on a scale of 5, 4, and 3. The introductory message also mentions Notes to the Teacher for facilitators and parents.
Frequently asked questions
What grade and quarter is this Music module for?
It is for Grade 7 Music, Quarter 2, Module 3. It covers Lesson 1, Instrumental Music of Cordillera.
What are the two sound characteristics of Cordillera instrumental music?
Cordillera instruments are grouped by material: metal instruments, mainly gongs, and bamboo instruments, mainly flutes and percussion.
What is the difference between gangsa toppaya and gangsa palook?
In gangsa toppaya, the gong rests on the player’s lap and is struck with the palm. In gangsa palook (pattung), the gong is held in the left hand and struck with a wooden mallet while the player stands or dances.
How are the instruments classified in this module?
The module uses the Hornbostel-Sachs system. Gongs, tongatong, bungkaka, pateteg, and ulibaw are idiophones, and the solibao is a membranophone. The kolitong is a chordophone, while the tongali, diwdiw-as, saggeypo, and paldong are aerophones.
What do learners need to submit for the performance task?
In Activity 7, learners copy the pateteg rhythm using simple materials such as bamboo sticks, spoons, or bottles. They record the performance and send it to their teacher through Messenger, e-mail, or another platform.
Full text of the module
The text below is a transcription of the PDF above, as printed.
Music Quarter 2 – Module 3: Instrumental Music of Cordillera
Music
Quarter 2 – Module 3: Instrumental Music of Cordillera
[illustration: students and a teacher at study tables, under a tree, and at a desk with a globe; a child with a lamp reads beside them]
CO_Q2_Music 7_ Module 3
Music – Grade 7 Alternative Delivery Mode Quarter 2 – Module 3: Instrumental Music of Cordillera First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them.
Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio
Development Team of the Module
Author: Evangeline L. De Leon Content Editor: Emmanuel C. Alveyra Language Editors: Cherrie Rose L. Desaliza, Gladys F. Cantos Reviewers: Emmanuel C. Alveyra, Phoebejean H. Aludia, Lealyn R. Waoi, Mary Grace C. Padilla, Precious Anne S. Luarca Illustrator: Reymark L. Miraples, Louie J. Cortez, Richard Amores, Pablo M. Nizal, Jr., Jan Christian D. Cabarrubias Layout Artist: Reymark L. Miraples, Jhunness Bhaby A. Villalobos, Louie J. Cortez Management Team: Benjamin D. Paragas, Mariflor B. Musa, Freddie Rey R. Ramirez, Danilo C. Padilla, Annabelle M. Marmol, Florina L. Madrid, Norman F. Magsino, Dennis A. Bermoy, Emmanuel C. Alveyra
Printed in the Philippines by _____
Department of Education – MIMAROPA REGION
Office Address: Meralco Avenue, Cor. St. Paul Road, Pasig City, Metro Manila Telephone: (02)863 – 14070 E-mail Address: clmd.depedro4b@gmail.com
7
Music Quarter 2 – Module 3: Instrumental Music of Cordillera
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our dear learners, can continue your studies and learn while at home. Activities, questions, directions, exercises, and discussions are carefully stated for you to understand each lesson.
Each SLM is composed of different parts. Each part shall guide you step-by-step as you discover and understand the lesson prepared for you.
Pre-tests are provided to measure your prior knowledge on lessons in each SLM. This will tell you if you need to proceed on completing this module or if you need to ask your facilitator or your teacher’s assistance for better understanding of the lesson. At the end of each module, you need to answer the post-test to self-check your learning. Answer keys are provided for each activity and test. We trust that you will be honest in using these.
In addition to the material in the main text, Notes to the Teacher are also provided to our facilitators and parents for strategies and reminders on how they can best help you on your home-based learning.
Please use this module with care. Do not put unnecessary marks on any part of this SLM. Use a separate sheet of paper in answering the exercises and tests. And read the instructions carefully before performing each task.
If you have any questions in using this SLM or any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator.
Thank you.
Lesson 1: Instrumental Music of Cordillera
Learning Competencies
The learner:
- describes the musical elements of some vocal and instrumental selections from Cordillera, Mindoro, Palawan and of the Visayas after listening; (MU7LV-IIa-f-2)
- discover ways of producing sounds on a variety of sources similar to instruments being studied; (MU7LV-IIb-g-4)
- improvises simple rhythmic/melodic accompaniments to selected music from the Cordillera, Mindoro, Palawan and of the Visayas; and (MU7LV-IIb-g-7)
- performs music from Cordillera, Mindoro, Palawan, and of the Visayas with accompaniment. (MU7LV-IIb-g-6)
What I Need to Know
[illustration: three panels of Igorot musicians playing gangsa, tongatong and bungkaka]
Igorot tribe playing gangsa, tongatong and bungkaka (from left to right)
This module will open your awareness about the instrumental music of Cordillera, its function and distinct characteristic. You will also discover how the Cordilleras express their feelings towards each other and the environment, their history, and their supernatural beliefs through the medium of the musical instruments. A variety of activities and performances such as improvisation and creations of rhythmic pattern and the like will be provided to stimulate your creativity and resourcefulness. You will also analyze and evaluate performances which will in turn lead you to a greater understanding of the culture and traditions of Cordillera people. It is expected therefore that you will undertake all the activity seriously and responsibly. Have fun and enjoy your journey.
Learning Objectives
In this module, you will travel to the fascinating world of instrumental music of Cordillera people. You will be amazed as to how their musical instruments reflect their way of life and their relationship to nature. Through this lesson, you will also discover how the Cordilleras express their feelings towards each other and the environment, their history, and their supernatural beliefs through the medium of the voice and/or musical instruments.
Moreover, at the end of this lesson, you are expected to:
- distinguish the distinct characteristics of Cordillera Instrumental music specifically the gangsa ensemble and the Bamboo solo/ensemble;
- classify the musical instruments of Cordillera using the Hornbostel-Sachs classification;
- analyze the elements of music that is uniquely embodied in Cordillera Instrumental Music;
- improvise percussion instruments using materials from the environment; and
- create a rhythmic pattern following the style of Cordilleran instrumental music.
What I Know
Multiple Choice Test
This pre-test will help you think about your prior knowledge on the lesson.
Directions: Read each statement carefully. Choose the letter of the best answer and write it on your activity notebook”
How is gangsa toppaya performed?
- A. Gongs are struck with a wooden mallet.
- B. Players/musicians are on standing position.
- C. Gongs are played with the palm.
- D. Gongs are played with drums stick.
Which of the following best describes Saggeypo?
- A. It is a bamboo pipe closed at one end by a node.
- B. It is a nose flute with a long and narrow internal diameter.
- C. It is composed of 5-8 pipes.
- D. It is a transverse flute.
How is Gangsa described?
- A. It is a tenor drum of the Igorot.
- B. It is a hand-held smooth-surface gong with a narrow rim.
- C. It is made of bamboo cut in various length.
- D. It is a bass drum of the Ifugao
Which of the following is NOT and instrument in gangsa ensemble?
- A. five to six flat gongs
- B. five to eight pipes
- C. a bamboo flute and drums
- D. None of the above
What musical instrument of Cordillera is known as Kubing or Jew’s Harp?
- A. Ullibaw
- B. Gong
- C. Bilbil
- D. Pateteg
What is love incantation?
- A. It is a love ritual for a decease ancestor.
- B. It is a song -debate vocal ensemble.
- C. It is a ritual chanting of words purporting to have magical powers.
- D. It is a funeral song
Which of the following events is NOT linked in the music performances of Cordillera?
- A. Birth, wedding and funeral
- B. Prayer to the gods
- C. Theater performances
- D. Peace, agreement and covenant
Which of the instruments below are used to accompany the vocal ensemble of Cordillera?
- A. Pateteg and Ulibaw
- B. Kuglong and Saluroy
- C. Tongatong and Bilbil
- D. Gangsa and Kuglong
Which of the following is an example of love incantation of the Cordillera?
- A. Hudhud
- B. Badiw
- C. Salidumay
- D. Oggayam
What are the two distinct sound characteristics of Cordillera instrumental music?
- A. Metal and Bamboo instruments
- B. Bamboo and Wood instruments
- C. Metal and Stones instruments
- D. Stones and Bamboo instruments
- How is Gangsa Pallok played?
- A. Gongs are beaten with bare hands
- B. Gongs are played by striking each other
- C. Gongs are struck with wooden mallets
- D. Gongs are scratch using a metal.
- Which of the following statements best describes Diwdiw-as?
- A. It is played by striking with the palms.
- B. It produces notes in a range of two and a half octaves.
- C. It produces sound with varying pitch.
- D. It gives sound by plucking the instruments.
- Which of the following is NOT a bamboo percussion instrument of Cordillera?
- A. Kollitong
- B. Tongatong
- C. Bungkaka
- D. Pateteg
- How is Bungkaka or Bilbil described?
- A. It is a Kalinga bamboo buzzer used by women
- B. It is played by striking it on the open palm.
- C. It is A and B
- D. It is played by stamping each against the ground.
- Which of the following best describes Pateteg?
- A. It is a Kalinga leg xylophone ensemble instrument.
- B. It consists 10 bamboo blades in graduated sizes.
- C. It is a Kalinga bamboo pipes.
- D. It is played by holding the end of the tube with one hand.
[transcriber’s note: the file name gives “Module 3,” but the printed footers on these pages read “CO_Q2_Music 7_ Module 2.”]
What’s In
In the previous module you’ve learned the characteristic of vocal music, representative music and/or repertoire and the performance practices from the Highlands of Luzon (Cordillera Region).
This time, test is provided to assess the understanding you have acquired on vocal music of Cordillera. Answer this in your activity notebook. Good luck and have fun.
Activity #1: Do You Still Remember Me?
Directions: Fill in the blanks with correct terms/concept related to vocal music of Cordillera. Choose your answer from the box. Do this in your activity notebook.
Badiw chanting communal Hudhud Ifugao’s Hudhud chant Igorot Melismatic singing Oggayam oral traditions Salidumay
- _____ is a love incantation vocal ensemble -combination of vocal and instrumental music.
- _____ is the oldest traditional Cordilleran way of storytelling in the form of chant.
- _____ is a festive, declaratory and chant song conveying greetings and expression of opinions related to the events.
- _____ is performed in leader-chorus style that usually lasts for three to four days.
- _____ are group of indigenous people known for their unique vocal and instrumental music.
- _____ is threatened and inscribed in the 2008 List of Intangible Cultural Heritage of Humanity.
- _____ is a style of performance in group where everyone is enjoined to showcase their talents in singing
- Cordilleras preserved and transmitted their musical cultures and traditions from generation to generation through _____.
- _____ is a style of reciting/singing in a monotonous repetitive tone.
- _____ is a group of notes or tones sung in one syllable in plainsong.
What’s New
Cordillera meaning ‘knotted rope’ is the only country’s landlocked region. It hosts nine major rivers that provide continuous water for irrigation and energy in neighboring provinces. Its rugged terrain and mountainous breathtaking topography have been home to the sturdy and industrious indigenous tribes collectively called the Igorot. It has many spectacular scenic views and enchantingly cool places. The region is a place where several ethno linguistic groups live. It consists of the provinces of Abra, Apayao, Benguet, Ifugao, Kalinga, Mountain Province and Apayao. In spite of their differences in language, it did not lead them to variations in cultural development.
Cordillera region is rich in ancient culture and known for its unique vocal and instrumental music. Vocal music reflects the way of life of the Cordillera people through themes about nature, family life, work in the field, as well as the spiritual matters. On the other hand, instrumental music is a composition or recording without lyrics and made solely for instruments. Cordillera instrumental music is distinctively made up of two sound characteristics based on their respective materials. The first one is made of bamboo (flutes and percussion instruments), while the second is made of metal (gongs). These traditions however, are on their way to extinction due to several factors. Some of these are modernization, conflict between state policies and their ancestral rights on land ownership, mega tourism, militarization, and the shift from manual farming to machine-processed farming. In addition to these, few of the young generation today are taught and learned the traditional music of their forefathers. In this regard, this module is written for you to fully understand, embrace, preserve and cultivate our cultures and traditions.
Welcome to the first part of your lesson about instrumental music of Cordillera. Various activities and challenges are on the way for you to uncover your previous understanding and knowledge of the lesson. Be reminded that you have to accomplish all the activities before going to the next stage. Are you ready? You may now begin your search here. Feel free and have fun.
Activity #2: Getting To Know
Are you familiar with the following instruments? This task will activate your prior knowledge about the instrumental music of Cordillera.
Directions: Look closely at each picture and try to guess the material from which it is made and how it is played. Classify them also according to Hornbostel Sachs System (Aerophone, Chordophone, Membranophone, or Idiophone). Write thumbs up if you think you can play it and thumps down if not. Copy the table and write your answer in your notebook.
| Musical Instruments | Materials it is made | How it is played | Classification | Thumbs up/ Thumbs down |
|---|---|---|---|---|
| [illustration: gong] 1. Gangsa | ||||
| [illustration: pair of bungkaka sticks] 2. bungkaka | ||||
| [illustration: pair of tongali flutes] 3. tongali | ||||
| [illustration: row of tongatong tubes] 4. tongatong |
[transcriber’s note: table continued from the previous page]
| Musical Instruments | Materials it is made | How it is played | Classification | Thumbs up/ Thumbs down |
|---|---|---|---|---|
| [illustration: panpipe bundle] 5. diwdiwas | ||||
| [illustration: solibao drum] 6. solibao | ||||
| [illustration: kolitong tube] 7. kolitong | ||||
| [illustration: pair of ulibaw] 8. Ulibaw or Jew’s Harp | ||||
| [illustration: round gong] 9. Gong (Cordillera) | ||||
| [illustration: row of pateteg bars] 10. Pateteg |
- What is Cordillera instrumental music?
- What are the unique characteristics of Cordillera instrumental music?
- What did you observe about the materials used in the creation of their musical instruments? Is there a relationship with their culture? If yes, kindly explain your answer.
- In two to three sentences make a summary of your realization about Cordillera instrumental music.
Activity #3: Draw My Music
Directions: In your activity notebook create a colorful, attractive design of Graffiti Wall /Freedom wall (writing or drawing on a surface). You may write, draw, or paste picture about instrumental music of Cordillera, its relationship to environment and its unique characteristic.
[transcriber’s note: the printed page has a blank bordered box for the student’s drawing]
Processing Questions:
- If you are asked to rate your work, what rating would your graffiti be? Why?
- What conclusion can you draw from the words you wrote in your wall with regard to Cordillera instrumental music?
Are you ready now to enjoy and be challenged with the next lesson? This time you will explore the other side of the rich cultural heritage of Cordillera, their instrumental music. Fasten your seatbelt, soar high and look for more about the instrumental music of Cordillera.
What is It
This part of the module will help you understand the distinct characteristic of Cordillera instrumental music, its performance practices and some of their musical instruments. A lecture/discussion on this topic is provided for you to gain profound knowledge and understanding about their musical traditions. Different activities are also provided to enhance your skills, and talents. Carefully read the lecture and be ready to undertake the challenge by answering the questions to assess your learning.
READ AND ENRICH YOUR UNDERSTANDING
The Instrumental Music of Cordillera
Around 10% of Philippine population resisted Spanish and American rule. Among these group of people are those found in the Cordillera Mountains in Northern Luzon who adheres to various culture and musical tradition (northern tradition) in continental South East Asia and those in the island of Mindoro, Palawan, Mindanao and the Sulu group of island in the extreme south who relate their musical tradition (southern tradition) to the immediate island of insular South East Asia. These musical traditions relate to the social, political, and economic life of the people, and are connected to their spiritual beliefs and their relationships to the natural environment.
The music of Cordillera is distinctively made up of two sound characteristics of instruments based on the materials from which it is made. Its function is the same to vocal music. Musical instruments are played during ceremonies, rituals, and celebrations.
A. Two Distinct Sound Characteristics of Cordillera Instrumental Music
- Metal Instrument
Idiophones – musical instruments in which a resonant material such as wood, stone or metals vibrate to produce the initial sound.
a. The Gongs / Gangsa
[illustration: four gongs of decreasing size, hung by cords] Gongs/Gangsa
One common instrumental music is the Gangsa ensemble. Gangsa is a single hand-held smooth-surfaced gong with a narrow rim. It is tuned to different notes depending on regional and cultural preferences. Gangsa ensemble, usually consists of five to six flat gongs, is played in standing position. However, this may vary depending on the availability of the instruments and on the traditions particular to specific ethnic groups.
Gangsa is played in two ways namely:
- Gangsa Toppaya – gongs are played by striking with the palm while rested on the lap. They are usually played during wedding celebration, peace pacts and festive gatherings.
[illustration: seated musician striking a gong on the lap] Gangsa Toppaya
[illustration: musician bending forward, striking a gong with a mallet] Gangsa Palook
- Gangsa Palook/pattung – gongs are struck or beaten with wooden mallets while held by the left hands. Musicians (usually men) are on standing position or doing the step dance movements on slightly bending forward position together with the women dancers.
- Wooden Instrument
Membranophone – musical instrument which produces sound primarily by way of a vibrating stretched membrane.
a. Solibao – is a hollow, conical, wooden tenor drum of the Igorot, Bontoc and Ibaloi. It is covered with deer skin, pig skin or lizard skin and played by striking the drum head with the palms of both hands. It usually appears as part of an ensemble along with the kimbal, pinsak, kalsa and palas.
[illustration: tall conical solibao drum] Solibao
Bamboo Instruments – Bamboo abounds in the Philippines and boast of several species. Their abundance accounts for the variety of music-making devices that has been fashioned out of it. These are either woodwinds (blown instrument), plucked or percussion instruments.
Wood winds instruments (Aerophones) – is a musical instrument that produces sound primarily by causing a body of air to vibrate.
a. Tongali or Kalaleng
A nose flute with a long and narrow internal diameter. It is played with the extreme forward edge of the right or left nostril and produce notes in a range of two and a half octaves.
[illustration: long narrow nose flute] tongagli or kaleleng
b. Diwdiw-as
Is a variation of a well- known bamboo pan flutes or panpipes in the Philippines. It is composed of 5-8 pipes (Saggeypo) tied together. The other end of the instrument is closed via node while the open end is held against the lower lip of the player. It does not have finger hole like flutes but can produce sound with varying pitch as the player blows directly against the top.
[illustration: bundle of panpipes tied together] Diwdiw-as
c. Saggeypo
It is a Kalinga bamboo pipe that is closed on one end by a node and the open end is held against by the lower lip of the player. Its length varies in six sizes from shortest to the longest. This instrument can be played by an individual player or the six pipes can be played together to form an ensemble.
[illustration: row of six graduated bamboo pipes with a seventh, shorter pipe] Saggeypo
d. Paldong
Is a lip valley bamboo flute of the kalinga tribes. It is open on both ends with four finger holes. (three in front, one at the back). The melodies played are mostly improvisatory imitating the chirping of the bird, the cry of an eagle, the buzz of a wasp, etc. Paldong is a solo instrument usually used by men in serenading, for courting women, or for leisure to pass the time away.
[illustration: diagonal bamboo flute with four finger holes] Paldong
String instruments (Chordophone) – musical instrument that makes sound by way of vibrating string or strings stretched between two points. The string can be plucked, struck or bowed.
Kolitong It is a Kalinga bamboo polychordal tube zither with six strings that runs parallel to its body. The two ends of the body are closed by the bamboo nodes with hole and a crack along the body parallel to the strings. The instrument is played mainly by plucking using the player’s fingers. A continuous melody is formed with the use of alternate fingers of both hands. Men play the kolitong at night as a solo instrument.
[photo: bamboo tube zither with six strings] Kolitong
Percussion instruments (Idiophones) – musical instruments in which a resonant material such as wood, stone or metals vibrate to produce the initial sound. They have no definite pitch and the sounds is produce from the substance of the instrument itself.
a. 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 and played by stamping each against the ground. The instruments are held by one hand and pounded at a slight angle on the hard earth or floor. The other hand of the player is used to partly cover and uncover the open end of the tube to produce variation in sound. When an entire set of Tongatong is played in interloping rhythm and prolonged with the tribal chanting, it could put the audience and the dancers in a trance. (http://philippinesheritage.ph/filer/toledocebu/Cordillera-Musical-Instruments.pdf)
[photo: set of bamboo tubes of graduated lengths] Tongatong
b. Bungkaka or Bilbil Is a Kalinga bamboo buzzer used by women. It is played by holding the end of the tube with one hand while striking it on the open palm or wrist of the other hand. The buzzling sound can be altered by covering and uncovering the small hole bored in the bottom half of the instrument with the thumb. This instrument is believed to drive away evil spirit. https://museomusiko.wordpress.com/idiophones/buzzers/bilbil/
[photo: bamboo buzzers] Bungkaka or bilbil
[photo: bamboo tubes of graduated lengths laid across each other] pateteng
c. Pateteg Kalinga leg xylophone ensemble instrument consist of five to six bamboo blades in graduated sizes. The bamboo blade is laid on the player’s thigh as he sits on the floor with legs outstretched and struck by two thin bamboo sticks held on each hand. It is typically used for recreation by children and as a practice instrument for some ensemble. To the Isneg, they call this instrument Talonggating. https://iskwiki.upd.edu.ph/index.php/MUSDIKS :patatag
d. Ulibaw or Kubing Among the Maguindanaon and other non- Muslim tribe is a bamboo Jew’s harp of Kalinga. They are principally made of bamboo but some are made of metal. It is traditionally considered as intimate instrument used to communicate families or love ones. Male used it for short distance courtship.
[photo: bamboo and metal jew’s harps] ulibaw or kubing
B. Vocal Ensemble with Instrumental accompaniment
- Vocal Ensemble – is performed during courtship usually in song- debate form accompanied by different instruments such as:
a. Kuglong – two stringed lute
[illustration: two-stringed lute (kuglong)]
b. Saluroy – polychordal zither
[illustration: polychordal zither (saluroy)]
Love incantation – is a ritual recitation, chanting or uttering of words or sound purporting to have magical powers. It could also be a written or recited formula of words designed to produce a particular effect. The following are the examples.
a. Tamuyong, Dango, Oggayam – greeting and advice during Kalinga wedding
b. Salidummay, Dangdayang-ay – entertainment
https://www.merriam-webster.com/dictionary/incantationPerformance Practices
Music performances of Cordillera are linked to the different events such as:
a. Birth, coming age, wedding ceremony and funeral
b. Rites, Ritual and Ceremonies
c. Prayer to the gods
d. Peace agreement and covenant
Now that you are done in your exploration about the characteristics of instrumental music and their example, it is now time to validate your understanding through various activities and performances. So, what are you waiting for? Go now and move on to the next level. Be cool and have fun. Good luck.
Activity #4: Organize Me
Directions: Using a graphic organizer (see example below) write your insights gained from the lecture discussion on the preceding pages. Use the following questions as your guide in filling up the boxes. Write your answer in your activity notebook.
- What do you call the music that is made solely for instruments?
- What are the two distinct sound characteristics of Cordillera music?
- What are the functions of Cordillera instrumental music? Give example of instrument in each category.
[chart: graphic organizer (tree diagram) for Activity #4; boxes read: “1.” at top; “2.” and “2.” below it; “3.” “3.” under the left “2.” and “3.” under the right “2.”; values are not labeled on the chart]
- What is instrumental music?
- What are the classifications of instrumental music according to Hornbostel Sachs System? How are these instruments being played?
- Do you have instruments similar to what is discussed in this module? If yes, what is it? If none, do you plan to have one next time? Why?
- What can you say about Cordillera instrumental music?
Activity #5: Put Me Together
Let me see if you really understood the lecture about Cordillera instrumental music. This time, your knowledge will be assessed on the different musical instrument of Cordillera and how it is played. Copy the table in your activity notebook and list down all the musical instruments of Cordillera according to its classification. Choose your answer from the box.
Bungkaka or Bilbil; Diwdiw-as; Gangsa Toppaya; Gong; Kolitong; Paldong; Pateteg; Saggeypo; Solibao; Tongali; Tongatong; Ulibaw
| Idiophone | Chordophone | Membranophone | Aerophone | Electrophone |
|---|---|---|---|---|
- What classification has the greatest number of musical instruments?
- Which classification has the least number of musical instruments?
- In what way does instrumental music reflect the cultural tradition of Cordillera?
What’s More
In this phase you will apply the insights and learning about the unique characteristics and performance practice of instrumental ensemble of Cordillera. Try to embrace their musical culture and traditions for a moment and explore the simplicity yet fascinating music of the place. Feel free to undertake the activity and enhance your imagination as you apply, analyze, and evaluate their music.
Activity #6: Listen and Analyze
Now try to listen to the link below that feature instrumental music of Cordillera. Focus your attention on the techniques used by the musician. Copy the table in your notebook and write your observations and reactions regarding the use of elements of music in their performances.
a. Tongatong music https://sppcfreshmen20102011.wordpress.com/2010/07/25/ b. Bungkaka or Bilbil c. Gangsa ensemble https://www.youtube.com/watch?v=yrClsl-TXeY
| Observations / Analysis: Musical elements | Observations / Analysis: Metal Instruments | Observations / Analysis: Bamboo Instruments |
|---|---|---|
| Melody | ||
| Rhythm | ||
| Timbre | ||
| Tempo |
- How will you describe the sounds of the following instruments according to its timbre?
a. Bamboo instruments
b. Metal Instruments - If given a chance, which do you prefer to play? Why?
- In three sentences, write a summary of your observations.
Activity #7: Making Music
Patatag/pateteg (Bamboo leg-xylophone) https://www.youtube.com/watch?v=qWc-8O7wXMI
Directions: In this activity try to use any of the following materials (bamboo sticks, spoon /fork, piece of wood, plastic bottles). Watch the video (link provided above) and follow the rhythmic patterns produce with the use of Pateteg (Bamboo leg-xylophone. Repeat the pattern ten times. Practice for several times and present it to your teacher. You may also ask your siblings to join you doing the performance. Record your performances using your cellphone or other media devices and submit it to your facilitator/teacher through messenger, e-mail, or other media platforms. Ask for feedbacks for your reference.
Rubrics for Performance
| Category | 5 | 4 | 3 |
|---|---|---|---|
| Rhythmic accuracy | Follows and plays the rhythms correctly | There is 10% inconsistency in following the rhythm | Rhythm is not followed all throughout the performance |
| Time | Steady beat is followed all throughout the performance | Staggered beat is evident in some part of the performance | Performance shows no definite beat |
| Expression | Showcases correct articulations, dynamic and style in the performance | Minimal error in dynamics and articulation is evident in the performance | Fails to follow the correct dynamics and style in the performance |
Question to Ponder: Write your answer in your activity notebook.
- How do you feel about your performance?
- Did you find difficulty doing the rhythmic pattern used in playing the pateteg?
- Would you prefer playing instrument as part of your leisure activity? Why?
Activity #8: Complete Me
Directions: Now that you have learned all the concept about instrumental music and how it reflects the culture and tradition of the place, it is now your turn to write it out. Complete the matrix by providing appropriate concept applied for. For your reference please read the meaning of the terms below. Write your answer in your activity notebook.
(Socio-cultural factor-means common traditions, habits, patterns, and belief of the people in the community; Ethno-linguistic group – ethnic groups in relation to their language and culture. Ex. Apayo or Isneg etc., Musical functions – the role or the purpose of music whether for celebration, rituals, etc., Sound characteristics – refers to the characteristics of musical sound like pitch, dynamics, etc.)
[chart: matrix (four quadrants around a center label); center: “Instrumental Music of Cordillera”; quadrants: “Musical Function” (1. 2. 3.), “Ethno linguistic group” (1. 2. 3.), “Sound Characteristics” (1. 2. 3.), “Socio-Cultural Functions” (1. 2. 3.); values are not labeled on the chart]
What I Have Learned
Directions: After doing all the activities in this module, jot down your insights and reflections by answering the question below. Write your reflection in your activity notebook.
- Which part of the SLM seems easiest for you? Why? Have you asked some assistance in doing the activity?
- Which part of the SLM seems difficult for you? Have you asked your parents and or siblings for support?
- What have you done in overcoming the difficulty you encounter in accomplishing your tasks?
- Have you finished on time? How?
- What significant learning have you gained in this module?
My Reflections
I can’t transcribe pages 25 to 31 of “Music7_Q2_Mod3_InstrumentalMusicOfCordillera_v2.pdf” because they aren’t in this conversation. The only document attached is a 7-page PDF titled “CO_Q2_Music 7_ Module 2” (printed pages 21 to 26, plus the DepEd-BLR contact page). It’s a different module, so I haven’t transcribed it.
To proceed, please upload the page images for pages 25 to 31 of the Module 3 PDF. Once I have them, I’ll transcribe them as Markdown with page markers <!-- page 25 --> through <!-- page 31 -->.
If you’d like the attached Module 2 pages transcribed as well, tell me and I’ll do that separately.
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