Professional Documents
Culture Documents
Oral Transmission
The principal aim in education among ethno-
linguistic groups is to continue their
tradition. These groups keep alive Southeast Asian
indigenous music, the oldest type of Philippine
Music. For example, the palook (use of stick
beaters) and topayya (use of the hands) styles of
playing the gangsa (flat gongs) in the Cordillera
Highlands of Northern Luzon are learned by young
Kalinga boys through keen observation and
imitation of a customary circle of tutors- family,
peers, or town elders. Able to practice only on
bamboo instruments, (traditionally, gong playing in
the absence of ritual or social event is frowned
upon) actual playing on the gongs takes place at the
social gatherings in which music-making is a
participatory and communal experience. As adults,
they will form a pool of musicians needed for non-
stop strenuous gangsa playing during celebrations
that last for days.
Unlike the gangsa, the kulintang (a row of
knobbed gongs of graduated sizes) is taught directly
on the instrument itself, and by a tutor. He/She
employs the techniques of rote-learning (imitation
and repetition of a pattern demonstrated by the
teacher), the use of the kamblala, a set of patterns
to be memorized, then played and sung
simultaneously by the student; and kinesthetic
guiding of the hands to teach muscular
coordination. (Cadar, 1975). The Maranaos (and
other Muslim communities of Southern Philippines)
value the study and performance of kulintang for its
social significance, serving as an occasion for
community entertainment, social contacts,
competitions, ethical learning and exercise of self-
discipline.
In the context of guru-pupil relationship, the
Tausug tata gabbang (a bamboo xylophone played
alone) andtata biyula (a bowed string instrument
played alone) are similarly taught. Male students
living with a male gururender household services in
return for free room and board while female
students come to the house of a male guru for
lessons. (Trimillos, 1972)
The highly specialized and multi-faceted
apprenticeship of the Maranao princess, Sindao
Banisil, apabubayokand onor (artist) in the study
of Bayok (Maranao vocal genre) was entrusted to a
team of five women, all aunts of hers. Starting at
age six, she learned from these tutors various
aspects of Bayok artistry: memorization, and
extemporizing on text models, chanting
techniques, and proper application of vocal devices,
improvisation, and other skills like dancing, playing
on instruments, good manners, personal grooming-
all relative to the art. Sindao, a prodigious pupil,
reached professional status at age 15, when she
easily won over established pabubayok in several
competitions. (Santos, 1989).
Third Year
First
Semester
– 2 days
Health (40
minutes)
– 1 day as
Music and
Music
Arts (40
minutes)
– 2 days
PE (40
minutes)
Second
Semester
– 1 day (40
Health
minutes)
– 1 day (40
Music
minutes)
Music
– 1 day (40
and
minutes)
Arts
– 2 days
PE (60
minutes)
Fourth Year
40
Health 1 day
minutes
Music 40
1 day
and Arts minutes
Physical 60
2 day
Education minutes
80
CAT 1 day
minutes