Vocal Music PDF

Folk music and arts from the stunning southeast Asian  Why do we need to study the folk music and arts common to the Philippines and southeast Asia in the prewar era?  Music echoes values and principles from one generation and place to another. We can see, hear, and experience h...

Folk music and arts from the stunning southeast Asian  Why do we need to study the folk music and arts common to the Philippines and southeast Asia in the prewar era?  Music echoes values and principles from one generation and place to another. We can see, hear, and experience how other regions in the world value traditional music as it reflects the lives of the common people. Music expresses a feeling that our region can share and understand. Most Southeast Asian music share common traits that distinguish it from the music in other part of the world. Music has been a major source of VOCAL MUSIC What kinds of vocal music were common to the Philippines and Southeast Asia in the prewar era? In the Philippines, songs from the Northern tribes in Luzon, such as the Igorots, were influenced by the pentatonic scale from China, while the songs from the southern tribes in Mindanao, such as the Maranaos, were influenced by maqam scale brought by the malay muslims. This is also the case in the traditional vocal of our neighboring countries, as both Chinese traders and islam missionaries have reached Southeast Asian soils since the seventh century, bringing their musical traditional with them.  What are the Chinese influences in the vocal music of Southeast Asia?  Chinese traditional singing uses a high-pitched but thin and nonresonant voice, either nasal or falsetto. As songs are mostly melodic or in unison rather than harmonic, they are commonly performed solo rather than choral. Such singing styles are very common in East Asian countries like Japan and Korea, China's nearest neighbors. In Southeast Asia, these characteristics are most visible in Thailand, Cambodia, Vietnam, and the northern Philippines. Chanting religious texts and epics is common in the entire region. Lyrics developed from poems, verses, and rituals. These were  What are the Arabic influences in the vocal music of Southeast Asia?  Folk and court music were integrated with the pre-Islamic culture of Southeast Asia through the arrival of Persians and Arabs. Singing was a vital element of their social life. The coastal and lowland areas of the region, such as western Mindanao, are home to Islamic singing traditions. This includes melismatic and monophonic melodies with long fluid, phrases in a limited range, using strained voice and tremolos. It is mostly a cappella, sometimes with a small amount of What are examples of vocal music forms in the Philippines and Southeast Asia in the prewar era? Indigenous Songs  Traditional songs and chants were used from birth ceremonies, lullabies, initiation rites, and weddings to healing the sick, praying to gods, repelling evil spirits, and performing death rituals. Some to gods, ere even done as preparation for bales and after victories in war. In the Philippines, the ambahan was a poeter rhythmic. and monophonic chant of the Mangyan people. Other Mangyan vocal forms include iyaya (lullabies) and marayaw (songs to communicate with spirits), In Palawan, the Cuyunon tribe had ulit (a shamanic chant used to cure the sick), laplap bagit (nature songs), sandaw (lullaby), and koirdas di la bordon (a funeral song). Many ethnic communities in Southeast Asia had their own shamans, and in the Philippines, we called them "babaylan." Chants were one of the shamanic tools used in performing community miracles  Work Songs and Children's Chants  Songs that accompany work and play were usually rhythmic. The beat of the singing or chanting guided specific actions done while working or playing. Melodies accompanied the two main forms of living in Southeast Asia: fishing and farming. Singing was done while pulling boat oars or seeding crops to guide synchronous body movements and make work easier and more enjoyable. Rhythm accompanied children's games, which were often heard on the streets. From the Tagalog region, a famous example of a Folks Songs  From the term "folk" which means people in general, folk songs were sung by the people in specific regions. They sang about the common day-to-day life in a community, ranging from nonsense lyrics to words of wisdom. Passed down orally through generations, the folk songs' authors were usually unknown. Different prewar vocal music forms from the Tagalog region have either retained their authentic forms and music elements or have evolved and Songs about Epics and Legends  In the Philippines alone, we had Darangen, Rajah Indarapatra, and Ulaging from Mindanao. Since most stories were long, the singing started at night and lasted for some hours or even several nights. Maranao songs and dances further showed their customs and traditions.  Kapelawlawd, for example, portrays the customary neutrality of a Maranao when his friends or relatives are in conflict. He avoids involvement by figuratively going into the "ocean" or "depth" away from the quarreling parties. Kapmotantang depicts pride, which demands that one avenge any wrong done to him and requires the public humiliation of his enemy. Katebonan reflects a sad recollection of the famine, which brought hardships, including the demeaning job of searching for tabon eggs. Love Songs  Love was a common theme in Southeast Asian songs before the war. In Luzon and Visayas, we had harana-a serenade sung by a man to show his love for a woman. it was commonly accompanied by a guitar and other string instruments; balitaw-a debate or dialogue song in which a woman and a man compete to see who is better at improvising romantic verses, but sometimes memorized; and kundiman— an art song that speaks about the love of a man for a woman, but usually with sad lyrics. It is typically in a THANK YOU