The Music

of
Cordillera
Cordillera
Background and Context
Indigenous people of Cordillera consider their
land as sacred – it can neither be owned nor sold; the
source of life and an integral part of their cultural identity.
For them, to loss the land and connection from it is
equivalent to taking their lives. Thus, Cordilleras now and
in the past willingly shed blood to fight and defend their
right to remain on their land.
Background and Context
Cordillera people, popularly known as Igorot are group
of indigenous people comprising a number of ethnic or ethno-
linguistic identities like the Apayao or Isneg, Tingguian,
Kalinga, Bontoc, Kankanaey, Ibaloy, Ifugao and Bago. They
are known for their unique vocal and instrumental music. They
usually perform in groups where villagers of all walks of life are
enjoined to showcase their talents especially in singing,
dancing and playing instrument. They have a rich variety of
songs and music performed on instruments like the Salidumay,
the Oggayam, the Hudhud and Ba-diw.
Background and Context
The culture and ways of life of the Cordillera
indigenous peoples have common and diverse
characteristics. The common features are found in their
concept of ancestral land ownership and collective
management of the land. The symbiotic relationship
between the people and the land and environment is
highly developed in the region, such that land is equated
with life itself.
Background and Context
In 2008 (3.COM), Hudhud is inscribed on the
Representative List of Intangible Cultural Heritage of Humanity
(originally proclaim in 2001). This traditional culture is weakened
due to the following reason: the conversion of Ifugao to
Catholicism; the advancement of technology – from manual
harvesting of rice to mechanized one; the constant decline of
numbers of rice growers and only a few aged narrators are now
left.
Performance Practices
Music performances of Cordillera are link to the different events
such as:

1. Birth, coming age, wedding, and funeral

2. Rites, Ritual and Ceremonies

3. Prayer to the gods

4. Peace agreement and covenant

The Music
of
Cordillera
 Music is very much related to their life and
living. This is evident in many occasions such
as in the life passage event, work or
occupational activities, ceremonies and
entertainment.

 In the Highlands of Luzon, MUSIC is related to

different occasions such as LIFE CYCLE
EVENTS and OCCUPATIONAL activities ad
VARIOUS RITUALS.

 During the Agricultural cycle, peace pacts,

courtship, marriage and death rites, musical
performance maybe witnessed in the region.
 Their music is participatory and
communal- usually performed in group
where everyone is enjoined to showcase
their talents in singing, dancing and
playing instruments.

 The indigenous peoples of the Cordillera

preserved and transmitted their musical
cultures and traditions from generations
to generations through oral traditions
(spoken rather than written).
 Life Passage Event

1. Owiwi - Kalinga lullabies

2. Dagdagay - Kalinga infancy-related

songs

3. Oppia - Kalinga infancy-related songs

4. Kawyanna - Kalinga infancy-related

songs
 Occupational / work Songs

1. Sowe-ey - Bontoc rice pounding song

2. Dakuyon - Kalinga song for hunting
bats
3. Dinaweg - Ilongot song for catching
wild boar
4. Owayat - Ilongot song for gathering
firewood
5. Chey - assa - Bontoc rice pounding
song sung
in groups
 Music for Ceremonies

1. Kapya and Angba - Bontoc song for

curing
ceremony
2. Didiyaw - Bontoc song to a dead child
3. Sangsangit - Isneg song of grief
 Music for Entertainment

1. Alim - Ifugao leader chorus style

2. Dangdang – ay - Kalinga song of

entertainment
Cordillera
Music
Category
VOCAL MUSIC
INSTRUMENTAL MUSIC
VOCAL ENSEMBLES WITH
INSTRUMENTAL MUSIC
 A. V
OCA
L MUS
1. Ibaloi Badiw IC
One of the vocal genres considered to be the signature form
for specific cultures in Cordillera is the Ibaloi Badiw. It is a style of
singing without prior preparation or practice in the leader-chorus
form. Vocal genres among the indigenous communities may be
identified according to their functions.
 A. V
OCA
L MUS
2. Owiwi (Kalinga) - Lullabies IC
3. Dagdagay (Kalinga) - Infancy-related songs
4. Oppia (Kalinga) - Infancy-related songs
5. Langan bata-bata (Tausug) - Infancy-related songs
6. Bua (Subannen) - Infancy-related songs
7. Kawayanna (Kalinga) - Infancy-related songs
 A. V
OCA
L MUS
8. Hudhud (Ifugao) IC
chanted epic poetry which is recited and chanted only
during four occassions: the harvesting of rice and wedding, funeral
wakes, bone washing (bogwa) rituals, It also comprises of over 200
stories of about 40 episodes each. Themes are about celebrations of
the Ifugao heroes, heroines, wealth and culture.
 A. V
OCA
L MUS
9. Salidumay IC
love incantation vocal ensemble (combination of vocal and instrumental
music). It has sweet melodies and expresses gratitude. To the Itneg people this song
is a response of the young woman to the Kalkalimusta songs of men during the
weaving season. It serves as an indicator of rejection and acceptance towards the
man courting/wooing a woman. Salidumay is traditionally not sung in Tagalog
language, however in the popular modern interpretation by Filipina singer Grace
Nono, the lyrics are translated into Tagalog
Characteristics of VOCAL MUSIC

1. MELISMATIC
 vocal passage with one syllable
 sung against several note passages

2. FREE METER
 musical meter without time signature
 B. INSTRUMENTAL MUSIC
 The function of instrumental music of the Cordillera is similar to
his/her vocal music. Instruments are played during ceremonies,
rituals and celebrations.

 Music of Cordillera is distinctively made up of two sound

characteristics of instruments based on his/her respective materials.
B. INSTRUMENTAL MUSIC

1.Metal Instruments – gongs

One of the common instrumental
music is the Gangsa ensemble. It
consist of five to six flat gongs played
in standing position or bending
position.
1.Metal Instruments – gongs

a. GANGSA TOPPAYA
gongs played by striking with the
palm while rested on the lap.
1. Metal Instruments – gongs

b. GANGSA PALOOK
gongs are struck or beaten
with wooden mallets while
held by the left hand. This is
usually played by men.
B. INSTRUMENTAL MUSIC

2. BAMBOO INSTRUMENTS
woodwind and percussion
instruments.
2. BAMBOO INSTRUMENTS

a. Bungkaka or bilbil
played by striking
against the palm of one hand.
2. BAMBOO INSTRUMENTS

b. Tongali
a nose flute played with the
extreme forward edge of the right or
left nostril.
2. BAMBOO INSTRUMENTS

c. Tongatong
are bamboo tubes played
by stomping each against the ground.
2. BAMBOO INSTRUMENTS

d. Ulibaw
a mouth-resonated bamboo
instrument played with a flexible
tongue fixed at one end to a
surrounding frame
2. BAMBOO INSTRUMENTS

e. Patteteg
bamboo of different sizes for
varied timbre that is split in half
and is struck by a wooden stick
while rested on the lap.
 C. VOCAL ENSEMBLES WITH
INSTRUMENTAL ACCOMPOANIMENT

 Vocal ensemble is performed during courtship usually in song-

debate form accompanied by different instruments such as
KUGLONG, which is a 2-stringed lute, and the SALUROY
(polychordal zither).
C. VOCAL ENSEMBLES WITH
INSTRUMENTAL ACCOMPOANIMENT

 Another combination of vocal and instrumental

music are love incantations like the following:
 C. VOCAL ENSEMBLES WITH
INSTRUMENTAL ACCOMPOANIMENT
1. Antang (Manobo) - match making
2. Sindaay, tarasul (Tausug) - greetings and advice
during wedding
3. Tamuyong, dango, oggayam - greetings and advice
during Kalinga wedding.
4. Salidummay and dangdayang-ay - entertainment