BalalogninmasBalalogninmasDa-EngSung while dancing in a religious ceremony. (Boys and girls alternating.)
Balalogninmas
Balalogninmas
Da-Eng
Sung while dancing in a religious ceremony. (Boys and girls alternating.)
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Da-EngDa-EngSung while dancing in a religious ceremony. (Girls part)BogoyasSung by a woman.
Da-Eng
Da-Eng
Sung while dancing in a religious ceremony. (Girls part)
Bogoyas
Sung by a woman.
Page 451
Na-WayNa-WaySung at the celebration which closes the period of mourning for the dead.
Na-Way
Na-Way
Sung at the celebration which closes the period of mourning for the dead.
Page 452
Dang-Dang-AyDang-Dang-AySung by woman while pounding rice out of straw and husks.
Dang-Dang-Ay
Dang-Dang-Ay
Sung by woman while pounding rice out of straw and husks.
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Kuilay-KuilayKuilay-KuilaySung by woman while passing liquor.
Kuilay-Kuilay
Kuilay-Kuilay
Sung by woman while passing liquor.
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Part I. Sung in line.1
1Ma-lī-dom ag-dag-da-gī yo-ma-yomYom-ma-yom ta yom-ma-yom ag-dag-da-gī yo-ma-yom.2Ma-la-nas ag-dag-da-gī na-sa-nasMa-sa-nas ta ma-sa-nas ag-dag-da-gī na-sa-nas.3Sī On-na-ī in-no-bi-yan kī-not-ko-tan Na-to-tanNa-to-tan ta na-to-tan kī-not ko-tan na-to-tan.4Kol-kol-dong sī gī-nol-bat nga ag-molī-molī-yatMo-lī-yat ta mo-lī-yat ag-mo-lī mo-lī-yat.5Ka-lan-tag kal-la-yan-nen ag-ka-īdig-na-yandig-na-yan ta dig-na-yan ag-ka-ī dig-na-yan.6A-na-on sī Tak-la-yan na-ī́s-tī-lo ai boloBin-no-lo ta bin-no-lo na-ī́s-tī-lo ai bo-lo.7Sok-bot nī ka-bin-bin-an adī ma-sil-sī-lī-bansī-lī-ban ta sī-lī-ban adī ma-sil-sī-līban8Ba-gai-ba-yᴇm dem-ma-ngen sī-nol-bo-dan nī kolat.kī-no-lat ta kī-no-lat ai ag-kī-no kī-no-lat.9Sabak nī am-mo-ga-wen mīmog-go-mog dī-kai-wendi-kai-wen ta kī-kai wen mīmog-go-mog dī-kai-wen.10Sabak nī an-na-a-wen mī-ka-lī-ya lī-ya-wen.Lī-ya-wen ta lī-ya-wen ai ag-lī-ya lī-ya-wen
Part II. Sung in line.
1alin-to-bo nī nī-og ag-lam-pī-yoklam-pī-yok ta lam-pī-yok ag-lam-pī lam-pī-yok.2al-in-to-bo nī aba ai adī nag-padapī-na-da ta pī-na-da ai adī nag-pa-da.3al-in-to-bo nī no-nang ag-ba-lī ba-lī-yangba-lī-yang ta ba-lī-yang ai ag-ba-lī ba-lī-yang.4al-in-to-bo nī lamai um-al-alī ma-ya-maima-ya-mai ta ma-ya-mai umal alī ma-ya-mai.5al-in-to-bo nī bang-on ag-ba-la ba-la-ngonba-la-ngon ta ba-la-ngon ag-ba-la ba-la-ngon.6al-in-to-bo nī oway pᴇl-sa-tem ket ī-nom-laiī-nom-lai ta ī-nom-lai pᴇl-sa-tem ket ī-nom-lai.7al-in-to-bo nī oling bog-yo-ngᴇm ket boom-lī-singboom-lī-sing ta boom-lī-sing bog-yo-ngᴇm ket boom-lī-sing.8al-in-to-bo nī ba-kan umal alī ka-na-kanka-na-kan ta ka-na-kan umal alī ka-na-kan.9al-in-to-bo nī anis ai adī na-gī-nisgī-nī-nīs ta gī-nī-nīs ai adī nᴇdey na-gī-nīs.
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Part III. Sung as they dance in circle.
1A-ya-mem sī pa-nī-kī ag-sol-sol-wap sī la-bīnī la-bī ta nī labī ag-sol-sol-wap sī la-bī.2A-ya-mem sī bat-ta-teng ag-tīya tī ya-dengtī-ya-deng ta tī-ya-deng ag-tī-ya tī-ya-deng.3A-ya-mem sī bang-nga-an nga dum-ang-dang-lap sī da-landin-na-lan ta din-na-lan dum-ang-dang-lap sī da-lan.4A-ya-mem sī om-om-bᴇk nga ag-ma-sī ma-sim-bᴇksī nim-bᴇk ta sī-nim-bᴇk nga ag-ma-sī ma-sim-bᴇk.5A-ya-mem sī po-na-yen nga omas-asī gai-ga-yengai-ga-yen ta gai-ga-yen om-as asī gai-ga-yen.6A-ya-mem sī la-ga-dan nga tomal-la tal-la-dantal-la-dan ta tal-la-dan nga ag-ta-la tal-la-dan.7A-ya-mem sī bal-ga-si nga agka-a ka-a-sīka-a-sī ta ka-a-sī nga ag-ka-a ka-a-sī.
Part IV.
1Bwa dī la-od to-mo-bo nga lo-mok-botlo-mok-bot ta lo-mok-bot to-mo-bo wa lo-mok-bot.2Bwa di Ba-lī-la-sī-bīs nga gī-ī-tem ket ma-ī-mīsī-nī-mīs ta ī-nī-mīs gī-ī-tem ket ma-ī-mīs.3Bwa dī Mal-la-pa-ai gī-ī-tem ket tom-ga-ᴇytᴇ-ga-ᴇy ta tᴇ-ga-ᴇy gī-ī-tem ket tom ga-ᴇy.4Bwa di Mal-lo-sa-ak gī-ī-tem ket tom-ga-aktᴇ-ga-ak ta tᴇ-ga-ak gī-ī-tem ket tom-ga-ak.5Bwa dī Tom-mo nga kom-ma-lab ket tom-mo-botom-mo-bo ta tom-mo-bo kom-ma-la-lab ket tom-mo-bo.
Part V.
1Adī yo pai lau-lau-den lawed-ko nga do-la-wendo-la-wen ta do-la-wen adī yo pai lau-lau-den.2La-wed ngaita di al-yo pang-lau-lau-dan ta ba-obī-na-o ta bī-na-o pang-lau-lau-dan ta ba-o.3La-wed dī po-dok pang-lau-lau-dan ta bo-kodbī-no-kod ta bī-no-kod pang-lau-lau-dan ta bo-kod.4La-wed dī Sab-lang, pang-lau-lau-dan ta ba-sangbī-na-sang ta bī-na-sang pang-lau-lau-dan ta ba-sang.5La-wed dī Pa-wai pang-lau-lau-dan ta a-waiīn-na-wai ta īn-na-wai pang-lau-lau-dan ta a-wai.
Part VI.
1Ka-wa-yan dī Po-da-yan na-tong-dan ta na-tong-danna-tong-dan ta na-tong-dan ka-wa-yan dī Po-da-yan.2Ka-wa-yan dī Bal-li-wᴇyan om-mī-wᴇyanOm-mī-wᴇyan ta om-mi-wᴇyan ka-wa-yan dī Bal-li-wᴇyan.3Ka-wa-yan dī Ba-ta-an ko-ma omī-na-lanī-na-lan ta ī-na-lan ka-wa-yan dī Ba-ta-an.4Sol-kod-ko nga ka-wa-yan na-kak-la-ang dī dᴇm-mangdi dᴇm-mang ta di dᴇm-mang na-kak-la-ang di dᴇm-mang.5Kawayan dī Pa-la-ī ag-ka-ī dong-la don-la-līdong-la-lī ta dong-la-lī ag-ka-ī dong-la dong-la-lī.
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Part VII.
1Da-num dī la-od kom-mog-nod ket kom-mog-nodKom-mog-nod ta kom-mog-nod danum dī la-od.2Dagsī-yan dī Pa-la-wang ko-ma ta sum-mī na-wangsī-na-wang ta sī-na-wang ko-ma ta sum-mi-na-wang.3Dagsī-yan dī Langiden mī-ka sī-lī sī-lī-tensīlī-ten ta sī-lī-ten dag-sī-yan dī Lang-ī-den.4Dagsī-yan dī Ka-ba-lang-gan na-kal kalong go-kong-anga-kong-an taga-kong-an na-kal ka-long ga-kong-an.5Danum dī Pa-da-ngī-tan kī-na-dang ta ka-wītanka-wī-tan ta ka-wī-tan kī-na-dang ta ka-wī-tan.6Dag-sī-yan dī Lai-og-an nan-gol la-ol la-yo-sanla-yo-san ta la-yo-san o-mal-la al-lo-yo-san.7Danum dī Abang sum-mol-wai ta sum-mol-waiSum-mol-wai ta sum-mol-wai da-num di A-bang.8Danum dī Abas īnum-bas ket īnum-basīnum-bas ta ī-num-bas da-num dī A-bas.9Danum dī Ba-ai nag-kat-lo nga sa-long-aiSa-long-ai ta sa-long-ai nag-kat-lo nga sa-long-ai.10Danum dī Da-ya nag-kil-la-yos nga sī-paSī-nī-pa ta sī-nī-pa nag-kil-la-yos nga sīpa.11Danum di ngato tī-nung-dai ta a-nītoA-nīto ta a-nīto tī-nun-dai ta a-nīto.12Danum di aging tī-nung-dai ta ka-la-dingKa-lad-ing ta ka-la-ding tī-nung-dai ta ka-la-ding.13Danum dī A-yeng tī-nung-dai ta ba-yeng-yengba-yeng-yeng ta ba-yeng-yeng tī-nung-dai ta ba-yeng-yeng.14Adi ka-pai man-gī-mon na-sal-lī-bon ai bo-bonbin-no-bon ta bin-no-bon na-sal-lī-bon ai bo-bon.
Approximate Translation of the Da-Eng2
I
1??2The Malanus flows.Flows, flows, flows onward.3Si (Mr.) On-na-i and Na-to-tan dig obi (taro) with their hands.Dig, dig, dig with the hands.4The firefly in the woods opens his eyes.Opens, opens, opens his eyes.5The bank caves into the river.Caves, caves, caves in.6Here, your arm pretty bamboo (?)Bamboo, bamboo, pretty bamboo.7Do not disturb the rest of the kabibinan (a bird).Disturb, disturb, do not disturb.8Help the kolat (a plant) to grow.Become kolat, become kolat, stir up to become kolat.9The flower of the Amogawen falls on you.On you, on you, falls on you.Page 45710The flower of the Ana-an plays with you.Plays, plays, it plays.
II.
1The young leaves of the coconut wave.Wave, wave, they wave.2The leaves of the aba are not alike.Alike, alike, are not alike.3The leaves of the nonang turn back and forth.Back and forth, back and forth, turn back and forth.4The leaves of the lamay quake.Quake, quake, they quake.5The leaves of the bangon arise(?).Arise, arise, they arise.6The leaves of the rattan cut and twist.Twist, twist, cut, and twist.7The leaves of the oling rustle and rattle.Rattle, rattle, rustle and rattle.8The leaves of the bakan fall before time.Fall, fall, fall before time.9The leaves of the anis (a low shrub) are not clean.Clean, clean, not clean.
III.
1You play Mr. bat who fly by night.Night, night, fly by night.2You play grasshopper whose back is concave.Concave, concave, whose back is concave.3You play Bang-nga-an who shines like gold by the trail.By the trail, by the trail, shines like gold by the trail.4You play onombek who hiccoughs.Hiccough, hiccough, who hiccoughs.5You play dove who falls.Falls, falls, who falls.6You play lagadan (a bird) who flees(?).Flees, flees, who flees.7You play balgasi (?) who mourns for the dead.Mourns, mourns, mourns for the dead.
IV.
1Betel-nut of the west which grows up like the gourd.Grows up, grows up like the gourd.2Betel-nut of Balasibis which smiles when it is cut. (Literally—is cut and smiles.)It smiles, it smiles, is cut, and smiles.3Betel-nut of Malapay which chuckles (like a woman) when it is cut.Chuckles, chuckles, is cut, and chuckles.4Betel-nut of Malosak which laughs (like a man) when it is cut.Laughs, laughs, is cut, and laughs.5Betel-nut of Tomo which climbs and grows.Grows, grows, climbs, and grows.
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V.
1Do not take the leaves of my lawed, who am rich.Rich, rich, do not take lawed leaves.2The widower takes often the top (best) lawed of Alyo.The widower, the widower, the widower takes often.3The lawed of the wooded hill the widow takes often.The widow, the widow, the widow takes often.4The lawed of Sablang the maiden takes often.The maiden, the maiden, the maiden takes often.5The lawed of Paway the hermit (country man) takes often.The hermit, the hermit, the hermit takes often.
VI.
1Bamboo of Podayan, ever living, ever living.Ever living, ever living, bamboo of Podayan.2Bamboo of Baliweyan sigh (literally “go wey”) when the wind blows.Sigh, sigh, bamboo of Baliweyan.3Bamboo of Bataan, like the sunshine.Sunshine, sunshine, bamboo of Bataan.4My cane of bamboo gives out a clang.Clang, clang, gives out a clang.5Bamboo of Palai wave up and down.Wave, wave, wave up and down.
VII.
1Water of the west, become less and less.Less, less, water of the west.2Spring of Palawang overflow.Overflow, overflow, be like the overflow.3Spring of Langiden flow fast. (Literally “like lightning”.)Flow, flow, spring of Langiden.4Spring of Ka-ba-lang, flow like a chain.Chain, chain, flow like a chain.5Water of Padangitah be knee deep to the rooster.Rooster, rooster, knee deep to the rooster.6Spring of Layogan flow on.Flow, flow, flow on.7Water of Abang (?)?8Water of Abas, become dry.Become dry, become dry, water of Abas.9Water of Ba-ay has three branches.Branches, branches, has three branches.10Water of the East shaped like a ball.Ball, ball, shaped like a ball.11Water from above the anito holds (stops).Anito, anito, the anito holds.12Water of the uninhabited place the ghost holds.Ghost, ghost, the ghost holds.13Water of Ayeng the bamboo tube holds.Bamboo tube, bamboo tube, the bamboo tube holds.14Do not be jealous, pretty spring.Spring, spring, pretty spring.
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Da-Eng. Boys' part.
Record A. Sung while dancing in a religious ceremony.
There are at least two voices in this record. Possibly there were three or more singers taking part, though it is not possible to distinguish more than two.
The song is cast in the pentatonic scale of A major. The notes G♮ and D♭ do not belong to this scale. At those places where they are put down in the notation, they are used to better define the glissandos. The singers pass over them rapidly, sliding from the topmost note of the group to the lowest with no perceptible dwelling on any of the intermediate tones. The glissandos are indicated by straight lines drawn obliquely underneath such groups (seeDefinition of Qualities, p. 478).
In each of measures 2 and 6 of verses 1, 2, and 3; and in measure 6 of verse 4, is shown a group of three notes with an asterisk above. These groups, as shown in the notation, are B, A, G; but in measure 2 of verse 4, the corresponding group is C, B, A. In those measures marked *, the singers are very plainly striving to reach the tones C, B, A. There is that quality of tension in the voices with the accompanying forcing of tone which is peculiar to untrained singers striving for a tone near the limit of their highest range. As the tones actually sounded are neither B, A, G, nor C, B, A, but are instead a sort of compromise between the two, it is quite evident that the succession intended in each of the seven measures is the same as in the eighth or odd one, viz. C, B, A. If we assume this to be the case, it eliminates seven of the foreign G naturals shown in the notation. If, however, this conjecture is wrong, and the performers really feel that the groups in question all start on B, then the G naturals are eliminated by the glissandos. The only other G♮ is shown in measure 7 of verse 4. By comparing this measure with the corresponding measure in each of the other three verses, it will be seen that the singers have taken great pains in those verses to avoid this note which does not belong to the pentatonic scale which they are using,—evidence that they do not sense the tone in the fourth verse, where it is taken glissando. The D♭, also foreign to the scale, occurs but once. It is in measure 3 of the top line. The glissando here eliminates this tone also, but, by comparing this measure with the corresponding measure of each of the other verses, we find the same avoidance as in the case of the G♮,—evidence that the performers do not sense this other foreign tone. The song is therefore very markedly pentatonic in character.Page 460
The assumption that the seven groups marked with asterisks do not represent the real intent of the singers, is based entirely on the “stress” heard in the record. This “stress” cannot be represented in notation. Relying on the notation alone, one would be warranted in drawing a contrary conclusion and assuming that the odd measure should be made to conform to the other seven and all read, B, A, G; or, from the phonographic record, one might assume that the compromise, previously mentioned, was the intonation really intended. Primitive peoples frequently do sing and play, quite intentionally, tones out of conformity with scale tones of present-day concert music. Such tones cannot be represented by our musical notation without resort to special signs. This is not necessary in the present case, as the falling short of true intonation does not appear to be from deliberate intent on the part of the singers, but seems to be due to lack of ability.
In eight of the measures, at least one of the voices departs from the melody proper, producing the harmony-intervals so frequently heard in the music of primitive peoples, namely, that of a 5th without the 3rd to complete the triad, and that of a 4th without the 6th to complete the chord. Such thirdless 5ths are found in measures 5 (verse 1), 1 and 8 (verse 2), 5 (verse 3), and 1 and 5 (verse 4); and the interval of a 4th without the 6th is found in measures 3 and 8 of verse 4. In the last measure of the notation, however, the interval of a 4th there shown is caused by the leader's voice departing from the regular melodic succession instead of the accompanying voice or voices, as is the case in each of the other measures mentioned.
In measures 1 and 5 of each of the four verses of the song, and also in measure 3 of the second verse, the sign, ”.....” (mezzo staccato marks), is used to indicate the pulsating of the voice of one of the singers, probably the leader, marking the rhythm of the song.
The metronome tempo is mostly 88, but varies at times and runs as-high as 92 per minute in the last half of the 4th verse.
Between verses 2 and 3 the phonograph shows that the singers paused eight beats (two whole measures), and between verses 3 and 4 there was a similar, though shorter, pause of two beats (one-half measure). These pauses are not shown in the notation.
There was no special change in dynamics throughout the song except as indicated by the sforzando marks in measures 1, 2, 5, 6, 7, and 8 of verse 4.
In general character this song resembles most theDang-dang-ay(Record M).Page 461
Diwas
Record B. Sung at night by the friends of a sick man.
There are two singers on this record, both men with bass voices. One seems to be the leader, the accompanying singer dragging along behind. As the tempo is very slow and many of the tones long drawn out, this uncertainty on the part of the second performer is not so noticeable, except on the quick runs as the leader passes to another principal tone.
The song is cast in the natural minor scale of D. The E♭ near the beginning of the second line does not belong to the scale. It is not well defined on the record, and so is indicated in the transcription with an interrogation-mark beneath.
Although not confined to the intervals of the pentatonic scale, the number is distinctly pentatonic in character. It is made up mostly of the tones A, C, D, and E. These tones belong to the pentatonic scales of C major and its relative minor A. In tonality, the song cannot be considered as belonging to either of these keys, as there is a very distinct feeling of B♭ in it, notwithstanding that the tone is seldom dwelt upon, but passed over quickly, almost glissando, in nearly every place where it occurs.
The song ends on A. This is not the key note, however, but is the fifth of the key.
The song is like a mournful chant. Throughout there is a peculiar wailing which leaves a strange, haunting impression. The music admirably suits the hour when it is used. It would be decidedly incongruous given in broad daylight. These untutored savages could hardly have conjured up a more typical tone-picture of the “shadowy valley” than the song heard on this record.
The peculiarly weird character is due in large part to the swelling out and dying away of the tones on certain syllables. (For comparison to effects found in Igorot music, see “Swelled Tones” underDefinition of Qualities, p. 479).
Sang-Sangit
Record C. Sung during the evening following a funeral.
In this record we hear but one voice—a man's. The song is cast in the minor scale of G, but whether the natural minor or the harmonic, cannot be determined, as the singer does not use the 7th of the scale. It is not pentatonic in character.
The song is given in the recitative style. There are several versesPage 462which vary but little in the music, except for the changes in the reiterated staccato tones which are made greater or less in number to accommodate the difference in number of syllables. With the exception of those starting the glissandos or trills, the repeated tones were given with a very decided staccato punch.
Much of the intonation is vague. In taking the glissandos shown near the middle of the top line, the upper tone is sung about half way between B♭ and B♮. There is some abandon in the rhythm also.
The group of six notes marked with an asterisk are trilled on the semitone interval.
Dawak
Record D. The song of a medium when calling spirits into her (his) body.
This song is doubtless the invention of the singer. It has that abandon which usually characterizes the songs of workers in the occult among primitive folk.
The song is cast mostly in the relative minor (G♯) of the pentatonic scale of B♮ major. A♯ does not belong to this scale. There are five measures, where this note appears, but in each instance the tonality of the phrase momentarily rests in D♯ minor, the relative of the pentatonic major of F♯. A♯ belongs to this scale, but B♮ does not. The singer, with his instinct for the five-note scale, avoids the B♮ until the tonality shifts back to the original key. The song is therefore classed as pentatonic in character.
The melody is distinctly harmonic in structure, as nearly all of the successions are made up of triad intervals.
Though the song runs but a minute and a half, the tempo changes eight times. The performer takes nearly every new tempo with a well-defined rhythm. There is considerable freedom shown in the first movement when the tremolos between B♮ and the G♯ below are taken.
The singer shows quite remarkable flexibility of voice, excellent breath control, and a rather surprising quality of tone and accuracy of intonation. As a demonstration of flexibility, about the middle of the first movement, he takes the quarter note B♮ in falsetto and immediately drops into the waver a tenth below, at the same time assuming his natural voice. The falsetto tone is indicated in the transcription by a tiny circle above the note. All of the wavered tones, as well as the falsetto at the beginning and the turn at the end are sung with one breath to a single syllable. This is quite a remarkable performance considering that the singer had no voice training.Page 463
Near the opening of the first 2/4 movement is shown a group of five notes given in the time of four,—a rhythmic effect few trained musicians can execute well.
Of the various performers who took part in making the fourteen records, this singer shows the best voice technic and control.
The fact that the singer scarcely repeats a single motive throughout the extent of the song, but is constantly introducing new tonal ideas argues an extempore performance. It would be interesting to have for comparison another record of the same song made at another time.
Song of a Spirit
Record E. Sung by a medium when possessed by a spirit.
Melodically this song is quite in contrast with theDawak. This one is distinctly melodic in structure, though there are suggested harmonies. These harmonies are mostly tonic and dominant alternating one with the other.
Using a two-measure motive, which he announces at the very start, the singer works the material over and over, first in one harmonic mode and then in the other, frequently changing the form of the motive through embellishments or altered metric values, but always leaving an impression which harks back to the original motive.
Arrange the various tones of this melody in any order that we will, we cannot make them conform to any diatonic scale used in modern music. If, however, we ignore the C♭, which occurs twice in the song, it gives us an incomplete ascending melodic-minor scale in D♭. But the song is not minor in mode. It is distinctly major in tonality. It is formed mostly of the four tones D♭, E♭, A♭, and B♭. All of these belong to the pentatonic major scale of D♭. This gives a very marked pentatonic flavor, yet the song is not in the pentatonic scale, for the singer introduces half steps, and there are no such intervals in the pentatonic scale.
Casting about among the scales used by various peoples, the nearest approach I find to the tonal succession of this song is one of the numerous scales or “tunings” used by the Japanese. It is that known as the “Hirajoshi.” To make comparison easy, I have transposed this Japanese koto-tuning into the same key as that of the song. Along with it I show the tonal material of the Tinguian song arranged in corresponding sequence.Page 464
Tinguian and Japanese scalesTinguian and Japanese scales
Tinguian and Japanese scales
Tinguian and Japanese scales
It will be seen that every note in the Japanese scale is found also in the Tinguian, though not always in the same octave. All of the Tinguian tones are found in the Japanese scale except the C♭ and D♭. These exceptions are shown with their stems turned down. The notes shown in white in the Tinguian scale are not sung at the pitch indicated, but occur in the song as octaves of these tones. The black notes therefore show the actual tones sung. It will be noticed that in the arrangement of the notes the opening tone is repeated a few notes later on. This is because the Japanese usually tune the koto with the first and fifth strings in unison to facilitate the execution of certain passages in their music.
The “Jog,” heard so frequently in the Igorot songs, occurs eight times in this number. It is not quite so well defined here, however, as in theDang-dang-ay,being modified in this song either by syncopation, by phrasing, or by lack of accent. It is interesting to note however, that it is always given on the tonic or the dominant, and also that it is repeated in true Igorot style.
The unconcern and skill with which the performer of this song unravels the mixed up duplet and triplet groups, is evidence of his inherent sense of rhythm, as it pertains to the symetry of note groups and their embodiment as beat-units into larger, varying measure-units; but his indifference, as he juggles his metric values of 2/4, 3/8, and 3/4 time, shows an entire absence of appreciation for form as revealed in even-measured sections, phrases, and periods of modern music.
Considered in the light of an oracle from the spirit himself speaking through the medium, the music would indicate that the spectre is not one of the gentle and kind disposition, but on the contrary is very domineering. He is of frightful mien, and tries to terrorize all who come under his sway.
Song of a Spirit
Record F. Sung by a medium when possessed by a spirit.
This song is very similar in general character to theDawak, and many qualities in it indicate that it is given by the same performer. It has the same general formation as theDawak. It is harmonic in construction.Page 465Nearly all of its tones follow the triad intervals of either the minor or its relative major tonic chords or the minor dominant chord. There is no well-marked motive development but instead a succession of tones first from one triad, then from another, and so on, grouped in ever varying fashion.
The key is G minor, but closes in the relative major B. While singing in the minor, the performer follows modern methods and raises his seventh or “leading tone,” when the progression is upwards into the tonic (see measures 10, 13, 25, and 27).
The tempo is mostly 108, but at the tenth measure the movement slows down to 80. At this point is shown a note with a large circle above. This tone was taken with a very wide open mouth quite in contrast with the one preceeding. The next measure following shows two tones taken falsetto.
Like the Dawak, this song is probably the composition of the singer. Although very primitive in its general aspect, it has absorbed from some source a bit of modern influence.
If the surmise is correct that the performer of this song is the same as the one who made the record of theDawak, and if the two songs were made at distinct times with a considerable period elapsing in which other records were made, it would indicate, as is frequently the case among primitive singers, that this performer almost invariably sings at the same pitch. In other words, he has to some degree the sense of absolute pitch.
Bagoyas
Record G. A song of praise and compliment sung by a guest at a feast or party. Words are extempore, but music constant.
The singer is a tenor with considerable dramatic quality in his voice. The words of the song must be extemporized to suit each new occasion; so also, must the elemental tonal forms be extemporaneously combined, for the music must fit the words, and these will vary in rhythm and meter with each performance. The music may be considered constant, however, in that the form of each component motive is more or less fixed.
The following five group-ingredients, used either in the pure formPage 466as shown, or with slight alterations, make up approximately one-half of the entire song.
Reiterated tones and glissandos pad out between these and make up practically the remainder of the number.
Turning our attention to the first of the above groups, which I have marked “M.M.1.” (melodic motive), we find that it is used nearly a score of times throughout the extent of the song.
A motive may be modified in ten different recognized ways and each form of modification employed in varying degrees, within certain limits, and yet the motive will not loose its identity. As an example of this we find in this song the first melodic motivetransposedfrom the fourth degree of the scale (where it is originally announced) to the first, the fifth, and the sixth degrees. We find the same motive given withomissions, withadditions, withaugmentations, withcontractions, and withaltered rhythmic values; in short, the composer has turned this motive over and over, and unwittingly developed it much after the manner used by musicians trained in the art of composition. The fact that this motive is given four times rhythmically and melodically intact, besides recurring frequently throughout the composition in one or another of the accepted forms of modification, argues that this melodic germ was a familiar tone-figure to the singer, one that he could apply to most any syllable on which he wished to dwell. In this connection it is interesting to note that this motive, in its purest form, is always used in a transitional way, not only musically, but rhetorically, thus “marking time,” as it were, while the improvisator chooses his next words of praise.
The second melodic motive (M.M.2.) occurs at least five times, with some transformations to be sure, and sometimes even overlapping the first motive. The third (R.M.) is purely rhythmic, but seems to be a pet device of the singer and helps him out with syllables needing special emphasis. The fourth can hardly be dignified by the name of motive, in this case, but is simply a musical device (M.D.), used by the singer mostly in his terminations.
I surmise that the song in its entirety, including the above elemental groups, is the invention of the singer. He has equipped himself with these particular tonal fragments, because they not only suit his fancy, but lie well within the range of his vocal attainments. He has used them so frequently and in such varied forms that he can instantly twist, turn, or alter them to fit the requirements of the various syllables of his ever changing flatteries.Page 467
With a few such elemental groups of his own invention at command, any singer would be well equipped to extemporize for the delectation of his host and the entertainment of the other guests.
The song is exceptional for strongly accented notes. The triplets giving the value of three quarter notes in the time of two are rather unusual in modern music. It is cast in the natural minor scale of B♭. The singer never uses either the raised 6th or 7th in ascending, as do moderns in the melodic minor, but adheres strictly to the oldnormalornatural minorform.
Although diatonic, in that both the G♭ and C♮ appear frequently, yet the number savors much of the pentatonic.
At three places where the singer uses one or the other of the tones foreign to the pentatonic scale, he makes half-step progressions.
In the fourth line of the song we find the single instance in these records, where the performer takes an upward glissando. It is on the two-note embellishment F♮ G♭ shown in the last measure of that line. It is immediately followed by a downward glissando.
Balalognimas
Record II.
Two singers are heard on this record. They seem to be women. Possibly there are more than the two voices. As the song has such a well-defined swing and such a martial character, it must be wonderfully inspiring when given by a large company of singers.
It is cast in the natural minor diatonic scale of C♯, though it is strongly pentatonic in character.
The rhythm is partly 5/8 and partly 4/8, but it swings along so naturally that it seems as if it could not be otherwise.
The distribution of the accents, sometimes falling on the first and third beats and again on the second and fourth, helps to give it a character which puts it in a class by itself. It has the most character of any of the women's songs in this group.
There are several verses to the song almost precisely alike in words and music.
Da-Eng. Boys and Girls Alternating.
Record I. Sung while dancing in a religious ceremony.
This song is in two distinct movements or parts varying one from the other in meter, in tempo, and in general style.Page 468
Part 1
There are at least two voices discernible in this part. They seem to be the voices of girls or women.
It is cast in the relative minor (C) of the pentatonic scale of E♭ major. The tones of this scale given in order are C, E♭, F, G, B♭, and then the octave C. The tones D♮ and A♭ are missing, thus avoiding the half step between D and E♭, and between G and A♭ (see remarks in pentatonic scale underDefinition of Qualities, p. 480).
The A♭ shown in the third from the last measure of this part is written there to define more clearly that particular glissando which seems to be of slightly different rhythmic construction than the one in the corresponding measure above. The fact that the tone is passed over glissando eliminates it from the scale.
In the fourth measure of each line we find a peculiar splitting up of the parts, one voice holding the C, while the other skips to the E♭ above, thus producing the harmony-interval of a minor third. This behavior seems to be intentional on the part of the performers, as it occurs precisely the same in each of the four lines of the song, though not quite so well defined the last time owing to the fact that the upper voice does not come out so strong on the E♭. This is indicated in the notation by a small square note.
Part 1 is in the very unusual rhythm of 5/4. The rhythm is not well defined, however, as there is considerable abandon in the style of rendition. The metronome tempo of 69 applies practically throughout. Sometimes the singers are a trifle in advance of the count and at others drag behind, but always sooner or later drop into the regular beat. A stress on each fifth count gives the number a rhythm of five. It is unique also in that each line has but five measures.
Part 2
In this, the same number of voices is heard as in the first part. The performers seem to be the same ones who sang from the beginning.
The scale is the same as that of part 1. The intonation is very distinct and the character unmistakably pentatonic.
In measure 2 there is the harmony-interval of a perfect fourth followed immediately by that of a minor third, the same succession as was used in theDa-eng, Girls' part (Record J). In the fourth and fifth measures of this part are found unprepared minor thirds, which also appear in Record J. These harmonies are not so primitive as those found in the boys' part of the same ceremony (see Record A).Page 469
The tempo throughout this part is 80 and the rhythm strongly marked. There is a wait between the two lines. The machine was evidently stopped at this point or the needle raised and started again. Each line has the uncommon number of five measures the same as the first part, but metrically the part is in 4/4 rhythm.
The second time through, the singers seem to be striving to repeat the first line of the movement with embellishments consisting of inverted mordents, appogiature, and trills.
Musically, there seems to be absolutely no connection between this song and the other two of the same ceremony. In many ways this song is the most interesting of those submitted. In origin it probably dates between the other two.
It is not given consecutively on the record, as there were breaks between each two lines while the needle was raised.
Da-Eng. Girls' part.
Record J. Sung while dancing in a religious ceremony.
The record shows but two voices one of which is greatly predominant in strength and confidence as if it were the leader's voice.
The song is cast in the scale of B minor. It is not pentatonic. The singers would employ, so an interrogation-mark is; placed below that be either A♮ or A♯, according to whether the scale is thenaturalminor or theharmonicminor, it is not possible to determine which tone the singers would employ, so an interrogation mark is placed below that note. The raised fourth (E♯), shown in the fifth measure of four out of the six verses, is perfectly intentional on the part of the singers, but musically, is to be interpreted as an accidental, and does not affect the scale of the song.
In this song we again have the interval of a fourth without the sixth above. It occurs four times, each time followed immediately by the less primitive and more harmonious interval of a minor third. The minor third harmony also occurs in three other measures,—in these without preparation.
These minor thirds are all the same,—B–D, the foundation of the tonic chord of the key,—evidence that the singers have a keen sense of the minor tonality.
The tempo alternates between 96 and 108. The first half of each line is given at 96, but the second half is taken more rapidly at 108 beats per minute. Each of these rhythms is very evenly preserved, the time being well marked by accented notes and pulsations of thePage 470voice as shown in the score. The figures at the ends of the lines indicate the number of beats rest actually taken by the performers. Twice they take the normal number four, which, if preserved throughout, would place the song in the regular eight-measure form. Some of the measures are 4/4, and some are 3/4.
In each verse of this song we find an example of the characteristic which I have termed a “jog.” It is seen in each next-to-last measure with special sign beneath. The jogs in the 2nd, 4th, and 6th measures are the best defined (see table of special signs underIntroduction, p. 444).
There are three qualities in this song, which indicate that it is of more modern origin than either of the other two which belong to the same ceremony. The frequent and undoubtedly intentional use of the raised fourth giving the half step E♯ to F♯; the persistent recurrence of the hardly primitive, minor-third harmony; and the fact that the song is not cast in the pentatonic scale, as are the other two records of the same ceremony, point to a more modern origin.
It may be that in the earliest practice of this ceremony the girls or women did not participate, their parts having been a later addition. This could not be determined musically, however, without examining more records of songs from this or similar ceremonies.
Bogoyas
Record K. Sung by a woman.
This is a woman's song of praise, complimentary to the host at a party.
The singer makes use of all the scale tones of the major key of E♭, except the D♮. The B♮ found in the next-to-last measure is a passing tone, and does not affect the scale or tonality. At that point the suggested supporting harmony is an augmented triad upon the tonic leading into the subdominant. With the exception of this one measure, the song is in the five-note scale. Notwithstanding that this measure contains two A♭s and also the passing tone B♮, both of which tones are foreign to this particular five-note scale, the song is not robbed of its pentatonic character.
The rhythm of this song is interesting. It alternates throughout between 4/4 and 5/4. It might have been notated in 9/4 time instead, in which case it would have but five measures.
The singer uses the downward glissandos, so characteristic of nearly all of the Tinguian songs of this group. These glissandos arePage 471indicated by oblique lines drawn beneath the tones covered by the slide.
In the second measure there is an almost inaudible tone at the end of the glissando. It is indicated by a small, square note. Careful listening to the record at this point shows that the singer really leaves the principal tone E♭ and slides with a sudden dying-down of volume. The abruptness with which the sound of the voice fades as it starts the glissando, leaves the impression of E♭ still sounding.
One tone in this song is given on the inhaled breath. It is indicated by a circle with a dot in the center placed beneath the note. This tone was produced well back in the throat, while the singer sharply inhaled the breath. This artifice, occasionally used by the Tinguian, is seldom, if ever, heard in the singing of civilized peoples (for other examples, see analysis of Record M,Dang-dang-ay).
This song, given by a woman, has not the well-marked motive development shown in the otherBogoyas, sung by a man. However, we find two quite distinct, prevailing ideas set forth. The first includes the whole of the first measure and the first beat of the second. It seems to be in the nature of a question which finds its answer in the remainder of the second measure, and again in the third, and again in the fourth measure. It is the same answer, but expressed each time in a little different manner. In the fifth measure and carrying over into the sixth, the questioning is heard again. Although put forth in a different arrangement of tones, it is the same musical thought as that expressed in the first measure. This time it is answered but once. The answer takes parts of two measures. Now follows another query similar to the first, and again comes the answer fully expressed in each of the two concluding measures.
The principal interest in this centers around the B♮, indicating that the singer has a very decided appreciation of the half step and of the upward leading tendency of a tone raised a semitone by an accidental.
Na-Way
Record L. Sung at the celebration which closes the period of mourning for the dead.
There are two voices heard in the record, probably women. In ten of the measures there is a splitting up of the parts. In the first measure of each of the second and third lines, and also in the third measure of the third line, the difference in the parts is owing to uncertainty of attack, one of the singers, usually the leader, starting thePage 472syllable ahead of the other performer. In the second measure of the last line, the first divergence is caused by the leader taking E by way of embellishment; and the second divergence, producing a minor third, is caused by the other voice dropping to B too soon. These are not intentional harmonies. The other six departures from unison are caused by the leader embellishing her part. The appogiatura, shown with a tiny circle above, has the quality of falsetto. The singer yodles down to the principal tone B.
The song is strictly pentatonic. Peculiarly enough, it may be considered as belonging to any one of the following tonalities, B minor, E minor, or G major, though there is no G in the melody. The song seems the most primitive, however, when considered in the key of E minor, for the harmonies required to place it in this tonality carry more of the primitive atmosphere than do the chords which are required in either of the other tonalities.
In this connection it would be interesting to know just how these various harmonizations would appeal to the Tinguian. It is a well-known fact among musicians who have recorded the songs of primitive peoples, that though the songs are used with practically no harmonies, yet the singers feel an harmonic support which they do not express. Experiments along this line have been tried with the American Indians. Various harmonizations of a given melody have been played for them, a melody which they themselves sing only in unison, and they have been very quick to choose the particular harmonic support which appeals to them as being an audible expression of the vague something which they feel within, but do not attempt to voice.
The tones of this song when arranged to represent the scale of E minor coincide exactly with the scale tones of two of the tunings of the Japanese 13 stringedkoto. These tunings were both borrowed by the Japanese from the Chinese by whom they were used as special tunings of thech'in, orkin, one of the most ancient of musical instruments.
In each of the eleven glissandos shown in the notation, the voices drop suddenly to approximately the tone shown by the small square note. The glides are taken diminuendo, the tone dying away completely. The sudden diminuation of tone taken with a glissando gives an effect something like a short groan. The song is in seven-measure periods.Page 473
Dang-Dang-Ay
Record M. Sung by women while pounding rice out of the straw and husks.
Only one voice can be distinguished in the record. It is that of a woman.
Though strongly pentatonic in character, the song is cast in the diatonic scale of F major. Metrically there is considerable freedom. 3/4, 4/4, and 5/4 rhythms are thrown in with the most haphazard abandon, yet it has the even pulsing which should dominate a song of this character.
The song is in two rather distinct movements. The first, in spite of the two triplets thrown in at the first and third measures, has a straight-away motion which offers a striking contrast to the more graceful, swaying second part which is mostly in triplets. The change from one style to the other is made by the singer with no variation in tempo. It is therefore admirably adapted to accompany the regular falling of the pestles while beating out the rice.
Near the close of the song are two notes with ☉ over them. These were vocalized on the inhaled breadth (for other examples of Inhaled Tones, see analysis of Record K,Bogoyas).
This song contains seven examples of the “Jog” (seeDefinition of Qualities, p. 479). Those in the second part of the song are the best defined. One of these is shown with open head. This jog is given the most nearly like the Igorot manner of execution of any of the examples found in these fourteen songs.
In general character, this song somewhat resembles the Boys' Part of theDa-engceremony (Record A).
Kuilay-Kuilay
Record N. Sung by women while passing liquor.
There is one singer only on this record. It is a woman. The song is given in a lively, jolly, rollicking style.
It is cast in the F major scale. The melody has good variety. At times it defines quite clearly the harmonic outline by following the tonal framework of the tonic, dominant, or subordinant chords. Passing tones are used more freely and naturally in this song than in any of the others.
In the third measure of the fifth line, the singer very plainly vocalizes a half step from F to E. The second and fourth lines also show semitones, though these are not so distinctly given on the record as the other example.Page 474
In the last measure of the third line there is a modulation into the tonality of B♭ which carries through two measures.
In the fifth line are three accents which make the meter rather elusive at that point. The two small notes shown at the beginning of the third line seem to be spoken with no attempt at vocalization. They are notated, however, at the pitch of the speaking voice. The small note shown in the bottom line is given very faintly in the record and seems more like a muffled exclamation than an intentionally vocalized tone.
The tempo throughout is quite regular, following the indicated pulse of 92 in both the 6/8 and 2/4 rhythms.
In the latter part of the song there are a number of changes between duple and triple rhythm. The singer makes these changes with perfect ease and sings the groups with that exactness of proportion which characterizes the performance of most of the singers in these records.
Musically this song is strikingly adapted to the purpose for which it is intended.
Tabulation of Qualities and Characteristics.—The qualities found in the records have been tabulated under two main headings. Under the caption, “Rarely or Never Heard in Modern Music,” are listed those qualities which, so far as present research goes, are so very unusual that they may be termed musical idiosyncrasies of the race. These qualities are so eccentric that if found in several of the songs, even if the number of songs be much in the minority, the qualities may be accepted as characteristics.3
To receive recognition as a characteristic, any quality found under the other heading, “Commonly Heard,” would necessarily have to show that it quite persistently occurred throughout a large majority of the songs.
The columns of the large table, when read horizontally, show which qualities appear in a given song. Read vertically they show the degrees of dominance of the various qualities.
The songs are grouped under two heads, those given by men and boys, and those given by women and girls. This will facilitate comparison of the degrees of dominance of the qualities found in the songs of each.4Page 475