Saboy, A. M. (1991). T he songs of the Banaos of Western...
Saboy, A. M. (1991). The songs of the Banaos of Western Kalinga. (Unpublished
master’s thesis). Baguio City: Baguio Colleges Foundation.
Physical location: University of the Cordilleras Library, Baguio City
ABSTRACT
Sixty-four songs were identified to have originated from the Banaos on the
bases of both melody and lyrics. On the basis of the originality of melody, the
following may be considered truly indigenous Banao music: “Alabaab,” “Alumatit,”
“Anak ni Binowag,” “Ayat Mangidkidyat,” “Ay Aman,” “Awad Payyan,” “Ay! Ay!”
“Ay, Ay, Salidommay,” “Ay Siya Mamay,” “Bagi! Bagi!,” “ Balagoyos,” “Baliti,”
“Bondong,” “Dang-dang-ay IV,” “Dango,” “Dakami a Tinggian,” “Dios Ama,”
“Dissodis,” “Djiwas,” “Donglala,” “Hail to BIBAK,” “Idi Kallabes a Timpo,” “Ilan Yo
Kad Kjin Mannalon,” “Imma Issa I,” “Imma Issa II,” “Inggaw Ossan Algaw,” “Issan
Timpon Nan Amam-a,” “Itako Manragragsak,” “Kalkalimosta,” “KASA Hymn,”
“Kininay,” “Kordiyera, Bumangon Ka I,” “Kordilyera, Bumangon ka II,” “Maavos
Kad Manggat,” “Manggayyom,” “Manlagsak Tako,” “Nampay Dji Manonton-od,”
“Oggayam I,” “Oggayam II,” “O Nagtan-aw,” “O Naisport Nan Nobyak,” “Owawi I,”
“Owawi II,” “Pammalobvos,” “Pataytay,” “Salidommay,” “Sidi Pay Kan Di Damo,”
“Sowi-I,” “Sullayan,” and “When I look up.”
Banao songs are sung largely in relation to certain events in the day-to-
day lives, such as work, love, war, entertainment, wedding, making baby go to
sleep, funeral rites, acknowledgement activities, and varied festivities.
Some ten songs, purportedly Banao in origin, have found their way into
Philippine music books, hence into the grade school curriculum. A number of
other Banao songs have been recorded in albums.
Banao songs are largely pentatonic in terms of melody; metric, in terms of
rhythm; monophonic, in terms of harmony; strophic, in terms of form; and
syllabic-neumatic, in terms of text.
In collecting the desired data and information, the researcher interviewed
and tape-recorded the songs sung by elderly Banaos from Pantikian, Talalang
and Balbalasang, in the town of Balbalan, Kalinga. She also did research in the
libraries of Benguet State University, St. Andrews Theological Seminary, U.P.
College at Baguio, Easter School, and Baguio Colleges Foundation.
The tape-recorded songs were played back for the purpose of notating
each of the songs based on the melody-to-symbol method, using the C-pitch to
guided appropriate notation. After all the songs were notated, each one was
subsequently played on the piano keyboard to test transcription for reliability and
fidelity.
Conclusions
Sixty songs exist which are Banao in origin, either on the basis of melody
or lyrics or both. These exclude variations of certain melodies as well as some
that simply resemble already known Banao songs.
Many of the Banao songs are similar to those that are sung by the
Tinggians of Abra. This is not surprising since the Banaos and the Tinggians
come from the same origin.
The Banaos have a song for every occasion or event. Some of their songs
can be adapted to suit the desired effect in any given event, and words can be
improved for whatever purpose is sought.
A few songs which are acknowledged to be Banao but are not necessarily
among the 60 indigenous songs earlier enumerated have been included in the
music curricula of elementary and secondary schools. These songs, however,
are largely in their English language versions.
Banao songs that are found in music collections, particularly those
included in disc recordings of music oriented companies, are modernized and, to
some extent, adulterated versions of the original Banao melodies.
Majority of the Banao melodies are pentatonic in scale and sung in
ascending-descending pattern.
While most of the Banao songs are metric and observe conventional time
signatures, a few are non-metric or are free. Measures are generally shot.
Melodies that appear long are just repetitions of the same measure.
Most Banao songs are moderate in terms of tempo, and monophonic in
terms of harmony.
In form, most of the melodies are strophic and irregular in phrasing. In
text, most are a combination of the syllabic-neumatic style of setting.
Recommendations
A similar survey study covering all ethnic music in the Cordilleras should
be conducted to determine the influence of each of the linguistic groups in the
region on existing Cordillera melodies which may be considered indigenous. By
similar is meant such a study should observe the research methodology and
content coverage used in this investigation.
A 64 identified Banao songs in their notated form and with their
characteristics, as reported in this study, should be published by the government
agencies concerned, especially Department of Education, Culture and Sports,
and taught in the elementary and secondary schools of the Cordilleras.
The findings of this study should be incorporated in various school
curricula, not only in music, such as history, anthropology, and sociology.
master’s thesis). Baguio City: Baguio Colleges Foundation.
Physical location: University of the Cordilleras Library, Baguio City
ABSTRACT
Sixty-four songs were identified to have originated from the Banaos on the
bases of both melody and lyrics. On the basis of the originality of melody, the
following may be considered truly indigenous Banao music: “Alabaab,” “Alumatit,”
“Anak ni Binowag,” “Ayat Mangidkidyat,” “Ay Aman,” “Awad Payyan,” “Ay! Ay!”
“Ay, Ay, Salidommay,” “Ay Siya Mamay,” “Bagi! Bagi!,” “ Balagoyos,” “Baliti,”
“Bondong,” “Dang-dang-ay IV,” “Dango,” “Dakami a Tinggian,” “Dios Ama,”
“Dissodis,” “Djiwas,” “Donglala,” “Hail to BIBAK,” “Idi Kallabes a Timpo,” “Ilan Yo
Kad Kjin Mannalon,” “Imma Issa I,” “Imma Issa II,” “Inggaw Ossan Algaw,” “Issan
Timpon Nan Amam-a,” “Itako Manragragsak,” “Kalkalimosta,” “KASA Hymn,”
“Kininay,” “Kordiyera, Bumangon Ka I,” “Kordilyera, Bumangon ka II,” “Maavos
Kad Manggat,” “Manggayyom,” “Manlagsak Tako,” “Nampay Dji Manonton-od,”
“Oggayam I,” “Oggayam II,” “O Nagtan-aw,” “O Naisport Nan Nobyak,” “Owawi I,”
“Owawi II,” “Pammalobvos,” “Pataytay,” “Salidommay,” “Sidi Pay Kan Di Damo,”
“Sowi-I,” “Sullayan,” and “When I look up.”
Banao songs are sung largely in relation to certain events in the day-to-
day lives, such as work, love, war, entertainment, wedding, making baby go to
sleep, funeral rites, acknowledgement activities, and varied festivities.
Some ten songs, purportedly Banao in origin, have found their way into
Philippine music books, hence into the grade school curriculum. A number of
other Banao songs have been recorded in albums.
Banao songs are largely pentatonic in terms of melody; metric, in terms of
rhythm; monophonic, in terms of harmony; strophic, in terms of form; and
syllabic-neumatic, in terms of text.
In collecting the desired data and information, the researcher interviewed
and tape-recorded the songs sung by elderly Banaos from Pantikian, Talalang
and Balbalasang, in the town of Balbalan, Kalinga. She also did research in the
libraries of Benguet State University, St. Andrews Theological Seminary, U.P.
College at Baguio, Easter School, and Baguio Colleges Foundation.
The tape-recorded songs were played back for the purpose of notating
each of the songs based on the melody-to-symbol method, using the C-pitch to
guided appropriate notation. After all the songs were notated, each one was
subsequently played on the piano keyboard to test transcription for reliability and
fidelity.
Conclusions
Sixty songs exist which are Banao in origin, either on the basis of melody
or lyrics or both. These exclude variations of certain melodies as well as some
that simply resemble already known Banao songs.
Many of the Banao songs are similar to those that are sung by the
Tinggians of Abra. This is not surprising since the Banaos and the Tinggians
come from the same origin.
The Banaos have a song for every occasion or event. Some of their songs
can be adapted to suit the desired effect in any given event, and words can be
improved for whatever purpose is sought.
A few songs which are acknowledged to be Banao but are not necessarily
among the 60 indigenous songs earlier enumerated have been included in the
music curricula of elementary and secondary schools. These songs, however,
are largely in their English language versions.
Banao songs that are found in music collections, particularly those
included in disc recordings of music oriented companies, are modernized and, to
some extent, adulterated versions of the original Banao melodies.
Majority of the Banao melodies are pentatonic in scale and sung in
ascending-descending pattern.
While most of the Banao songs are metric and observe conventional time
signatures, a few are non-metric or are free. Measures are generally shot.
Melodies that appear long are just repetitions of the same measure.
Most Banao songs are moderate in terms of tempo, and monophonic in
terms of harmony.
In form, most of the melodies are strophic and irregular in phrasing. In
text, most are a combination of the syllabic-neumatic style of setting.
Recommendations
A similar survey study covering all ethnic music in the Cordilleras should
be conducted to determine the influence of each of the linguistic groups in the
region on existing Cordillera melodies which may be considered indigenous. By
similar is meant such a study should observe the research methodology and
content coverage used in this investigation.
A 64 identified Banao songs in their notated form and with their
characteristics, as reported in this study, should be published by the government
agencies concerned, especially Department of Education, Culture and Sports,
and taught in the elementary and secondary schools of the Cordilleras.
The findings of this study should be incorporated in various school
curricula, not only in music, such as history, anthropology, and sociology.