Spoken presentation and singing
Présentation parlée et chant
Song recording collected in 1974 from various populations (Kalinga, Bontoc, Negrito, Ifugao) in the North of Luzon in the Philippines, by the Filipino ethnomusicologist José Maceda.
SOLOR island, Kabupaten Flores Timur, Kecamatan SOLOR BARAT, desa TANA LEIN, dusun LEWOHOKENG (Keywords): polyphony women-duo. performers = Yuliana Hokeng Magdalena Lina Hokeng Maria Mele Keban Gregoriana Gone Witin Yuliana Baya Witin Agrarian song, for harvests Recorded at Nagra + Neuman Duo + chorus Very old soloist
Music and spoken voice
Field recording
Voice - singing: male solo and male choir
Chants de populations du nord de Luzon, 1974, Philippines
Philippines : Luzon, Palawan, J. Maceda, 1955-1974
Field recordings, J. Maceda, Philippines
Unpublished recording collected by J. Maceda and archived by N. Revel at Centre de Recherche en Ethnomusicologie, CNRS, Nanterre
Centre National de la Recherche Scientifique
Centre de Recherche en Ethnomusicologie (LESC, CNRS)
For any use, please contact the CREM-LESC (CNRS, Nanterre University, France): crem.lesc[at]cnrs.fr ; See information at https://archives.crem-cnrs.fr
Magnetic tape
Young girls dance
Danse de jeunes filles
Just "Sticks" instead of "Clinking Sticks"
Mask game
Jeu de masque
chorus of young women
Choeur de jeunes-femmes
SOLOR island, Kabupaten Flores Timur, Kecamatan SOLOR BARAT, desa TANA LEIN, dusun LEWOHOKENG (Keywords): polyphony women-duo. performers = Yuliana Hokeng Magdalena Lina Hokeng Maria Mele Keban Gregoriana Gone Witin Yuliana Baya Witin Agrarian song, for weeding A soloist sings first in duet, then a soloist is supported by the Women's chorus on drone. Recorded at Nagra + Neuman, wind in the Outdoor mic Lack of dynamism
Lute
Luth
Music (Instrumental)
Gong music, North Luzon
Gongs music, Northen Luzon
Ifugao song: Alim
Chant Ifugao : Alim
Music (Vocal)
Ifugao Song: Hudhud
Chant Ifugao : Hudhud
Negrito vocals: Allon
Chant Negrito : Allon
Negrito vocals: Bendolin
Chant Negrito : Bendolin
Bontoc song: Oggayam
Chant Bontoc : Oggayam
Very sticky Pyral tape. Hiss when reading
Bontoc vocals: Ayeng
Chant Bontoc : Ayeng
Bontoc vocals: Churwassay
Chant Bontoc : Churwassay
Kalinga song: Ading
Chant Kalinga : Ading
Kalinga song: Dango
Chant Kalinga : Dango
Kalinga song: Ullalim
Chant Kalinga : Ullalim
Large nipple gong, agung. Tinaptapan Rhythm
Grand gong à bulbe, agung. Rythme Tinäptapan
Bägit Palawan and Kulintang music recorded in 1999
Philippines : Palawan population, N. Revel, Ch. Macdonald, 1970-1999
Ensembles and Rituals Around South China Sea", Gongs and Bamboo, Verne de la Peña Ed., Musika Journal n°9, 2013, pp. 2-48
Recording archived by N. Revel at Centre de Recherche en Ethnomusicologie, CNRS, Nanterre
In Copyright. Non-Commercial Use Permitted
Audio cassette
Pieces for Kulintang (continued 5)
Pièces pour Kulintang (suite 5)
Kili joue du Kulintang. Elle vient nous rendre visite de l'île de Sidanao où elle réside et interprète la musique des populations islamisées. Elle est d'origine Ilanun (Ouest Mindanao) et émigrée sur une des îles de la mer de Chine méridionale le long de Palawan.
Pieces for Kulintang (continued 4): udyang-udyang
Pièces pour Kulintang (suite 4): udyang-udyang
Kili joue du Kulintang. Elle vient nous rendre visite de l'île de Sidanao où elle réside et interprète la musique des populations islamisées. Elle est d'origine Ilanun (Ouest Mindanao).
Pieces for Kulintang (continued 3)
Pièces pour Kulintang (suite 3)
Pieces for Kulintang (continued 2)
Pièces pour Kulintang (suite 2)
Kili joue du Kulintang. Elle vient nous rendre visite de l'île de Sidanao où elle réside et interprète la musique des populations islamisées. Elle est d'origine Ilanun (Ouest de Mindanao).
Parts for Kulintang (continued 1)
Pièces pour Kulintang (suite 1)
Parts for Kulintang
Pièces pour Kulintang
Kili joue du Kulintang. Elle vient nous rendre visite de l'île de Sidanao et interprête la musique des populations islamisées. Elle est d'origine Ilanun (Ouest Mindanao).
Ring flute parts
Pièces de flûte à bague
Intaräy, Mäsinu;Jose Rilla;Revel, Nicole
Exemples mélodiques de la flûte à bague, hors contexte. Mélodie 1: Ligal ät tinigalan, l'appel des disparus. Mélodie 2 : Lalam bwaya, la plainte du crocodile lors de la canicule Mélodie 3 : Tigalog, bruissements ( Bäräs, paroles; Ringät, souffles du vent, ... ) sur la canopée des arbres. Mélodie 4 : Tingayän, berceuse (jouée par Pwäw, épouse de Apäl) Mélodie 5: Tingayän, berceuse les plaintes du crocodile Lalam bwaya (jouée par Apäl)
Jew's Harp (1) “ärunding”
Solo de guimbarde «ärunding»
Reading of the message then articulation by syllabic doubling made by Jose Rilla
Lecture du message puis articulation par redoublement syllabique faite par Jose Rilla
Démonstration pour les visiteurs de la manière de déchiffrer oralement un message écrit
Spoken voice
Reading of the message then articulation by syllabic doubling made by Nicole Revel
Lecture du message puis articulation par redoublement syllabique faite par Nicole Revel
Reading by doubling syllables of a message, its normal enunciation and its translation into English
Lecture par redoublement de syllabes d'un message, son énonciation normale et sa traduction en anglais
Démonstration pour les visiteurs de la manière d'articuler par redoublement un message écrit.
Sentences spelled with syllable repetition
Phrases épelées par redoublement de syllabes
Recitation of the syllabary
Récitation du syllabaire
Way of counting
Manière de compter
Bägit music: 2 unidentified pieces
Musique Bägit: 2 pièces non identifiées
Music Bägit: käkasa
Musique Bägit: käkasa
Music Bägit: tanguk
Musique Bägit: tanguk
Music Bägit: kayängät
Musique Bägit: kayängät
Music Bägit: säli
Musique Bägit: säli
Music Bägit: amu'
Musique Bägit: amu'
Music Bägit: da'un ät päräspäs
Musique Bägit: da'un ät päräspäs
Enregistrement d'exemples de la musique Bägit des Hautes-Terres sur l'Ile de Tataran lors de la visite de Talib Sangogot et Gérard Rixhon, interprétées par les montagnards Pala'wan Apäl, Mäsinu et Jose Rilia
Music Bägit: Pikpiak
Musique Bägit: Pikpiak
Music Bägit [continued]
Musique Bägit [suite]
Palawan vocal music. Kind kärang ät siburan, the verses of the jar at drinking parties, rice beer or mead.
Buyägsäg is one of his nicknames, "spectacled bird". Bägit Kutkulit (cicada) She sometimes hums the melody.
Buyägsäg is one of his nicknames, "spectacled bird". Another Bägit room.
Buyägsäg is one of his nicknames, "spectacled bird".
Buyägsäg plays the end of kunduq (the divinatory doll). She sometimes hums the melody. Buyägsäg is one of his nicknames, "spectacled bird".
Buyägsäg plays one of the melodies of Kunduq (the divinatory doll).
Music Bägit
Musique Bägit
Buyägsäg is a young girl who offers us her repertoire of bägit music. Suite of small pieces of bägit music: Kunduq (the divinatory doll); Käkasa (magpie); Irang (the dog) She hums a little vignette in speech around this bird.
Kulilal, tubular zither
Kulilal, cithare tubulaire
Vers le milieu de l'enregistrement, elle se ré-accorde.
Group of women trying their respective pagang.
Kulilal, tubular zither solo
Kulilal, solo de cithare tubulaire
The pagang can have the 9 bamboo strings removed from the body of the instrument) or metal, fishing line attached.
Jar song
Chant de jarre
Southsouth [continued]
Sudsud [suite]
Responsorial song between Mandun and another member of the audience (heard here).
Southsouth
Sudsud
Responsorial song between Mandun and another man (answer follows, next item)
Lantigi, solo
Läntigi, solo
Indingan
Timpasan [continued]
Timpäsan [suite]
Responsorial song between Mumya and Gingging.
Timpasan [continued, answer]
Timpäsan [suite, réponse]
Responsorial song between Mumya and Gingging (answer follows, next item)
Courteous appeal to the Master of Rice in verse.
from the map view, is the link in the "in the part of" and "citation" not clickable?
Bangkiyaw
Sägina
Poems sung or spoken in verse addressed to the Master of Rice (Ämpuq ät Paräy). 1. Bangkiyäw (sung invitation to the Master of Flowers at the mead drinking festival, Simbug) 2. Säjina (summon by Masinu) 3. Timpäsan (sung evocation to the Master of Rice at the of the agrarian rite, sung solo or in response, prose rhythmic rather than measured)
Lantigi, karang at siburan
Lantigi, karang ät siburan
Tale
Conte
Bägit music for lute performed by Lapung and Mandun
Philippines, Palawan : musique bägit. 1983
Music Bägit: investigation of the pitches relative to the frets of the lute
Musique Bägit: enquête sur le hauteurs sonores relatives aux frettes du luth
Lili ät init on the jew's harp
Lili ät init à la guimbarde
Jew's harp Täläläw
Täläläw à la guimbarde
Commentary by Kawalan, then Binasalad with a jew's harp
Commentaire de Kawalan, puis Binasalad à la guimbarde
Kawalan with Jew's Harp
Kawalan à la guimbarde
Jew's harp tampayuyuh
Tampayuyuh à la guimbarde
Jew's Harp
Guimbarde
Music Bägit: Kutkulit
Musique Bägit: Kutkulit
Bägit music: wailing of a bird
Musique Bägit: gémissements d'un oiseau
Music Bägit: Sapäd ät Sämuruq
Musique Bägit: Sapäd ät Sämuruq
Announcement at the beginning (previous piece?)
Music Bägit: Sapäd
Musique Bägit: Sapäd
Jew's harp tänguk
Tänguk à la guimbarde
Music Bägit: Tänguk
Musique Bägit: Tänguk
Music Bägit: linänkyän ät käkayuwan
Musique Bägit: linänkyän ät käkayuwan
Bägit music: Buyägsäg and its lyrics
Musique Bägit: Buyägsäg et ses paroles
Jew's harp Kunduq
Kunduq à la guimbarde
Music Bägit: dance of Kunduq the divinatory puppet
Musique Bägit: danse de Kunduq la marionnette divinatoire
Kunduq
On fait danser la poupée pour remercier Kunduq d'avoir permis de capturer un sanglier
Sinilaran at Bungaw
Sinilaran ät Bungäw
Atal tinuran
Alupyan
Älupyan
Lumalibang for jew's harp
Lumalibang pour guimbarde
Ambähawän for the lute and a vignette of his lyrics
Ambähawän pour le luth et une vignette de ses paroles
Ambähawan
Ambähawän
Announcement of the recordings for the disc and piece of Jew's harp: Kwingang
Annonce des enregistrements pour le disque et pièce de guimbarde: Kwingang
Bägit Music: Survey of Lute Nomenclature, then the Kutkunit Piece
Musique Bägit: enquête sur la nomenclature du luth, puis la pièce Kutkunit
Bägit music: Malutang bird
Musique Bägit: oiseau Malutang
Bägit music: Bikurkur bird
Musique Bägit: oiseau Bikurkur
Bägit music: Lumalibang bird
Musique Bägit: oiseau Lumalibang
Instrumental music imitating the sounds of nature: birds, insects, animals, natural phenomena (winds, rains, waves, friction of lianas, spirits, fires, water, air, humanity). These recordings were made by Nicole Revel in 1978 in the Philippines, on the island of Palawan (bägit music).
Philippines, Palawan : musique bägit. 1978
Music Bägit: Iräng (the dog)
Musique Bägit: Iräng (le chien)
« Kunduq danse ce soir. Jeu et divination chez les Montagnards palawan », Les Cahiers de littérature orale (CLO) 38 , M. Carrin et G. Calame-Griaule (éds.) "Marionnettes", pp. 109-122. 1974, « Si Kunduq, the divinatory puppet of the Palawan, », Filipino Heritage, vol.III A. Roces (ed.),, Hamlyn House, Sydney, pp. 570-573.
Soirée de danse de Kunduq la marionnette divinatoire
Soirée de danse de Kunduq, la marionnette divinatoire
Kulilal music [continued from previous]
Musique Kulilal [suite du précédent]
Recordings of musical evenings «Kulilal» and musics «Bägit» of the Pala'wan collected in the Philippines between 1975 and 1976 by N. Revel and Ch. Macdonald
Music (Vocal and instrumental)
Singing voice: alternate male and female
Kulilal music [continued]
Musique Kulilal [suite]
Another singer unfolds his verses without a woman's response.
This melody ends without an exchange of verses.
Kulilal ät märanggas [continued]
Kulilal ät märanggas [suite]
Another singer (man) timidly took over (he hums) on the same melody. Transcription, translation and analysis: 1990-1991-1992, Nicole Revel, Flowers of Words, Natural History Palawan, 3 volumes, Peeters-France/ SELAF, Coll. Ethnosciences (314, 317, 323) volume III: Songs of Love / Songs of Birds, 1992, 208 p.].
Shy female voice, the man hums, but does not sing the verse.
End of melody, conversations between men and women and musical resumption with a man's song which develops several verses in a chain.
Good musical performance, but the singers haven't alternated their verses yet.
The musicians begin the evening, the singers do not yet enter the pulsation with their verses.
Kulilal at märanggas
Kulilal ät märanggas
Kulilal musical evening [continued agreement]
Soirée musicale Kulilal [accord suite]
The pagang (tubular zither) is tuned to the Kusyapiq (lute) in the hemitonic pentatonic scale. The musicians speak and position themselves.
Kulilal musical evening [agreement]
Soirée musicale Kulilal [accord]
The pagang (tubular zither) is based on the Kusyapiq (lute) to tune to the hemitonic pentatonic scale, characteristic of this genre.
Kulilal musical evening [announcement]
Soirée musicale Kulilal [annonce]
Sung poem
Poème chanté
Composition in measured and rhymed verses.
Kulilal sung
Kulilal chanté
Two women, two timbres of voice, one from the highlands (high) and one from the lowlands (low) sing the verses alternately without the musical accompaniment.
Tarok (dance)
Tarok (danse)
Tarak (vocals)
Tarak (chant)
Tultul [excerpt]
Tultul [extrait]
Chorus of young women
Solo song
Chant solo
Timbre of voice and melody from the world of sea nomads, the Sama.
Melismatic song that indicates contact with the populations of the Sulu, Sama or Tausug archipelago
Anoanood no mavakes Do Savidug Do Sabtang : amerika a anoanood kano ivatan a anoanood - Kavatavatanen Jivatan no Savidug a mahakey (Sabtang)
Kabupaten Flores Timur, Kecamatan WULANGGITANG, KPG PLUÉ MUHAN/Lamaholot VC Performers = Petrus Jumat Soge Anton Sani Dominikus Paji Yohanes Buto Goris Gleteng Franz Siku Tapu Paulus Bala Rikardus Ribu Petrus Keri Lasarus Lalong Lorenz Larang Blasius Simon (missing clan names which do not m have not been transmitted!) Agrarian song, after work, the men are seated See video 23. Alternation between solo/chorus/duo At 4'15: Solo then chorus Bleka. Frequent saturations. Homologies with the song of Tana' Ai. See the borrowing relationship between Plué and Tana' Ai
Lantigi, karang ät siburan [continued]
Lantigi, karang ät siburan [suite]
Tarak (collector ad)
Tarak (annonce collecteur)
Percussion of women's feet entering the rhythm of the orchestra of gongs, basal. The sanang is a small bulbous gong.
Sudsugid, ät urang bäkäq puguq
Sudsugid, bägit alak
Comments on the sudsugid ämput ät byäk
Commentaires sur le sudsugid ämput ät byäk
Commentary and moral of the story by the storyteller himself.
Sudsugid, ämpu ät byäk (Tape 32)
Sudsugid, ämpu ät byäk (bande 32)
Kulilal [continued]
Kulilal [suite]
Kulilal [continuation of the 2nd evening at Täbtäb]
Kulilal [suite de la 2e soirée à Täbtäb]
Lute solo
Solo de luth
Recorded at Maceda home. Side B. Very sticky Pyral band, hissing. Very important reading scroll problem. Crying
Kulintangan (8 gongs), Magindanao
Kulilal päkpäk ät manuk, lute solo
Mélodie Kulilal päkpäk ät manuk, solo de luth
Kulilal päkpäk ät manuk, solo de luth
Evening for visitors who come from Kulasyan.
Bägit, Alupyan
Evening for visitors who come from Kulasyan. Bagit music
Kulilal ät marangas, lute solo [continued]
Kulilal ät marangas, solo de luth [suite]
Mélodie Kulilal ät marangas, solo de luth [suite]
Kulilal ät marangas, lute solo
Kulilal ät marangas, solo de luth
Mélodie Kulilal ät marangas, solo de luth
Bägit, Kulintangan
Imitation of gongs with the lute (kulintangan). Recordings of musical evenings «Kulilal» and musics «Bägit» of the Pala'wan collected in the Philippines between 1975 and 1976 by N. Revel and Ch. Macdonald
Bägit
Kulilal, lute solo
Solo de Luth sur les mélodies Kulilal.
Kulilal, solo de luth
Bägit, Kulintangan. Imitation of gongs with the lute (kulintangan).
Bägit, Kulintangan. Imitation sur le luth des carillons de gongs (kulintangan).
Imitation sur le luth des carillons de gongs (kulintangan).
Kulilal ät pakpikil, lute solo
Kulilal ät pakpikil, solo de luth
Kulilal [continuation of the musical evening]
Kulilal [suite de la soirée musicale]
Kulilal [continuation of the evening]
Kulilal [suite de la soirée]
The men play the lute, the women the tubular zither
Kulilal [Täbtäb, 2nd musical evening Kulilal]
Kulilal [Täbtäb, 2e soirée musicale Kulilal]
Kulilal [Täbtäb, 2nd evening]
Kulilal [Täbtäb, 2e soirée]
Hommes: Si Mantud, Si Ligal ; Femmes: Si Salomin, Si Didung
Musique Bägit : Musique et échelle "oiseau"
Bägit, Kunduq
Musique Bägit : Musique et échelle "oiseau" Autre mélodie de kunduq pour faire danser la marionnette divinatoire.
Bägit, Kärämiring
Bägit, Kasing
Bägit, kawalan
Kulilal ät palpakil [in Kandis]
Kulilal ät palpakil [à Kandis]
Si Kiqut, Si Aput, Masino;Si Albino;Si Dina
The men play the lute, the women the tubular zither. Masino and Aput alternate at kusyapiq.
Kulilal si masak [in Kandis]
Kulilal si masäk [à Kandis]
Kulilal, Si Karät
Si Mantu, Si Ligal, Si Karät ; Si Mantu, Si Ligal, Si Karät (hommes); Si Kulina, Si Bida, Si Nagkrita (femmes)
Kulilal, ät päkpäkäk ät manuk
Kulilal, (?)
Si Duming;Si Duming, Si Laning;Si Laning
Kulilal, ät alan-alan
Kulilal, ät käting
Kulilal, ät garanggayan [1st evening]
Kulilal, ät garanggayan [1ere soirée]
Si Duming; Si Mantu, Si Ligal, Si Karät (hommes); Si Kulina, Si Bida, Si Nagkrita (femmes)
Bisara
Unpublished sound recording of the first ethnographic and linguistic expedition carried out in Palawan, under the aegis of CéDRASEMI (CNRS-EHESS) : music (instrumental and vocal), arts of the spoken word, illustrated with some examples of oral literature, and rhetoric.
Cas de soupçon d'infidélité. Bisara : "Discussion juridique". Rhétorique et Droit coutumier, Adat. "Une discussion de mariage Palawan", texte traduit et commenté par Charles Macdonald dans la revue ASEMI, V, 4, 1974 dirigée par G. Condominas.
Extraction from a CD, corresponds to the medium on magnetic tape: PB-3. The discussion continues on 4 CDs.
Philippines, Ile de Palawan, ethnie Pala'wan: mission 1970-1972
Recording archived by N. Revel and Ch. Macdonald in 1974 at Musée de l’Homme, Laboratoire d’Ethnomusicologie, Paris
Bulun: Maging and Merita's Marriage Discussion (continued)
Bulun: Discussion de mariage de Maging et Merita (suite)
Continuation track 1 Speed= 4.75 Long: additional item for consultation
Bulun: Maging and Merita's Marriage Discussion
Bulun: Discussion de mariage de Maging et Merita
Wedding: Air of gongs and drums
Mariage: Air de gongs et tambours
Shift = 4.75 (front 9.5) Mid Manifold Ad
Bägit: mantahilaw
Bisara : end of the former jural discussion
Bisara: suite de la discussion juridique précédente
José ; Bilyas ; Pedro ; Tayb ; Usep ; Inis
Speed= 4.75 Long: additional item for consultation
Bisara : jural discussion, led by Jose Rilla and Bilyas ; Pedro ; Tayb ; Usep ; Inis
Bisara: discussion juridique menée par Jose Rilla et Bilyas ; Pedro ; Tayb ; Usep ; Inis
Jose ; Bilyas ; Pedro ; Tayb ; Usep ; Inis
Suling
Unpublished sound recording among the Jama Mapun, an islamized group originating from Cagayan de Sulu (now Cagayan de Tawi-Tawi) sedentarised on the coastal line of South East Palawan, facing Sulu Sea.
Jama Mapun, population Sama islamisée originaire Cagayan de Sulu (Cagayan de Tawi-Tawi) ayant émigrée sur la côte Est du Sud de Palawan et sédentarisée sur le littoral au bord de la Mer de Sulu.
Rest of the blank tape. Spoken announcement Speed= 9.5
Flûte à bandeau
Itik badjaw
Jama Mapun, population Sama islamisée originaire Cagayan de Sulu (Cagayan de Tawi-Tawi) ayant émigrée sur la côte Est du Sud de Palawan et sédentarisée sur le littoral.
Kulintang= chime of gongs, here played by a woman. Speed= 9.5
Jama Mapun, Islamized Sama population originally from Cagayan de Sulu (Cagayan de Tawi-Tawi) who emigrated to the east coast of South Palawan and settled on the coast. Unpublished sound recording of the first ethnographic and linguistic expedition carried out in Palawan, under the aegis of CéDRASEMI (CNRS-EHESS) : music (instrumental and vocal), arts of the spoken word, illustrated with some examples of oral literature, and rhetoric.
Sama music. Kulintang= chime of gongs, here played by a woman. Speed= 9.5
Unpublished sound recording among the Jama Mapun, an islamized group from Cagayan de Sulu (now Cagayan de Tawi-Tawi) sedentirised on the coastal line of South East Palawan, facing Sulu Sea.
Jama Mapun, population Sama islamisée originaire Cagayan de Sulu ayant émigrée sur la côte Est du Sud de Palawan et sédentarisée sur le littoral au bord de la Mer de Sulu
Tagunggu
Jama Mapun, population Sama islamisée originaire Cagayan de Sulu ayant émigrée sur la côte Est du Sud de Palawan et sédentarisée sur le littoral.
Tultul: Durusmata
Continuation of piece 1 Text transcribed by Nicole revel Macdonald (09/02/1979)
Text transcribed by Nicole Revel Macdonald (09/02/1979)
Tultul: Limbagusan
Tultul: Läpdan
continuation and end of part 3 of BM.974.006.026
Tultul: Lantangan
Continuation of part 02 of BM.974.006.025
Tultul: Ilu ilu
Continuation of part 2 of BM.974.006.023
Tultul: Tamsitäw
Tultul: Limbuhanän
Continuation of part 2 of BM.974.006.020
Continuation of part 2 of BM.974.006.019
Mämiminbin
Continuation of piece 01 Already digitized by the BNF
Continuation of part 2 of BM.974.006.015
Mäminimbin
Continuation of track 01 without the flute Text transcribed by Nicole Revel Macdonald (09/02/79)
Flute at the beginning only Text transcribed by Nicole Revel Macdonald (09/02/79)
Music
Story about the sounds of insects (noun, cry, verb)
Récit sur le cri des insectes (nom, cri, verbe)
Spoken voice : recited
Story about the birds' singing (noun, cry, verb)
Récit sur le cri des oiseaux (nom, cri, verbe)
Bägit dawän
Bihi ät Kalawan
Bawbayu katupa
Pikpjak
Tuuran ät lugtaq
origin of certain plants (rice), mythical genealogy Speed= 9.5
Song
VC= Mandun the master of the house and Masinu the visitor 1,3,5,7,9: the visitor 2,4,6,8,10: the host
Lantigi
Kandiri
Ari ari
Linggan
Ägsan ägsan
Jaja
Timpäsan
Kärang ät siburang
Basal
Played by Käriq (female) from Täwläj To be verified (additional item to digitization)
Sapäd ät dayaq
Basal ät takäp at kandiru
Two pot lids, a can of sardines, a cutter
Imitation du rythme sinariksikan de l'ensemble des gongs basal, avec 2 guimbardes äruding
Salap ät Kägungurangan
Agung
Tangwän
Lingabäd
Manturun
Kawalan
Pyak
Tanguk
Ambahawän
Music imitating birds on the äruding Jew's harp
Tinkag ät Kälibunan
Appel des femmes entre elles pour aller aux champs, à la rivière, à la source...
Tinggayän
Petite fille gardant le bébé pour sa mère
Tinggayän Kärang
Lalam bwaya
Linibagan Sinäräkat
Rimsay
Dindyaman
Käsumbaq
Taligalap
Mansaläy
Limbakan ät Kupang
Sapäd ät Samuruq
Ungak
Käwalan
Kagäg
Tänguk
Kakayuwan linangkyan
Ärindanum
Linuwayan
Iräng
Buyägsäg
Kunduq ät Mäkägwaq
Kunduq ät Ilug
Labi
Bawä kay
Kinunduwan ni Labut
Ägsa tuwang tapis
Limukän
Bungäw
Sapäd ät Sumärän
Sinambälaq
Päkak ät manuk
Panaq
Gukguk
Balud
Tapilak
Sapäd pämisan
Kälapi
Kawkanaw
Tinungkalingan
Sapäd
d'amour/chants d'oiseaux", Volume III, Fleurs de paroles. Histoire Naturelle Pala'wan, Ed. Peeters/Selaf, 1992 Disque "Musique des Hautes Terres Palawan": Cf livret pp.28-29
Basal ät takäp ät kandiru
- 2 pot lids - 1 plastic canister - 1 tukäw cutter - shouts of joy from the men
Jeu lié au mythe des outils qui travaillent seuls
- 1 plastic container (drum, gimbal) - 2 plates (playing the role of sanang, small bump gongs) - 1 handle of the tukäw chopper against the mouth (sound box) and strike of the blade (role of the 'agung, the big humpback gong) - Cries of joy of the men who leave to cut down the forest to open a new mountain field (tabang)
Jeu relié au mythe des outils qui travaillent tout seul
- pot and pan lids (playing the role of sanang, small bump gongs) - a tin can (role of the drum) - handle of the tukäw cutter against the mouth (sound box) and striking of the blade ( role of the agung, the big bump gong)
Kärang ät kulilal
Continuation of piece 7 of track 1 (change of side) Same melody but different verse
The first 3 verses are in Tausug language, the next 4 are in Palawan language
in "L'Homme" (à compléter): Kulilal ät tau ät Suluk Disque "Philippines, musique des hautes-terres Palawan", 1992
Succession of 13 vignettes: 1- Käkasa (the magpie) 2- Bäsbas 3- Balud (the imperial pigeon) 4- Limukän (the turvert dove) 5- Ungak (the peroquet) 6- Tanguk 7- Mantahilan 8- Buyugsug (little bird yellow) 9- Bäläbän 10- Ansäsänam 11- käsili (eel) 12-Byäk (wild boar) 13- Bäsing See CD booklet "Philippines, Music of the Palalawan Highlands", 1991
Anhemitonic pentatonic scale, läpläp bägit
Soirée musicale de vignettes des chants d'oiseaux et d'animaux, etc.
Hemitonic pentatonic scale "läpläp kulilal"
Chants de séduction, chant alterné homme/femme
Lyrics in taosug; the singer is Palawan (Mainit region) Cf article in L'Homme 1976 Cf excerpt in the 1987 disc•
See article from L'Homme 1976 See excerpt from the 1987 disc
Sinariksikan rhythm (fast); Pala'wan des hautes-terres
Musique rituelle et de fête dans les hautes-terres (Hameau de Bungsud, la "termitière")
Päripid
Kälandiq
Original: RP Boutary. Diameter: 18 cm; recording speed: 4.75 cm/s; track 1; DT.
Kudyapiq
Chanson échangée autour de la jarre lors de la boisson de la bière de riz
Din-nin-din
Original: RP Boutary. Diameter: 18 cm; recording speed: 19 cm/s; track 1; DT. Announcement in Laac language at the beginning of this item (title of the piece). This item corresponds to Exhibit II of the documentation: “Sung, women's chorus - Dêh cho kêng Ang.” (Cf. BM.73.2.13)
Indaw
ultul: Budyang-budyang
Tultul: Budyang-budyang
The 2 Sanang are small suspended bulbous gongs, struck by 2 sticks. The agung is a suspended bulbous gang gong, struck by a mallet wrapped in rubber and fabrics
Hanging Bulb gong register twice - better "2 hanging bulb gongs" or "pair of hanging bulb gongs"
Kusyapiq & äruding
Jew's harp, lute & drum
Guimbarde, luth & tambour
Jew's harp & lute
Guimbarde & luth
Äruding
Vignette sonore imitant un oiseau, un animal ou un objet naturel
Contexte d'intimité, de solitude et de contemplation sonore
Tagongo rhythm. Lantigi were once songs of seduction of the inhabitants of the highlands
Rythme Tagongo. Les Lantigi étaient jadis des chants de séduction des habitants des hautes-terres
chant alterné homme-femme, sans accompagnement instrumental
En contexte: fête de boisson de la bière de riz
"Beating drum" probably should just be "drum
Kulintangan, agung & tambour & lantigi
Gong chime: 4 mothers (Inaq) and 4 children (Anak)
Kärang ät Kulilal
Unpublished vocal and instrumental music recording of the Pala'wan (Highlands), collected by Charles Macdonald and Nicole Revel-Macdonald during an expedition to the Philippines in 1970-1972.
Philippines, Palawan: mission de 1970-1972
Recording archived by N. Revel and Ch. Macdonald in 1971 at Musée de l’Homme, Laboratoire d’Ethnomusicologie, Paris
Banggun-banggun tarusu
Ensembles and Rituals Around South China Sea", Gongs and Bamboo, Verne de la Peña Ed., Musika Journal n°9, 2013, pp. 2-45
kawen •
Flute air: tinggayän, Lalam bwaya
Air de flûte : tinggayän, Lalam bwaya
SD= Atmosphere by Porting (?) Silence in ambience at the end of the piece
Composition in quatrain and alternation of 2 singers.
REVEL - 1992, Fleurs de Paroles, Histoire Naturelle Palawan, Peeters-France/ SELAF (3 tomes) Coll. Ethnosciences n° 323, tome III : Chants d'Amour / Chants d'Oiseaux , 208 p. - 1976, « Un exemple de poésie lyrique palawan : Kulilal ät Taw ät Suluk », L'Homme, XVI/2-3 (avril-septembre), pp. 129-150.
Flute tune: tinggayän
Air de flûte: tinggayän
Flute tune: arung lang
Air de flûte: arung lang
Flute tune: anduq ilaq
Air de flûte: anduq ilaq
Banded flute lullaby
Berceuse à la flûte à bandeau
Unpublished recordings collected by Charles Macdonald and Nicole Revel-Macdonald of vocal and instrumental music of the Pala'wan of the Highlands, during aa expedition to the philippines of 1970-1972
Bamboo headband flute. Ambient silence at the end of the piece
Conversation
Unpublished sound recordings of Ifugao songs collected by Rosario Lorrin in the Philippines in May 1968: series of Alim songs for the prestige feast of the rich in which two characters, an Omangal man and a Bugan woman, are honoured.
Rosario de Santos Bona Lorrin del Rosario
Chants des Ifugao, Philippines, mission R. Lorrin
Philippines : Ifugao songs, R. Lorrin del Rosario, 1968
Recording archived by L. Rosario in 1970 at Musée de l’Homme, Laboratoire d’Ethnomusicologie, Paris
Song Liwliwa: bonbonwe
Chant Liwliwa: bonbonwe
"Singing Liwliwa: candywe". Sung by a solo male and male choir.
Narrative
Récit
Chant Liwliwa
"Singing Liwliwa". Sung by a solo male and male choir.
Singing on Kiangan, Ifugao
Chant sur Kiangan, Ifugao
"Singing on Kiangan, Ifugao". Sung by a solo man.
Story of a Gumayon Boy
Histoire d'un garçon Gumayon
"Story of a Gumayon Boy". Sung by a duo of men.
Imaya ad Luta
"Imaya ad Luta, story of a girl from the Luta region". Sung by a duo of men.
Dogdogma fruit
Fruit dogdogme
"Fruit dogdome, story of an alliance between two families". Sung by a duo of men.
Greeting song "liwliwa"
Chant d'accueil de souhait "liwliwa"
"Song of welcome, wish liwliwa" (Cf. Paper sheet). Sung by a solo man accompanied by a male choir.
Oiseau Tekkek
“Tekkek bird” (Cf. Paper sheet). Sung by a duet of men then solo of man.
Uyawen Bugan
Tit tit ta li monoy
"Tit tit ta li' Monoy, song about the singer's war campaigns" (Cf. Paper sheet). Sung by a duo of men.
Sung and spoken solo man
Chanté, parlé solo d'homme
(See paper sheet). Sung spoken solo man.
Lakulah
"Lakulah, story of a boy Lakulah" (Cf. Paper sheet). Sung by a male duo.
Dudduli nga Inkodyong
“Story of a Budduli nga girl and an Inkondyong boy” (Cf. Paper sheet). Sung by a solo man.
Spoken male duo - Explanation, conversation
Parlé, duo d'hommes - Explication, conversation
Song "Bap Boy", the pig
Chant "Bap Boy", le cochon
Entertainment song
Chant de divertissement
Song about the lenght of the day
Chant sur la longueur de la journée
Song of description and of prestige exaltation
Chant de description et d'exaltation de prestige
"Sung, duo of men" (Cf. Paper sheet). We can hear a brief discussion at the end of this recording.
"Sung, duo of men" (Cf. Paper sheet). We can hear a discussion at the end of the singing recording.
Alim song for the party of prestige
Chant Alim pour la fête de prestige
“Song for the prestigious feast performed by 4 priests, 2 of whom are leaders. In this type of song, there are 2 characters: an Omangal man, and a Bugan woman. (See paper sheet). This is the song dedicated to the character Bugan. An announcement is given at the start of the track.
“Song for the prestigious feast performed by 4 priests, 2 of whom are leaders. In this type of song, there are 2 characters: an Omangal man, and a Bugan woman. (See paper sheet). This is the song dedicated to the character Bugan.
Alim song for the party of prestige [Continued]
Chant Alim pour la fête de prestige [Suite]
“Song for the prestigious feast performed by 4 priests, 2 of whom are leaders. In this type of song, there are 2 characters: an Omangal man, and a Bugan woman. (See paper sheet). This is the song dedicated to the character Omanga.
“Song for the prestigious feast performed by 4 priests, 2 of whom are leaders. In this type of song, there are 2 characters: an Omangal man, and a Bugan woman. (See paper sheet). This is the song dedicated to the character Omangal.
Liwliwa greeting songs
Chansons de voeux Liwliwa
Sung, male solo, then ensemble of four alternating voices.
Singing voice: alternating solo and choir
Spoken male solo - Explanations
Parlé, solo d'homme - Explications
“Song for the prestigious feast performed by 4 priests, 2 of whom are leaders. In this type of song, there are 2 characters: an Omangal man, and a Bugan woman. (See paper sheet). This is the song dedicated to the character Bugan. This is also the continuation of the previous item.
Alim song for the party of prestige with explanation of the content
Chant Alim pour la fête de prestige avec explication sur le contenu
“Song for the prestigious feast performed by 4 priests, 2 of whom are leaders. In this type of song, there are 2 characters: an Omangal man, and a Bugan woman. (See paper sheet). This is the song devoted to the character Bugan with an explanation in English of the song Alim. Note that this item includes an unlisted part and part XI found on the paper documentation.
“Song for the prestigious feast performed by 4 priests, 2 of whom are leaders. In this type of song, there are 2 characters: an Omangal man, and a Bugan woman. (See paper sheet). This is the song devoted to the character Omangal with an explanation in English of the song Alim. Note that this item includes parts IX and X found on the paper documentation.
Explanation of the song followed by the Alim song for the party of prestige
Explication du chant suivi du chant Alim pour la fête de prestige
“Song for the prestigious feast performed by 4 priests, 2 of whom are leaders. In this type of song, there are 2 characters: an Omangal man, and a Bugan woman. (See paper sheet). This is the song dedicated to the character Omangal. This item includes Exhibits II and III found on the paper documentation.
Prayer for the sacrifice of a chicken, harvest, wedding at the prestigious feast
Prière pour le sacrifice d'un poulet, récolte, mariage lors de la fête de prestige
Explanation in English about the content of the song. «Prière pour le sacrifice d'un poulet (récolte, mariage, surtout fête de prestige des riches).»
"two characters, an Omangal man and a Bugan woman"
Male Solo Singing
Chant solo d'homme
Unpublished recording of music collected in Philippines by Jose Maceda in 1955.
Musiques et chants d'Asie du Sud-Est (1955)
Recording archived by J. Maceda in 1958 at Musée de l’Homme, Music Department, Paris
Lutes Tunes
Jeu de luths
Lute Tune
Jeu de luth
Anibahan
«Anibahan»
Flute solo
Solo de flûte
This is the Buhid ethnic group. (Cf. register of magnetic recordings vol.I)
Solo de guimbarde
Male Solo Singing Accompanied by a Xylophone
Male Solo Singing Accompanied by a bamboo xylophone
Chant sol d'homme accompagné d'un xylophone en babou
Chant sol d'homme accompagné d'un xylophone
Xylophone Solo
Solo de xylophone
This is the “gabbang” xylophone. (Cf. register of magnetic recordings vol.I)
Fiddle Solo
Solo de vièle
Flute Duet
Duo de flûtes
Kinaban
«Kinaban»
Kinabau
«Kinabau»
Kalutang Solo
Solo de Kalutang
Flute Solo
Male/Female Alternate Singing
Chant alterné d'homme et de femme
Gongs Ensemble
Ensemble de gongs
Female chorus Singing
Chant choeur de femmes
Female Chorus Singing
Bamboo Idiochord Solo
Solo d'idiocorde en bambou
Voice - singing: female solo
Chant solo de femme