Kalinga Music can be seen from the Cordilleran
Songs and Musics.

Based on studies made by anthropologists, Cordillera music is, relatively still in its infancy. Being among the latest of the authocthonous poeples of the Philippines influenced by Western civilization, Cordillerans. Quite naturally, were among the Filipinos whose music and songs were discovered late along with their culture. During the more than 300 years of Spanish rule, there were no records of any attempt at investigating the musicology of these mountain peoples, although historical records reveal that Spanish colonialists had made probing expeditions into the heart of the once forbidding mountain domain and discovering that these mountaineers had a civilization of their own. Most of the accounts on the natives inhabiting the mountain fastness which the Spaniards named the "Gran Cordillera" (Great Mountain Chain) were about the physical and cultural idiosyncracies of the people found along primeval river banks and in the slopes and peaks of dizzying mountain heights. When the Americans assumed as the new colonizers of the Philippines, they not only brought their mining prospectors but along with them were educators who immediately planted their concept of educational system while at the same time introducing a new form of colonization and political system. One of the significant concerns of the new colonial government was the conduct of a scientific investigation of the native peoples of the Cordilleran region. The anthropological and topographic exploration of the hinterlands of the Cordilleras by social scientists ordered by the Philippine Commission to conduct studies on the native inhabitants resulted in the political subdivision of the mountain region into sub-provinces under a province, then christened Mountain Province. The region into sub-provincial delineation was later to be carved along the tribal groups discovered in this mountain territory namely, Benguet, Bontoc, Ifugao, Kalinga and Apayao. Father Francisco Billiet and Father Francis Lambrecht in their book Kalinga Ullalim and Ifugao Orthography made an interesting and valuable study on the Ullalim, a Kalinga ballad and their contribution to the notation of that distinctive Kalinga melody has immensely contributed to the growing reportoire of Cordillera folk songs.

In 1924, an American teacher, Charles E. Griffits, Jr. published a series of articles on the background and teaching of Filipino folk songs in schools. At the same time folk songs of the Cordilleras were being collected and later compiled to be incorporated in the music textbook for Philippine schools. The textbooks were the Progressive Music Series and Music horizons authored by Norberto Romualdez and Petrona Ramos. The songs were in English text, some of which are acknowledged by the composers as songs from Balbalasang, Kalinga. Most of these tunes are found in the Kalinga tunes of this collection.

GLORY TO KALINGA-APAYAO
(Provincial Hymn of Former Kalinga-Apayao)

Lyrics: Epifanio T. Ramos 1968
Music: Francisco T. Agurin

Glory to our people, we adore you!
Kalinga-Apayao, from you we sprang
Proud of our ancestors noble and true.
Welcome to our lands, blend us with your charm.

Glory to pioneers, so strong and brave,
Kalinga-Apayao, we thank our friends
Hail to our founders living or dead
God grand for us realities of their dreams!

Refrain:
Today your great fame, we're proud to proclaim
We're your brave descendants peaceful and true
Sire of the forbears of our cogno men
Kalinga-Apayao faith in you!

Glory to our labors we now implore
Kalinga-Apayao, for golden grains
Link us with roads and bridges to your door,
Untold wealth back ons willing hands and brains

Glory to all for our place in the sun
Kalinga-Apayao your name will shrine
If fate will land us on foreign strand
We will crown you with laurels more sublime!

(Repeat Refrain)

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OWWAWI II

Type of Song: Lullaby

Background: From early morning to late afternoon, when father and mother work in farm or kaingin, the non-working child of about eight years old is left behind to baby-sit. The baby is strapped behind her, piggy-back with a blanket. Then she lulls the baby to sleep. Sometimes, it is an old man or woman that is left behind to take care of the baby. The baby is lulled to sleep by rocking it in a forward-backward bending movement of the torso and a slight knee bend.

Notated By: A.M. Saboy

Banao LyricsEnglish Translation
O-wah, o-wah, o-wah-wi-iyi-i O-wah, o-wah, o-wah-wi-iyi-i
Nasigab man-tagibi-iyi-i Baby sitting is hard
Maid suyop no labvi No sleep at night
Anosan ta'n bvobva-i-i-i We women can only bear
Siya't kopyan dji bvo-bva-i That's what women are born for
O-way adjo't ligatmi-i-iyi Although there is much to suffer
Man-i-goygoy no labvi Lullabying through the night.
O-wah, o-wah, o-wah-wi--iyi-i O-wah, o-wah, o-wah-wi-iyi-i













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DANG-DANG-AY III

Type of Song: Humor
Background: This is a traditional tune popualrized during the Second World War II by guerilla soldiers. The theme is about parting, where the sweetheart is loath to let her boyfriend go, and the man consoles her saying he will soon be back. The words may be extemporaneous to suit the occasion. This is sung for the entertainment, usually by a male. It's lyrics is Ilocano.

English Translation:
Dang-dang-ay si dong-ilay Dang-dang-ay si dong-ilay
Insinali dumma-ay Insinali dumma-ay
Dang-dang-ay si dong-ilay Dang-dang-ay si dong-ilay
Isinali dumma-ay Isinali dumma-ay
Ading di ka agsangit Young sister, don't cry
Agsubliyak mabiit I'll return in a short while.
Ading di ka agdanag Young sister, don't worry
Mabiit a mabayag In a short while tho' quite long
Urray innak mabitay Even if I'm to be hanged
No dik gasat a matay If it's not my fate to die.
Kastoy gayam ta ayat So, this is love
Pangkitaan ti rigat Realization of hardships.
Anosam kad a bagi Myself, be patient
Ta adi ka met nagpadi. Because you did not get to be a priest.



















NOTE: This Dang-dang-ay melody can be adapted to any version or any social occasion except death.

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ULLALIM

Tanudan English
Kanan kanu di ullalim eee says it is said, the ullalim
Maag kanu nammeewa suddenly, kanu, looked up
Dulaw ad kagayanu dulaw of kagayan (saying)
"Ya-uka'd kagayana ya-u dear of kagayan,
"Annaya' buwe angoblawona "Behold here' a nice red ripe betel nut
"Ay yayam nin da agta "a playing maybe of the Agta urchins
"Te anne amod dinuma; "for this is an exquisite one
Kapun ta gaitona as soon as cut(it)
Ya-u ad kagayan ya-u of kagayan
Lam kad' kanu, di buwa look no' kanu, the betel nut
Pumaltok ya dumala sprung up and started bleeding
Lam kad' kanu, gannawa; behold now kanu; the gentleman (curses it)
"Matoy ka, buwe angoblawona nay thou die, nice red, ripe betelnut
"Paka mangpangangasa why dost thou frighten-frighten us
"Paak mangpangangasa? why did i frighten-frighten you
"Moyak mandokkatona "I come being sent to invite you
"Kad-an I-Madogyana "(sent) by a man of Madogyaya
Lam kad 'kanu, gannawa: Behold now kanu, the gentleman (says)
"Dulawka'd Kagayan, dulaw dear of Kagayan
"Man-iggaka't am-amma, "Put on thy festal dress
"Ta intako ilana "That we may go and see
"Umoy da anggugguwa they are going to divide
"Odon I-Madogyaya." "They properties of a man of Madogyaya.
La kad kanu, tuttuwa' Behold now, kanu, indeed'
Ya-u Kagayana Ya-u of Kagayana
Kan Dulaw Kagayana Ang dulaw of Kagayana
Kamay ginnaniyana as she is fond of dressing up
Man igga' anganga puts on (her) showy clothes
Innaminda minigga they did put on all
Kuwada dulliwangga their finest apparel
Ippun kidugdug-ana it would not be better
Lummawada't ballawa (when) they left the houseyard
Manda antonnatomna: they gently stride the one behind the other
Mankullabagit solga the soften its rays
Si kwada'n dinniga: on their dignified beauty
Mamin, kanu gaymalpa just shrivel up
Baggasibas di lodda the grasses that caress(them)
Kigad di dallanenda as all along the way they stride.









































Musical Notation of these songs and other Kalinga Songs are available upon request.