Comparison and Contrast: An analysis on Ilocano between American English and

Manila Tagalog Wedding Songs

Marion Theodore G. Guayco

and
Roy Oliver Macasaet

April 2, 2014

A literary research paper submitted to

Professor Clint Richard L. Chua
In partial fulfillment of the requirements for
English 152

Kalayaan College

TABLE OF CONTENTS

CHAPTER ONE
Introduction

Socio-Historical Background
The Ilocano People are the third largest ethnic group in the Philippines. They
originated from Northwest Luzon, La Union and Ilocos Provinces, Cagayan Valley,
Babuyan, Mindoro and Mindanao. They are roughly 8,706,000 in population as of 2013,
making them the 3rd largest indigenous people in the Philippines.
(www.joshuaproject.net)
Before the Spanish conquest of the Philippines, The Ilocanos were called
"Samtoy" and lived in large village and lived near the sea. Ilocano was derived from
i- which means from, and loco, which means cove or bay. Coincidentally, the
term Samtoy was derived from the phrase: sao mi ditoy, which was this is our
language in Ilocano. (www.ilocanopeople.com)
In 1572, Spanish Juan de Salcedo renamed the region Ylocos. The Ilocos
region consists of Ilocos Norte, Ilocos Sur, La Union and Abra. The land in the Ilocos
region is very low and is adjacent to the sea caost which making the living environment
harsh, forcing the Ilocanos to migrate. However, it has been established and recorded
that a civilization was maintained by the Ilocanos prior to Spanish colonization. It was
stated that the Ilocanos were the first people to rebel against the Spaniards, and
conquest was not as quick as the colonizers expected it to be. Upon the conquest of the
Spaniards, conversion towards Catholicism was imminent. Studies once again conclude
as of today, 99% of the Ilocano people are Christian, and 17% are evangelical, although
some high-land Ilocanos are still familiar with animism and leaving an attachment
towards superstitious mystical beliefs.

The Ilocanos speak a Western Austronesian language of the Northern Philippine

group, whose closest relatives are the languages of neighbouring mountain peoples.
Ilocano became the lingua franca Northern Luzon, as Ilocano traders provide highland
peoples with their primary link to commerce of the outside world.
(www.everyculture.com)
The Ilocano People have a very high regard of preserving tradition in many
aspects of their life. The Ilocanos have songs and dances delegated for certain
situations from courtship to marriage. Examples of the songs are: Osi Osi portrays
the traditional ways of courtship and Binigan Bigat (Every Morning) is a courtship
dance depicting a boy who is in love with a girl from who he asks pity. The examples of
famous traditional songs of the Ilocanos are also associated to either courtship or
simply the aspect of love of one another in general. Pamulinawen (Hardened Heart) is
the most popular Ilocano love song which equates the heart of a girl, who does not heed
the pleading of her lover, to a hardened flint. Duayya ni Ayat(Loves Lullaby) expresses
a mans tender loving care for his ladylove to be careful in changing her mind and
choosing another man. (www.inorte.org)

There really was never clear origin of the wedding song per se. The term
marriage itself was a western construct, as it was derived from the French term
marier (to marry) between 1250 1300 CE. In the earlier times, Stephanie Coontz
stated, marriage is a truly ancient institution that predates recorded history. However,
early marriage was seen as a strategic alliance between families with the youngsters
often having no say in the matter. In some cultures, parents even married one child to
the spirit of a deceased child in order to strengthen familial bonds. (Marriage, a History.
2005)
The emergence of music on the other hand began centuries before the coining of
the term marriage. However, if the origins of marriage was put parallel to music,
4

medieval Europe already had a grasp of music, and one of the most powerful entities
that utilized music was the Roman Catholic Church. Music during such this era was
moulded and calibrated with artistic depictions, allowing the Church to create liturgical
music, thus attaching it to its religious ceremonies.
Religion played a major role in the development of both music and marriage
integrating the art with the act simply strengthened both aspects in their evolution and
influence in various cultures. Music and Marriage became complimentary by enhancing
the importance of the matrimonial ritual and the reception of the individuals towards the
music being delivered.

Objectives of the Study

The objective of this research is to compare Ilocano wedding songs between
Manila Tagalog Wedding Songs and American English Wedding Songs. The study aims
to analyze the unique qualities of Ilocano Songs and find their redeeming qualities that
allow them to be associated with other native Ilocano Songs, as well as designating
exactly what sets each piece apart. The study would also like to achieve identifying the
literary and musical changes over time and determine the factors that lead to these
changes. The research hope to shed light on the cultural and historical significance of
Ilocano Songs through this study of compare and contrast with the two other chosen
pieces.

Statement of the Problem

The indigenous Ilocano people still maintain the usage Ilocano wedding songs.
However, with the advent of modernity and globalization, the indigenous Ilocano people
may be using a modified version of these traditional wedding songs. In response to this,
our study will investigate the different factors that influenced and brought about the
5

difference between an Indigenous Ilocano Wedding Song, a Manila Tagalog wedding

song and an American English wedding song. The departure of ethnic tradition is not
only due to the constant modernization of societies that surround such ethnic groups,
but the association and influence of religion as well. The research hopes to produce a
clearer perspective on what songs have been influenced Spanish Colonization through
the integration of Catholicism as well as the Imperialist assimilation through education
and government by the Japanese and American occupants, and what songs have
maintained their deep-rootedness in the traditional Ilocano way of life.

Significance of the Study

The purpose of this study is to provide indigenous Ilocanos with an authentic
basis for their wedding songs. Another purpose of this study is to provide a suitable data
of what differentiate these ethnic Ilocano wedding songs between the Manila Tagalog,
and American English wedding songs. By doing these tasks, the data will assist in
maintaining the tradition of Ilocano wedding songs from an emic and etic standpoint for
not only this research, but as a point of reference for other studies that will cross such a
path. Lastly, the data that will be analyzed shall promote the preservation of such ethnic
heritages that are slowly being forgotten due the constant advancement the world is
creating.

Scope and Delimitation of the Study

The primary concern is the attributes that are contrasting and similar between the
songs of indigenous Ilocano people, Manila Tagalog songs and American English
songs. The musical pieces selected for this study will range from only one chosen
musical performance only. For the Ilocano wedding songs, that chosen piece is Lullaby
of Love (Dungdungwen Kanto) by Asin. For the Manila Tagalog, the chosen piece is
6

Ikaw at Ako by Johnoy Danao. For the American English, the chosen piece is All I
want is You by Barry Louis Polisar. Before pursuing the songs itself, a brief yet concise
background will be provided regarding the ritual and origins of marriage as well as the
history and development of marriage. A background on Filipino wedding songs along
with their history, structure and style, as well as their overall importance in Philippine
tradition will also be provided by this study. The research shall also shed some light on
Ilocano people as well and their music in general, along with their significance towards
their culture along with their application in specific rituals in their everyday life.
CHAPTER TWO
Review of Related Literature

The literature reviewed for this study focuses on the history and aspects of
music, the origins and development of marriage locally and globally and the culture of
the ethnic Ilocano people. The reviewed literature involve essays, books, theses,
journals, articles, critical reviews and dedicated websites and the information they hold.
A brief history of the Ilocanos to its visitors is presented in
http://www.ilocanopeople.com/history-of-ilocanos/. The information in the first
electronic reference is very brief and general, stating that there have been numerous
studies already done on the Ilocanos and that the data acquired from these studies is
very accessible online.
The information in
http://www.seasite.niu.edu/Tagalog/Folk_Beliefs/ilocano_folk_beliefs.htm provide a
slightly more in-depth information on the Ilocano people. It has a more progressive
arrangement in its presentation of information as it delivered data through a staged
process: Pregnancy and Childbirth, Infancy, Adolescence, Courtship, Marriage, Death
and Burial
7

The data gathered in http://www.everyculture.com/wc/Norway-toRussia/Ilocanos.html can be treated as an index of numerous cultures present around
the world, through an alphabetized arrangement of information from Afghanistan to
Zimbabwe, the website is an entropy of various indigenous people of all walks of life
and the . The facts are conveyed in such a manner: 1) Introduction, 2) Location, 3)
Language, 4) Folklore, 5) Religion, 5) Major Holidays, 7) Rites of Passage, 8)
Relationships, 9) Living Conditions, 10) Family Tree, 11) Clothing 12) Food, 13)
Education, 15) Cultural Heritage, 15) Employment, 16) Sports, 17) Recreation, 18)
Crafts and Hobbies, 19) Social Problems, 20) Bibliography.

The website http://inorte.org/?page_id=198 is the official website of the province

of Ilocos Norte. Within it, there is a dedicated webpage for the indigenous people of the
province: the Ilocanos. The page discusses the Ethnic Origin of the People, Ethnic
Groups, Ethnic Songs and Dances and Language/Dialects of the Ilocano People.
Antonio I. Tamayao was able to produce a study entitled: The Role of Linguistic
Capital in Filipino Ethnic Intermarriage and Identity: A Bourdieuan Analysis.
Tamayaos analysis focuses on the culture present during the intermarriage of
Ilocanos with other indigenous people. Tamayaos examines ritual of intermarriage from
a sociological standpoint and taking note of the effects it has on the Ilocanos in
accordance with their identities, language and culture. It was stated that: The paper
proffers that Ilokano intermarriage to a diversified community can be viewed as a
meaningful representation and analysis that can be tapped to understand the unique
and vital aspects of Ilokano culture, language and society. (Tamayao, T. 1999)
The Ilocano people is the first Filipino ethnic group to migrate to North America
(ilocanopeople.com). Thus, it would be natural to find them dispersed all around the
United States, particularly in Hawaii.
8

After the fall of the Ferdinand Marcos dictatorial regime in 1986, coincidentally
the population of Filipinos specifically Ilocanos increased since that time. Julius
Soria, a student of the University of Hawaii conducted a study regarding the culture of
the Ilocanos in the state, specifically The research is entitled, A Study of Ilokano
Learners Lexical Inferencing Procedures through Think-Aloud.
The study of Julius Soria aims at describing and understanding the different
types of processing involved when foreign language learners infer the meaning of
unknown words in a written text. (Soria, J. 77) The study focused on the speech
patterns of the Ilocanos in a foreign land as well as their comprehension of the
knowledge they acquire the thinking process involved and what kind of process takes
place.
Itaru Nagasaka from Kobe University conducted an almost similar study
regarding the expatriation of Filipinos into foreign soil, only this time it focused on
Ilocanos in Italy.
The research paper was entitled, Kinship Networks and Child Fostering in Labor
Migration from Ilocos, Philippines to Italy. The study focused on the modern day-to-day
life of the Ilocanos people, situating them as part of the urbanized society as it focuses
on their migration into foreign land and their response to the existing social milieu. Aside
from that, the paper also focused on the construction of kinship networks by the
Ilocano among each other for the preservation of tradition and the stabilization of a
community in a foreign land.

Apart from the cultural and historical heritage of the Ilocanos that can be
referenced and incompletely associated to this study on Ilokano Wedding Songs, there
was also literature found on Filipino Folk Music that mentioned and included Ilocano
Music in the study.
9

Kim Rockwell of the University of Canterbury did a thesis on: Fiesta, Affirming
Cultural Identity in a Changing Society: A Study of Filipino Music in Christchurch, 2008.
The thesis papers primary focus was music itself in general in the Philippines.
The research paper was comprehensive enough to tackle the socio-cultural structure of
the Filipinos, to the emergence and influence of Christianity in the Filipino Music.
Besides tackling the influences and foundations involved in the fostering of Filipino
Music, the thesis paper also reviewed the global impact of Filipino Music in the fiesta
in European cultures, while affirming and discovering the Cultural Identity of the
Filipinos through their music.
Charles E. Griffith, Jr. also had an entry that was uploaded in jstor.org entitled:
Folk Music in the Philippines. The entry, from our perspective since we do not have
access to the online library, is merely a free preview of the entry. The entry itself does
not necessarily go in detail with Folk Music itself, but is more of an introduction on the
history and origins of Folk Music in the Philippines, and the Ilocanos were normally
mentioned in the entry, as they are one of our ancestors.
Dr. Ramon Pagayon Santos, one of the most influential Filipino musicians of all
time wrote on Filipino Music. He is one of the most successful composers and
professors from the University of the Philippines. The book is entitled, Tunugan: Four
Essays on Filipino Music and was published in 2005 by the University of the Philippines
Press. The book is divided into four major parts: 1) Nicanor Abelardo: Classicism in the
Art of Music; 2) Badiw Bayok: Poetry and Oratory as Filipino Music Cultures; 3) Jose
Montserrat Maceda: Rebellion, Non-Conformity, and Alternatives; 4) The UP
Conservatory of Music: Nesting Ideologies of Nationalism in Filipino Music. The book
also has a critical introduction by Virgilo Almario.
Evelyn F. Cabanban published a compilation of Filipino folk songs with the title,
Himig: A Collection of Philippine Folk Songs that was published in 1994. The books
primary contributor is Raul M. Sunico, one of the countrys most talented and awarded
10

soloists. Raul Sunico also won the TOYM (The Outstanding Young Men) Award in 1986,
and Aliw Award from Best Instrumental Performer in 2004. The whole book was written
in English. The pieces included in various folk songs from all over the country. it
discusses the history, musicality, evolution and defining qualities of each selected song.

Ilocano
Wedding Songs
(Dungdungwen
Kanto)
CHAPTER THREE
Conceptual Framework

American
English
Wedding Songs
(All I Want is
You)

Similarities and Dissimilarities

based on:
1. Tone
2. Intonation
3. Rhythm
4. Note Accuracy
5. Tempo
6. Articulation
7. Dynamics
8. Style
11
9. Fluency

Manila Tagalog
Wedding Songs
(Ikaw at Ako)

Hypotheses
We aim to delineate the following conjectures for the benefit of this study and
preservation of Filipino Culture and Oral Tradition. The following hypotheses are:
1. Through the continuous usage of Ilocano Wedding Songs, the Ilocano people
achieve in the preservation of their culture and heritage
2. The song, Dungdungwen Kanto (Lullaby of Love) is an excellent example of an
Ilocano Wedding Song, based on the rubric selected for this study
3. The three songs representing each category chosen for each study will differ
through an analysis through the chosen rubrics categories
4. The three songs representing each category chosen for each study will share
similar qualities through an analysis through the chosen rubrics categories

Definition of Terms

12

Tone a vocal or musical sound of a specific quality; a sounds of a definite pitch and
vibration
Intonation the ability to play or sing notes in tune
Rhythm an ordered recurrent alternation of strong and weak elements in the flow of
sound and silence in speech
Note Accuracy the ability of a performer to perform the corresponding notes
accurately
Tempo the rate of speed of a musical piece or passage indicated by one of a series of
directions (as largo, presto, or allegro) and often by an exact metronome marking
Articulation/Diction the act of giving utterance or expression; choice of words
especially with regards to correctness, clearness, or effectiveness
Dynamics variation and contrast in force or intensity
Style a distinctive manner of expression
Fluency the quality or state of being fluent in their musical performance

CHAPTER FOUR
Methodology

Research Design
What are the factors the shared attributes and contrasting differences between
Ilocano Wedding Songs share with American English Wedding Songs as well as Manila
Tagalog Wedding Songs? There have been countless studies on the Ilocano People
13

that range from multiple online sources that discuss their ethnicity, cultural heritage and
marriage presenting that they are not an ostracized indigenous ethnic people anymore.
Itaru Nagasaka and Julius Soria (see Chapter 2) also delivered their own study of the
ethnic people and their migration, expatriation and the attempt in preservation of the
Ilocano People through their manner of speech and establishment of kinship. However,
there has been no definite study made on Ilocano Wedding Songs by the scholarly
community.
The art of music has perhaps integrated itself in society. Perhaps each and every
culture has their own brand of music, allowing it to become an aide in the fortification of
their traditions and ideals towards their people and their future generation. Through
marriage on the other hand, a union is legitimized for the act of love that then produces
the proliferation of kin, responsible once again conservation of tradition and culture.
Through a study on the importance and impact of wedding songs specifically
that of Ilocano wedding songs we will be able to examine an uncharted realm of art in
the act of matrimony within the Ilocano people. A marriage is seen as one of the
stepping-stones in life itself, as a playful relationship matures into a union supported by
ones faith, or by the law that is acknowledged by the two partners. Through this study,
we will see what heightens the importance of heritage and the mere act of matrimony as
well. The study also aims to provide how exactly the preservation of tradition done by
the performance of these wedding songs by comparing them to Manila Tagalog and
American English wedding songs.
Sources of Data
The songs chosen for this study consist of one song per musical selection. The
selection were acquired from www.youtube.com. Each song was downloadable and free
to all those who are capable of downloading them.
The data involved in this study will involve online sources such as websites that
inform the public of the presence of the Ilocano people. The information stored in these
14

websites range from the ancient everyday practices of the Ilocano people. Their origins,
their traditional rituals ranging from dances and songs involved in courtship, social
gatherings and marriage itself.
Aside from websites, there have been free and accessible Portable Document
Format (PDF) files available on the internet. Each electronic source is properly cited,
which includes the musical performance rubric (acquired from the department of music
in St. Thomas University, Minnesota) hat the comparison and contrast portion of this
research paper.

Procedures
The studys organization of procedure is based on delineation of the research
paper and its chapters. The arrangement of the paper is divided as such:

I.

Analysis of the Attributes of the Ilocano, American English and Manila Tagalog
Wedding Songs based on the rubric
A.
B.
C.
D.
E.
F.
G.
H.

Tone
Intonation
Rhythm
Note Accuracy
Tempo
Articulation/Diction
Dynamics
Style

I. Fluency
II.

Similar Attributes of Ilocano Wedding Songs between American English and

Manila Tagalog Wedding Songs
A. Tone
15

B.
C.
D.
E.
F.
G.
H.

Intonation
Rhythm
Note Accuracy
Tempo
Articulation/Diction
Dynamics
Style

I. Fluency

III.

Contrasting Attributes of Ilocano Wedding Songs between American English and

Manila Tagalog Wedding Songs
A.
B.
C.
D.
E.
F.
G.
H.

Tone
Intonation
Rhythm
Note Accuracy
Tempo
Articulation/Diction
Dynamics
Style

I. Fluency

Data Gathering Instruments

The instruments utilized for this study is primarily the World Wide Web. Through
the Internet, we were able to gather all the data needed for analysis. The Web was able
to provide us with the musical pieces chosen for this research paper.

16

Aside from the World Wide Web providing the primary material for this study, it
was also able to supply the reference material for the overall completion of this study. All
the reference material may have been acquired electronically, however their origin
remain in the physical world wherein their publication first was done physically, and
was uploaded prior to the initial action.
The World Wide Web was also accessed via laptops owned by the researchers.
Lastly, aside from the primary material for study and reference, the related literature
reviewed was also gathered via the Internet.

CHAPTER FIVE
Analysis, Findings and Discussions
17

Analysis of the Attributes of the Ilocano, American English and Manila Tagalog Wedding
Songs based on the rubric
The following songs will ba analyzed and compared with based on the chosen
rubric. The selected musical pieces are: Dungdungeon Canto (Lullaby of Love) by Asin
(Ilocano Wedding Song); Ikaw at Ako (You and Me) by Johnoy Danao (Manila Tagalog
Wedding Song); and All I Want is You by Barry Lois Polisar (American English Wedding
Song). Each song will be anaylzed by via the rubric below:

Figure 1 (Music Grading Rubric from St. Thomas University)

An analysis of the similar and dissimilar qualities will be done on each song,
based from the data stated in the rubric.
18

Ikaw at Ako by Johnoy Danao (Manila Tagalog Song)

Lyrics:
Ikaw at ako, pinagtagpo
Nag-usap ang ating puso
Nagkasundong magsama habangbuhay.
Nagsumpaan sa Maykapal
Walang iwanan, tag-init o tag-ulan
Haharapin bawat unos na mag-daan.
Sanay di magmaliw ang pagtingin
Kaydaling sabihin , kayhirap gawin
Sa mundong walang katiyakan
Sabay natin gawing kahapon ang bukas.

Ikaw at ako, pinag-isa

Tayong dalwa may kanya kanya
Sa isat-isa tayo ay sumasandal
Bawat hangad kayang abutin
Sa pangambay di paaalipin
Bastat ikaw, ako
Tayo magpakailanman.
Kung minsan ay di ko nababanggit
Pag-ibig koy di masukat
Ng anumang lambing
At kung magkamali akong ikay saktan
Puso mo bay handang magpatawad

19

Di ko alam ang gagawin kung mawala ka

Buhay koy may kahulugan
tuwing akoy iyong hagkan
Umabot man sating huling hantungan
Kapit-puso kitang hahayaan
Ngayon at kailanman

Ikaw at ako. (www.lyrics-buddy.com)

Youtube Link: https://www.youtube.com/watch?v=l5ta60yfryc

I.

Tone
The overall tone of the song is slightly dark albeit a very smooth and warm sound

to it, with a singular guitar and voice performance. The guitar is a nylon-stringed guitar,
played with the musicians fingers (fingerstyle) gives the guitar its very warm tone. The
performers baritone is also essential to achieving the warm, intimate tone of the song.
The instrumental break of the song features a banduria, a stringed instrument that plays
higher consequently brighter notes, which provides a contrast to the songs overall
theme.
II.

Intonation
The notes played by the vocals and the instruments sound perfectly in tune. One

can attribute this to the fact that the song was pre-recorded, and it is standard practice
in music recording studios to achieve perfect note accuracy by recording different takes
of different parts of a song.
III.

Rhythm

20

The time signature of the song is in standard time, four notes per measure. This
gives the song a very relaxed and familiar overall feel. The emphasis is on the first beat
of every bar that gives the song a waltz-like feel (3/4 with beat emphasis also on first
beat of every measure). Overall, the song sounds very romantic and intimate because
of these rhytmic choices.
IV.

Tempo
The song is played at 62 beats-per-minute, which is a typical tempo for a ballad.

The tempo changes at the end of the song for half a bar.
V.

Articulation/Diction
The song gives emphasis on the vocals of the song, which makes the lyrics very

clear. The lyrics of the song are very simple yet carries a romantic gravity to the lines.
The opening three lines exemplify this:
Ikaw at ako, pinagtagpo
Nag-usap ang ating puso
Nagkasundong magsama habangbuhay.

VI.

Dynamics
The song, for a ballad, is very dynamic. Throughout different points in the song,

there are very prominent rests especially in between the delivery of the vocal lines. The
playing and singing are very soft. The song intensifies and proceeds to climax at the
bridge part and closes out with a single strum.
VII.

Style

21

The style of the performer that is used in this song is intimate and sincere by
utilizing very subtle yet dynamic guitar playing with straightforward yet romantic lyrics,
which makes this song appropriate as a wedding song.
VIII.

Fluency
With confidence, one can say that the performer is fluent in his performance

shown by the masterful use of dynamics and sincere delivery of romantic lines.

All I Want is You by Barry Louis Polisar (American English Song)

Lyrics:
If I was a flower growing wild and free
All I'd want is you to be my sweet honey bee.
And if I was a tree growing tall and green
All I'd want is you to shade me and be my leaves
If I was a flower growing wild and free
All I'd want is you to be my sweet honey bee.
And if I was a tree growing tall and green
All I'd want is you to shade me and be my leaves
All I want is you, will you be my bride
Take me by the hand and stand by my side
All I want is you, will you stay with me?
Hold me in your arms and sway me like the sea.
If you were a river in the mountains tall,
The rumble of your water would be my call.
If you were the winter, I know I'd be the snow
Just as long as you were with me, when the cold winds blow.

All I want is you, will you be my bride

Take me by the hand and stand by my side
All I want is you, will you stay with me?
Hold me in your arms and sway me like the sea.
If you were a wink, I'd be a nod
If you were a seed, well I'd be a pod.
If you were the floor, I'd wanna be the rug

22

And if you were a kiss, I know I'd be a hug

All I want is you, will you be my bride
Take me by the hand and stand by my side
All I want is you, will you stay with me?
Hold me in your arms and sway me like the sea.
If you were the wood, I'd be the fire.
If you were the love, I'd be the desire.
If you were a castle, I'd be your moat,
And if you were an ocean, I'd learn to float.
All I want is you, will you be my bride
Take me by the hand and stand by my side
All I want is you, will you stay with me?
Hold me in your arms and sway me like the sea. (www.stylyrics.com)

Youtube link: https://www.youtube.com/watch?v=fq83GYgC6Ac

I.

Tone
The overall tone of the song is very bright, with a steel guitar as the main

instrument accompanied by a harmonica. The guitar in this song is picked which adds
an extra brightness to the playing. The vocal tone is also very thin and high in the
registers making it less warm. The recording of the song places minimal studio effects
and gives an organic tone to the song.
II.

Intonation/ Note Accuracy

The song is pre-recorded, a process that removes any missed notes of any kind.

The guitar and the harmonica are both intonated correctly.

III.

Rhythm
The time signature of the song is in normal time, 4/4. The emphasis of the notes

are on the second and the fourth beat, a staple of American Country/Folk music. The
23

harmonica was played in double time, 2/4 which gives the harmonica parts a sense of
urgency in between the verses of the song.
IV.

Tempo
The tempo of the song is in 192BPM, much faster than the other songs we

analyzed. This is because the song owes itself to American Country/Folk music which is
usually played faster than traditional ballads which plays between 60-120BPM.
V.

Articulation/Diction
The words in the song act as a pseudo-percussion parts helping move the song

along by giving emphasis on certain syllables with p, g, d, and t which gives the
song a percussive feel by way of the lines sung. With the absence of actual percussive
instruments, this is an ingenious way of adding percussion to the song.
VI.

Dynamics
The song is not very dynamic. The song rides along a straight dynamic pattern,

with the guitar consistently playing at the same level and volume. The instrumental
breaks have the harmonica replacing the vocals, which keeps the song at a steady
pace, and does not build up or down at any point in the song.
VII.

Style
The style of the song is distinctly American Country/Folk, adding up all the

elements present. The way the words are sung, the guitars are strummed and the
presence of a harmonica gives the song a whimsical, almost carefree feel to it.
VIII.

Fluency
The musical performance is very straightforward as expected in an American

Country/Folk song, with the harmonica parts well played and in tune. The songs
structure is very elementary, it moves from verse to verse quite efficiently with a brief
24

instrumental break in between and the performance moves along the structure of the
song.

Dungdungwen Kanto (Lullaby of Love) by Asin (Ilokano Song)

Lyrics:
Dungdungwen kanto unay unay,
Indayonen kanto iti sinamay
Tultuloden kanto't naalumanay
Pagammuanen inka mailibay
Apaman nga inkanto makaturog
Iyabbongkonto ta rupam daytoy paniok.
[1]

Tapnon dinakanto kagaten ti lamok

Ken maimasmonto't maturog.

I will love and cherish you always

I will cradle you to sleep in a soft-cloth
swing
I will swing you ever so gently
And soon enough you will be asleep

Apaman nga inkanto makariing

Dagdagusen kanto a sappuyoten
Nga ililili kas maysa nga ubing
Ta nanamem sam-it ni issem.

As soon as you have fallen asleep

I will cover your face with my
handkerchief
So no mosquitoes would bite you
And so you would enjoy a good slumber.

Koro:
Annay, pusok, annay annay
Nasaem, naut-ut la unay.
Itdem kaniak ta pannaranay
Ta kaasiak a maidasay.

As soon as you awaken,

I would immediately hold you
And dandle you like an infant
So you could see my sweet smile

Youtube link:
https://www.youtube.com/watch?

Chorus:
O, my aching heart, it aches, it aches,
It hurts badly, it hurts to the core.
So, please, please your nurture give
For it is pity if I would die.
(www.ilo.wikipedia.org)

v=dShVgjKnLYs

I.

Tone
25

The overall tone of the song is warm with several ethnic acoustic percussion
instruments present in the song and a prominent guitar part. There is also an airy quality
to the song, with reverb into the track and several woodwinds played in the instrumental
breaks. The vocal parts vary in this song: there are warm male and female parts and
three-part harmony parts. They all have a warm quality to them. There is also a
keyboard part vaguely heard which also adds warmth to the whole song.
II.

Intonation/Note Accuracy
The song was professionally recorded and that process takes away any note

imperfections. The notes in the song are perfectly accurate. The instruments are
perfectly intonated even though the date was never specified as to when it was
recorded.
III.

Rhythm
The song is in , played as a waltz meaning the emphasis is on the first beat.

The song sounds very romantic because of this since waltzes are used as a dance in
wedding ceremonies. The guitar is the main instrument in dictating the rhythm of the
song as the percussions have a very deep sound to them.
IV.

Tempo
The song plays at 110 BPM(beats per minute) which is consistent with the

waltz/ballad theme of the song. The slow delivery gives emphasis to the performance of
the vocals that is the centerpiece of the song.
V.

Articulation/Diction
The words in the song have multiple vowels which gives the words longer notes

by design. The clearness of the songs is sub-par in modern standards as we can

assume that the equipment used in recording in this song lacks the clarity of modern

26

audio equipment. The vocal harmony parts are given great attention with space
between the different voices.
VI.

Dynamics
The song has a relaxed feel and does not dip or rise in dynamics. The steadiness

of the piece is because of the nature of the song, as the musical elements present
suggest that the song can be danced to. There are several guitar instrumental breaks in
the song but there is no significant change in dynamics.
VII.

Style
The song was played as a waltz and the indigenous words give the song a local,

romantic feel perfectly suited for a wedding. The delivery of the words is careful and
sincere, reminiscent of a kundiman. With the different instruments such as flute and
keyboards, this indigenous Ilokano song gains a modern feel since the song would have
been played solely by a guitar and occasionally with percussion instruments.
VIII.

Fluency
The performers sound that they have a mastery in the different aspects to make

this song effective. The harmony parts have a very professional tone to them, and the
several added instruments and elements suggest that the band has a grasp on the
original song.

Comparison and Contrast of Three Wedding Songs

All three songs are, in delivery, sincere and romantic. In form, they all use guitars
as the prominent instrument.
All I Want is You and Ikaw at Ako is in 4/4 which is considered normal time
while Dungdungeon Canto is in , the waltz time signature. This gives All I Want is
27

You and Ikaw at Ako a standard rhythm in line delivery while Dungdungeon Canto is
made to be danced to.
All I Want is You is the fastest song in terms of tempo and the way that the
instruments are played makes the song sound very urgent. The other songs, Ikaw at
Ako and Dungdungeon Canto are both relaxed. This is because of the style employed
in Barry Polisars piece dictate that the song be played in an urgent pace.
All the songs use different instruments barring the use of the guitar, which is the
main instrument. In All I Want is You, there is a harmonica present which is a mainly
Western instrument. On the other songs, we have a banduria present in Ikaw at Ako
which is a 12-stringed instrument wherein is usually played in Filipino folk songs. In
Dungdungeon Canto, a flute and a keyboard is used to provide a feel of airiness to the
song. All of these instruments give the individual songs a unique character.
The songs Ikaw at Ako and Dungdungeon Canto sound very warm and the
nylon strings of the guitars in both songs is critical to achieving this effect. In contrast,
All I Want is You uses steel guitar and harmonica gives the song a slightly cold overall
tone.
All the songs that we analyzed were recorded in professional studio and therefore are
stripped of any sonic imperfections. All the notes from the instruments and the vocals
are in tune.
Because of its tempo, All I Want is You is the least ballad sounding of all the
songs. Ballads are usually between 60-120BPM (beats per minute) but All I Want is
You exceeds that tempo count. Both Ikaw at Ako and Dungdungeon Canto fit
comfortably within the ballad BPM.
Ikaw at Ako is the most dynamic of all three songs analyzed. This is mainly
because of the performers style. Both All I Want is You and Dungdungeon Canto are

28

steady and are not as dynamic as Ikaw at Ako which we could contribute to the styles
both less dynamic songs use.
CHAPTER SIX
Summary, Conclusion and Recommendation

Summary
The study through comparison and contrast of the three different wedding songs
have lead to the conclusion that:

All three songs denote a romantic theme in their music from the lyrics in the

songs, to the instruments, to the tones and tempo of each song

Since romance is the main overall theme in each song due to the evidence
gathered, the possibility of them being considered as wedding songs by any

individual is highly possible

Barry Polisars and Johnoy Danaos piece have a 4/4 time signature, situating

them with a normal tempo

Asins take on the Ilocano song has a time signature which is reminiscent of

the waltz, pointing out that the song can be danced to and not just listened to
Each song selected for this study has a different instrument involved in its
performance: a harmonica is present in All I Want is You, a banduria for Ikaw at

Ako and a flute plus keyboard for Dungdungeon Canto

Ikaw at Ako and Dungdungeon Canto are the more ballad-like songs out of

the selection
Ikaw at Ako is the most dynamic song out of all of them as it shares a very
modern style to it in its change of tone and rhythm all throughout the song

29

Conclusion
All the three songs selected for this research paper have the capacity to be
excellent wedding songs for any person who chooses them. Each song is indeed
different in terms of musicality, but are appropriate in wedding songs through their
shared theme of romance that will surely enhance and strengthen the essence of love
and care between the couple engaging in matrimony as well as their family and friends
present to support them in their life-changing decision.
The selected song to represent the Ilocano dialect was Dungdungeon Canto. It
was a folk song, pertaining that the true artist was not of importance. The song had a
very simple rhythm similar that of the dance of the waltz. Of course, the waltz was a
western construct; one can find similarities in the dance with the composition of the
Ilocano Wedding Song. The waltz is a very smooth, progressive and basic dance that
requires simple slides and glides to its movement. The Ilocano song, Lullaby of Love
does not contain any deep-seated, ambiguous rhetoric within its lyrics. The message is
simple: I will love you from the second you sleep to the moment you wake. Thus, the
tone, beat, rhythm and the whole musicality of the piece is simply a quarter of the whole
essence of the song. The meaning and message of the song outlives the musicality for
it is what is necessary in strengthening importance of the marriage. The musical
aspects of the song is subject to alterations, but the meaning and message cannot.
Through this study, we have arrived to the conclusion that a songs meaning is
the most important aspect of the song. The musicality of the song, which means the
quality or condition of the song being musical are secondary to its main epistle, which
the listener adheres to. The Ilocanos integrate their songs with their dances to their
rituals, meaning the declaration being delivered in those songs are strengthened by
their dances and the music that envelop the environment. Thus, Dungdungoen Canto
(Lullaby of Love) is an excellent piece of oral literature that promotes that preservation
30

of the given peoples culture and heritage through the overall performance of the art
during the required event, specifically that of marriage.
Recommendations
It would be best to develop a study that would examine all forms and sorts of
Ilocano songs and their relevance to Classic Filipino Folk Music. A more detailed study
would be in order that would involve interviews towards individuals that are Ilocanos as
well and are capable of speaking the language. The success of this study would be at a
higher scale if the researchers were familiar with the dialect of the Ilocanos. A more
detailed examination of the musical aspects through a linguistic point of view would
have been possible of such knowledge was ascertained or instilled upon the
researchers from their ancestors.

31

CHAPTER SEVEN
Bibliography

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http://inorte.org/?page_id=198
Ilocano People | The Ilocanos. (n.d.). Retrieved from
http://www.ilocanopeople.com/history-of-ilocanos/
Ilocano Perspectives of the Filipino Culture. (n.d.). Retrieved from
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Ilocanos - Introduction, Location, Language, Folklore, Religion, Major holidays, Rites of
passage, Relationships, Living conditions. (n.d.). Retrieved from
http://www.everyculture.com/wc/Norway-to-Russia/Ilocanos.html
Iloko (Ilocano) language, alphabet and pronunciation. (n.d.). Retrieved from
http://www.omniglot.com/writing/ilocano.htm
Nagasaka, I. (1988). Kinship Networks and Child Fostering in Labor in Migration from
Ilocos, Philippines to Italy.

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People Group - Ilocano :: Joshua Project. (n.d.). Retrieved from

http://joshuaproject.net/people_groups/12212/RP
RIME Online : September 2009 : Assessing Individual Performance in the College
Band. (n.d.). Retrieved from http://www.stthomas.edu/rimeonline/vol7/reimer.htm
Rockwell, K. (2008). 'Fiesta', Affirming Cultural Identity in a Changing Society: A Study
on Filipino Music in Christchurch, 2008.
Soria, J. (2000). A Study of Ilokano Learners' Lexical Inferencing Procedures through
Think-Alound.
Tamayao, A. (2001). The Role of Linguistic Capital in Filipino Ethnic Intermarriage and
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Wedding Music History Harmonious Music Blog. (n.d.). Retrieved from
http://www.harmoniousmusic.com/blog/?cat=58

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