Music 475 



Dang-dang-ay 

 Record M. Sung by women while pounding rice out of the straw 



and husks. 



Only one voice can be distinguished in the record. It is that of a 

 woman. 



Though strongly pentatonic in character, the song is cast in the 

 diatonic scale of F major. Metrically there is considerable freedom. 

 3/4, 4/4, and 5/4 rhythms are thrown in with the most haphazard 

 abandon, yet it has the even pulsing which should dominate a song 

 of this character. 



The song is irt two rather distinct movements. The first, in spite 

 of the two triplets thrown in at the first and third measures, has a 

 straight-away motion which offers a striking contrast to the more 

 graceful, swaying second part which is mostly in triplets. The change 

 from one style to the other is made by the singer with no variation 

 in tempo. It is therefore admirably adapted to accompany the regular 

 falling of the pestles while beating out the rice. 



Near the close of the song are two notes with ® over them. These 

 were vocalized on the inhaled breadth ( for other examples of Inhaled 

 Tones, see analysis of Record K, Bogoyas). 



This song contains seven examples of the "Jog" (see Definition 

 of Qualities, p. 479). Those in the second part of the song are the 

 best defined. One of these is shown with open head. This jog is given 

 the most nearly like the Igorot manner of execution of any of the 

 examples found in these fourteen songs. 



In general character, this song somewhat resembles the Boys' Part 

 of the Da-eng ceremony (Record A). 



KUILAY-KUILAY 



Record N. Sung by women while passing liquor. 



There is one singer only on this record. It is a woman. The song 

 is given in a lively, jolly, rollicking style. 



It is cast in the F major scale. The melody has good variety. At 

 times it defines quite clearly the harmonic outline by following the 

 tonal framework of the tonic, dominant, or subordinant chords. Pass- 

 ing tones are used more freely and naturally in this song than in any 

 of the others. • 



In the third measure of the fifth line, the singer very plainly vocal- 

 izes a half step from F to E. The second and fourth lines also show 

 semitones, though these are not so distinctly given on the record as 

 the other example. 



