1

ZAMBALES FOLK SONGS: TRANSCRIPTION, DESCRIPTION, ANALYSIS,

INTERPRETATION AND ITS POSSIBLE USE IN TEACHING MUSIC
EDUCATION IN THE ELEMENTARY AND SECONDARY SCHOOLS
Roland M. Fronda, EdD CESO VI
Email: [email protected]
https://orcid.org/0009-0008-8467-4147
SSRN Author ID.: 2012793

Abstract:

The main purpose of the study was to describe, transcribe, analyze and make an
interpretation of the unpublished and unfamiliar folk songs of Zambales. Specifically, the
study aimed to: a. identify and collect unpublished and unfamiliar folksongs of Zambales;
b. transcribe the musical notation of the collected unpublished and unfamiliar folksongs;
c. describe the characteristics of the Zambales folksongs according to Musical and
Pedagogical Analysis; and d. interpret the collected unpublished and unfamiliar folksongs
through digital recording. A total of 21 unfamiliar and unpublished folksongs gathered
from the 8 municipalities of the province. Out of the 21 folksongs, 15 were analyzed and
described. The researcher made use of fieldwork to document the key-informants
testimonies so that first-hand information needed for this purpose is considerably
collected. The guided and semi-structured interview was employed to validate the
information given by the informants. It could be concluded that the 21 Zambales
unpublished folk songs are stored in the memory of the ageing and old natives of the
province. They are unfamiliar and unheard that are awaiting exploration through academic
studies. The transcription of the melodies of unpublished folk songs will certainly serve
as a lasting contribution to the preservation and perpetuation of our country’s cultural
heritage. The collection of folk songs will enrich the thin reserve of instructional materials
that can be used in Music Education under the K-12 Basic Education Program that is
focused in Zambales culture, customs and traditions and will in effect foster in the young
generation an early acquaintance and appreciation specially on the distinct Zambales
music and the furtherance of Philippine Music in general.

Introduction:

Music within the curriculum is imperative for comprehending the intricate

relationship between history and culture. There exists a prevailing belief within academic
circles that music and songs possess the potential to offer more than mere supplementation
to the educational curriculum. Instead, they serve as a medium through which individuals
can imbue their experiences with heightened drama, clarity, and significance, ultimately
resulting in an expanded comprehension of the subject matter.
Dr. Francisco Santiago said, “In every country, music like literature is the most
beautiful and most spontaneous expression of character of an individual and of the people.
Whether in the midst of civilization or barbarians, in joys and sorrow, in war and in peace,

Electronic copy available at: https://ssrn.com/abstract=4462814

 2

in victory and defeat, every person resorts to music to give vent to the innermost feeling
of their soul”. Hila (1980)
There is urgency for preserving the musical heritage and culture of the Filipino.
The Philippines as a country should wake up to the need for propagating, cultivating and
perpetuating the Filipino music because it is through a Filipino music that its soul is clearly
manifested. To better understand and appreciate the music is one key to understand the
culture of community folks. Their aspirations, beliefs, practices, traditions, frustrations
and hopes are found in the songs they sing. There is a need to study the folk songs of the
people to better understand further their history, their culture and perhaps their
idiosyncrasies as a community.
Incorporating folksong within the elementary and secondary school curriculum is
a highly suitable and rational undertaking to initiate music instruction. One concurs with
the prominent significance attributed by music educators to the value of folk songs.
Singing has long been recognized as a fundamental aspect of music pedagogy and has held
a prominent role in our nation's historical context of formal music education. The
traditional folk song holds a profound and indelible place within the collective cultural
consciousness of a particular community or group of people. The living continuum is
dynamic by acquiring and abandoning various songs and melodies. The correlation of
temporal proximity and heightened literacy, resulting from advancements in literacy rates
over the last century, indicates that contemporary authors and composers are more likely
to achieve recognition, owing to reduced dependence on exceptional memory abilities.
However, it is noteworthy that within the living tradition, traditional singers and musicians
may not find it necessary to differentiate between anonymous folk songs and melodies and
those with known composers.

In our country, folk songs have crude beginnings and are acclaimed to have
emanated from individual with unusual likings and natural inclinations for combining
melodies and rhythm. The songs created were passed on primarily by word of mouth. In
the process of time tended to be changed or recreated by others who learned or performed
it. The change maybe accidental from faulty memory or creativity to fit circumstances to
fit between the groups, style or include ideas from outside the group. Philippine folk song
flourished mainly in rural areas where these are performed by non-professionals so that
with the disappearance of many traditional rural folk communities in the industrialized
world, some folk songs are also getting lost. Part of the significant attempts of preserving
these beautiful traditional songs, musicologists as well as amateur musicians had
conducted researches on traditional music. Products of such research have become a very
valuable acquisition of the national cultural museum.
To understand and appreciate indigenous music is one key to understand the
culture of community folks. Their aspirations, beliefs, practices, traditions, frustrations
and hopes are focused in the songs they sing. Thus, there is a need to study folk songs of
the people to better understand their history, their culture and perhaps their idiosyncrasies
as a community. Documentation of folk songs is important as it is through documents that

Electronic copy available at: https://ssrn.com/abstract=4462814

 3

culture is presented and propagated. Evolution of a culture can be determined by studying

the cultural past through preserved relics as well as documents.
On the other hand, analysis of the folk song shall help determine its contents in
terms of aspirations, sentiments, thoughts, beliefs, traditions and emotions of the people
and thus understand them better. The school is one potent instrument where culture of
certain groups of people can be known, appreciated and propagated. Folksongs being part
of the culture of people can be used in the classroom as instructional resources. Hence, the
school bears the burden of ensuring Filipino youth can discern and value music genres that
align with their rightful ideologies, thus effectively internalizing their musical and cultural
lineage. Therefore, it is imperative to conserve, cultivate, and advance the Philippine
cultural heritage in music as an artistic expression and an instrument for fostering cultural
progression. The establishment of an enabling milieu conducive to fostering an
appreciation for Philippine music has the potential to inspire younger individuals to
incorporate music into their cultural existence.

The art form of music possesses the capacity to expand the cultural boundaries of
a nation. The historical trajectory of the Philippines can indeed be discerned through the
medium of folk music. The folk songs of the Philippines serve as a reflection of distinctive
Filipino characteristics prevalent within society, encompassing hospitality, tranquility,
patience, patriotism, empathy, affection, and reverence towards parents and elders, among
others. These musical compositions aim to alleviate feelings of anger, animosity, or doubt
while simultaneously fostering sentiments of tranquility, amity, or gratitude towards a
specific individual or object. Safeguarding the cultural heritage and national resources is
an avenue through which the promotion of national identity and the manifestation of
patriotism towards the country to which these cultural treasures pertain are demonstrated.
However, one could argue that a valuable entity is rendered devoid of its merits and
significance if it is not employed and effectively utilized. Indigenous cultural
communities' songs can be recognized as integral aspects of cultural heritage if cultivated
and appreciated for their artistic qualities. The research finds it very significant to compile,
and analyze a repertoire of folksongs which could augment instructional resource. This
study was conceived with the end view of enriching a few folksongs for common use.
Conceptual / Theoretical Framework
The study postulates that music education is important because it underscores the
goal of developing the musicality among the students. It was further assumed that it
highlights the importance of training the students to become future professional musicians
without sacrificing the country’s rich cultural tradition. Moreover, it expresses the desire
for great preservation and perpetuation of music that needs to be inculcated and
internalized. Therefore, with the use of the gathered wealth of culture in Zambales, these
goals can be realized.
Spivacke (1940) highlights the notion that our attempts to captivate children with
music have suppressed the indigenous songs that have emerged from their local
environment. In order to imbue children with a sense of music as a familiar and inherent

Electronic copy available at: https://ssrn.com/abstract=4462814

 4

entity rather than an unfamiliar and alien concept, it is logically sound to initiate their
music education with genres that bear the most resemblance to their own musical
experiences. Folk song indisputably represents one of the examples.
Maceda (1964) mentioned that folk music (folk song) has charm and appeal
because it is simple, yet meaningful. Aside from being intrinsically beautiful, it contains
and conveys cultural values. Hence, in the field of education, music activities are planned
to give the young opportunities for growth in appreciating values worth developing and
acquiring and for identifying wholesome means of self-awareness, self-expression and
making functional such traits as self-control, cooperation, industry, friendliness, respect
for peers and love for country. A better knowledge of music comes through actual
experience, whether it is singing or listening. The learning of facts related to music theory
is best reinforced through analysis. We need to look at the kind of music we want to
patronize and see how it affects our personality. This study focuses on description,
transcription, analysis and interpretation of twenty (20) unpublished and unfamiliar folk
songs of Zambales.
Statement of Objectives
The main purpose of this study was to describe, transcribe, analyze and make an
interpretation of the unpublished and unfamiliar folk songs of Zambales.
Specifically, this study aimed to achieve the following objectives: to identify and
collect unpublished and unfamiliar folksongs of Zambales; to transcribe the musical
notation of the collected unpublished and unfamiliar folk songs; to describe the
characteristics of the Zambales folk songs in terms of: Musical Analysis (which include:
tone set, tonality, scale, comfortable starting pitch (CSP), range, meter, anacrusis, form,
tempo, rhythm set, cadence, harmony; and Pedagogical Analysis (which include rhythmic
patterns, melodic patterns, appropriate grade level, classification, teaching purpose,
intrinsic values; and to interpret the collected unpublished and unfamiliar folksongs
through digital recording.
The study dealt particularly with the gathering of unpublished and unfamiliar folk
songs of the province of Zambales. It was limited to the compilation of the folk songs the
key-informants contributed to the study. The key-informants were native residents of the
province who have knowledge and historical background of the song. The folk songs
gathered were transcribed and notated. Of the twenty-one (21) unpublished folk songs,
fifteen (15) were analyzed in terms of music and pedagogy. In terms of music, the songs
were analyzed based on tone set, finalis, scale, comfortable starting pitch (CSP), range,
meter, anacrusis, form, tempo, rhythm set, cadence and harmony.
Furthermore, the gathered folk songs were analyzed in terms of pedagogical use
based on rhythmic patterns, melodic patterns, appropriate grade / year level, classification
of folk song, teaching purpose and the intrinsic values. A digital recording of folk songs
was included to form part of the research procedure. Translations of the lyrics from the
dialect to Filipino and English were also provided. However, the free translations in the
language were not intended for singing but to give the literal meaning of the lyrics.

Electronic copy available at: https://ssrn.com/abstract=4462814

 5

Method
The study which is essentially descriptive in nature, presents twenty (20)
unpublished and unfamiliar folk songs of the province of Zambales. In order to facilitate
the gathering of folk songs, the researcher made use of fieldwork to document the key-
informants testimonies so that first-hand information needed for this purpose is
considerably collected. Thus, the researcher visited barrios and municipalities of the
province and requested those who can still recall the lyrics and melodies of the song. The
guided and semi-structured interviews were also used to validate the information given by
the informants. The instrument devised by the researcher was further used in order to
acquire sufficient data relevant to the research. The data were gathered by way of
videotaping the responses / songs of the interviewees who were natives of the Province of
Zambales.
In order to determine which song was unpublished, the researcher cross-checked
the title, melodies and lyrics of the songs from the existing book entitled Folk Songs of
Central Luzon published by the Department of Education Culture and Sports. It could be
gleaned from the published book that there were only seven (7) Zambales folk songs
included in the selection. Moreover, in the book recently published by Damiana L.
Eugenio entitled The Folk Songs, only one (1) song was included in almost four hundred
(400) folk songs collected from the different parts of the country. After the fieldwork, the
collected folk songs were transcribed, notated, analyzed and interpreted.
The researcher employed interview through house-to-house visits in barrios and
selected municipalities of the Province of Zambales. The actual interview was recorded
using a Digital Video Camera. In order to capture clear recording of the folk songs, a
microphone connected to a computer laptop was used. A digital camera was also utilized
in order to document the proceedings of the interview for still photographs. Similarly, the
researcher also devised an instrument in order to facilitate musical and pedagogical
analysis after the folk songs have been transcribed and notated. Thus, the instrument in
tabular format was conceptualized and prepared in order to come up with a structured and
organized presentation of data. The succeeding tables were the formats used for the
Musical Analysis and Pedagogical Analysis.
The primary respondents of this research were the key-informants. They were the
local residents from different barrios of selected municipalities of Zambales. The age of
the respondents were considered since they could provide sufficient information as regard
historical background of the folk songs being gathered. Those who were not as old as the
other respondents were also considered in as much as they can also provide necessary
information related to the song. They key-informants also served as performers when they
were asked to sing the folk songs.

Data Gathering Procedure

The conduct of the study employed the following procedures:

Electronic copy available at: https://ssrn.com/abstract=4462814

 6

Phase 1 - Fieldwork and Gathering of unpublished and unfamiliar folk songs

The initial phase of the study was the gathering of unpublished and unfamiliar folk
songs of the province of Zambales. The researcher sought the permission of the Provincial
Governor of Zambales at the Provincial Capitol Compound, Iba, Zambales. This was done
in order to formalize the conduct of the fieldwork research since stated in the letter request
that the researched shall be endorsed to the municipal mayors and barrio chairmen of the
province. The Office of the Governor favourably endorsed the letter to local government
officials.
After the approval was handed to the researcher, careful scheduling for a house-
to-house visit was done in order to look for key informants. Offices of the Department of
Education Officials in the Division of Zambales as well as teachers in the public
elementary and secondary schools were visited to sought help from them to scout
prospective key-informants and to facilitate scheduling of actual interview proceedings.
There were songs in the previously conducted research that were also included in
the present study. The songs were also gathered by the researcher himself as part of the
collected folk songs in the masteral thesis entitled “Development and Validation of Choral
and Rondalla Arrangements of Selected Folksongs of Zambales for High School Choir
and Rondalla” submitted at the Philippine Normal University in 2002 in fulfilment of the
requirements for the degree Master of Arts in Education with specialization in Music
Education. These previously gathered folksongs were notated, transcribed, arranged for
choral and rondalla and performed in a cultural presentation. However, the folk songs were
used in this study purposely for musical and pedagogical analysis as these songs were not
yet published or circulated for public consumption except for choral and rondalla
performances.

Thus, there were fifteen (15) unpublished and unfamiliar Zambales folk songs that
were collected. Five (5) songs were previously gathered as additional songs to be included
in the present study. Hence, a total of twenty (20) folk songs were the subjects purposely
for this research study.
Phase 2 - Transcription and Notation of gathered folk songs

The folk songs collected were transcribed and notated as part of the procedure of
the research. The procedure was done with the use of laptop since the recorded
proceedings were compiled and saved in an external storage devise. While listening
directly from the computer’s speaker, the notes were at the same time encoded in the laptop
using Finale 2009. This is music notation computer software that allows writing the notes
of the song on the staff. With the aid of this technology, the researcher was able to
transcribe and notate the gathered folk songs with accurate and exact note valuation.
Phase 3 - Analysis and Description of folk songs

Electronic copy available at: https://ssrn.com/abstract=4462814

 7

The analysis and description of the songs was done after all the gathered folk songs
were transcribed and notated. Printed copies of the songs were essential in this phase of
the research. The folksongs were analyzed based on musical and pedagogical aspects.
Phase 4 - Interpretation of unpublished folk songs

Lastly, in order to show the practicability and usability of the results of the
analysis, a digital audio recording of the gathered folk songs was done. The recorded
material form part of the research output. The Special Program in the Arts Students of
Olongapo City National High School performed the interpretation of the songs. It was
recorded digitally using a microphone and a laptop.

Findings
There were twenty-one (21) folk songs gathered during the actual fieldwork and
interview with the key-informants. The folk songs gathered were: Ay Rosas Ko from San
Narciso; Ale Ko from Botolan; Silay Rosas from Sta. Cruz; Agmo ko Liwawan from
Botolan; Saluyot from San Marcelino; Garoti nin Nanay from Botolan; Kailangan Nin
Mitataaak from Botolan; Oran from Botolan; Gawgolay from Botolan; Mannalonak Met
from San Narciso; Tinapay from San Felipe; Arem Mata, Bain Baga from Cabangan; Ti
Sam-it ni Karayo from Cabangan; Laglagipen Nak from San Felipe; Panagkakabsat from
San Marcelino; Ha Balah from Botolan; Lug-an Mabiay from Candelaria; Sica Pay Ti
Neneng from Cabangan; Sintensiya to Biag from San Antonio; Main Yamok from Botolan;
and Nangato nga Langit from San Antonio. The copies of the notation of the twenty-one
(21) folk songs can be availed upon request.
The unpublished and unfamiliar folk songs were gathered from the eight (8)
municipalities in the province of Zambales. There were two (2) in San Antonio; four (4)
in Cabangan; one (1) in Sta. Cruz; two (2) in San Marcelino; seven (7) in Botolan; two (2)
in San Narciso; one (1) in Candelaria; and two (2) in San Felipe. Furthermore, there were
ten (10) songs in Ilocano dialect, and eleven (11) in Zambal dialect. Out of the twenty-one
(21) the fifteen (15) folk songs were analyzed and described according to tone set, tonality,
scale, comfortable singing pitch, range, form, meter, anacrusis, tempo, rhythm set,
cadence, and harmony.

With regard to musical analysis, the unpublished folk songs of Zambales have tone
set ranging from eight (8), nine (9), ten (10), eleven (11) and fourteen (14) . These songs
have tonalities in the key of C, G, F, D, B, and A. There were folk songs in the key of G
minor and C minor. It was found out also that there is a song with two tonalities in the key
of F and B wherein the first section is in the key of F and the section modulated in the
key of B.
The scales of the songs were further analyzed. It was discovered that the songs are
mostly in the major scale. There were songs in the major scale with chromatic inflections.
The folk songs in minor tonalities have been analyzed in harmonic minor scale and in
harmonic minor with chromatic inflections. The most comfortable singing pitches of the
folk songs were identified. The unpublished folk songs have an average and wide range

Electronic copy available at: https://ssrn.com/abstract=4462814

 8

of notes. The gathered folk songs have formal structures like Unitary or Strophic Form,
Binary Form (A-B) and Ternary Form (A-B-C). Most of the songs were in triple meter,
duple meter and quadruple meter. It was also analyzed that almost all the folk songs have
interior anacrusis. Only one folk song was found to have an initial anacrusis. If these
unpublished folk songs are to be performed, tempi such as moderato, allegretto and allegro
must be used.
The unpublished folk songs have varying numbers of distinct rhythms sets. All
the fifteen (15) folk songs have been analyzed that it used authentic cadence as its final
chord progression. In order to provide simple piano or guitar accompaniment in the folk
songs collected, the harmonic progression were analyzed to be used when the songs are
being performed or interpreted. Based on the analysis the songs in the major tonalities can
be accompanied using simple primary chord progression. The songs in the minor
tonalities, harmonic progression such as, i – iv – V7 can be used.
With regard to the aspect of pedagogical analysis the numbers of rhythmic patterns
used in the unpublished folk songs of Zambales were enumerated. These rhythmic patterns
were identified for teachers used in order to enhance the skills of pupils and students as
regard rhythm. The melodic patterns used in the unpublished folk songs of Zambales were
also analyzed. The number of melodic patterns identified so that teachers can use it in
order to enhance the skills of pupils and students as regard sight singing and sight reading
using fixed do and movable do methods. The unpublished folk songs were appropriate for
Grades IV, V, VI in the elementary and 1st year high school students. There were songs
appropriate for combinations of Grades IV and V, Grades V and VI, Grade VI and 1st year
high school. The folk songs classified as Love Song, Song About Nature, Song of Family
Life, Song of Friendship and Conviviality, Non-Sensible Humor Song, and Occupational
Song.
Finally, the songs were analyzed based on intrinsic values inherent of the folk
songs. The values identified were, Promise of Eternal Love; Loyalty and Faithfulness;
Healthy Living / Healthy Lifestyle; Love, Affection, Care, Truthfulness and Self-
Confidence; Loyalty, Trust, and Positive Reciprocity; Industry and Cooperation;
Obedience, Respect and Discipline; Filipino folks find humor in tall tales; Hardwork, and
Dignity of Labor; Showing Love, Concern and Affection to Loved Ones; Importance
or Rain; and Love, Respect and Mutual Understanding in the Family.
Conclusions:
The twenty-one (21) Zambales unpublished folk songs are stored in the memory
of the ageing and old natives of the province. They are unfamiliar and unheard that are
awaiting exploration through academic studies. The transcription of the melodies of
unpublished folk songs will certainly serve as a lasting contribution to the preservation
and perpetuation of our country’s cultural heritage.
The collection of unpublished and unfamiliar folk songs of Zambales will enrich
the thin reserve of instructional materials that is focused in Zambales culture, customs and
traditions and will in effect foster in the young generation an early acquaintance,

Electronic copy available at: https://ssrn.com/abstract=4462814

 9

awareness and appreciation specifically on the distinct Zambales music and the
furtherance of Philippine Music in general.
Like other folk songs, the fifteen (15) collected unpublished folk songs of
Zambales that were analyzed were found to be very useful in the teaching of musical
concepts in the development of the singing, listening, reading, moving, playing, creating
and instrumental playing of pupils and students in the elementary and secondary schools.
The Zambales folk songs enhance positive Filipino values so much needed by our
young generation. It has been found potential source of instructional materials that instil
values. Finally, the digital recording of the folk song of Zambales can offer deeper insights
into the customs, traditions, beliefs and aspirations of the Zambaleños.
Recommendations:
It is assumed that through this study of Zambales folk songs, the collected
materials could be used as materials for teaching music in the elementary and secondary
schools particularly in the province of Zambales thereby preserving and perpetuating the
orally transmitted melodies. Music educators, experts, and specialists should continue to
collect and unearth folk songs all over the country, bringing a national consciousness on
the richness of our cultural heritage and the beauty of our folk songs and oral traditions.
Certainly, these folk songs bring in a multitude of information of the past which the new
generations ought to know and value.

Integrating folk songs into curricular programs is a valuable medium for

effectively presenting educational lessons and topics. In order to effectively instruct music
through a unique pedagogical approach and incorporate life experiences into the
curriculum, music educators must receive comprehensive orientation and training. In
contrast, non-music educators must also be acquainted with incorporating traditional
melodies into specific educational contexts or settings. Hence, it is crucial to embark on
additional research on using folk songs as a pedagogical tool to enhance learning outcomes
and, subsequently, widely propagate the findings in local and national arenas.
Curriculum planners can use the research methodology as an inter-disciplinary
approach in social sciences, languages and humanities. The notated songs can serve as a
reference point for further studies in music theory and musicology. The transcriptions may
be used as thematic materials by composers as basis for further analysis of music experts.
Choral and Rondalla arrangers are encouraged to make simple to complicated and
fine arrangements of the collected folk songs for choral and rondalla performances in the
elementary and secondary schools. Band trainers and conductors are also encouraged to
make arrangements of these songs to be performed during school, community or religious
activities in the province. This has particular pertinence to the people in the province of
Zambales who have not realized the great beauty, warm appeal and great beauty of their
own folk songs.

Electronic copy available at: https://ssrn.com/abstract=4462814

 10

The gathered musical compositions possess the potential to be transformed into a

lasting medium and disseminated for universal utilization. In order to promote cultural
development within the province, public and private agencies must establish effective
collaboration regarding the preservation, dissemination, and utilization of amassed folk
songs. It is imperative for the provincial government, in collaboration with municipal
entities, to enact legislation mandating the inclusion of folk song studies within relevant
curricular levels in schools. This process should be undertaken in consultation and
coordination with the Department of Education.

BIBLIOGRAPHY

Ashmore, C.L. The formal training of the child voice: an analysis of antithetical
viewpoints as expressed in selected American contributions to vocal pedagogy
literature and related research. Doctoral dissertation, The Florida State
University, 1995.

Atabug, Alejandra C. Music Education in a Multi-Cultural Society: The Philippine

Experience. UST Manila 1996.

Baird, P.J. Children’s song-makers as messengers of hope: participatory research with

implications for teacher educators. Doctoral dissertation, University of San
Francisco, 2001.

Choksy, Lois. The Kodaly Method: Comprehensive Music Education from Infant to
Adult. Englewood Cliffs, N.J. Prentice-Hall 1974

Cohen, Norm. Greenwood Guides to American Roots Music, Folk Music: A Regional
Exploration. Greenwood Publishing Group Inc., Westport CT. 2005.

Dexter, S.D. Sojourners in a strange land: the impact of northern urbanization on black
pentecostal identity and culture in Chicago from 1940 to 1980. Doctoral
dissertation, Princeton University, 2001.

Dimitrievski, K.C. Informal education across generations: an historical and cultural

analysis of Macedonian folk songs and new compositions. Doctoral dissertation,
State University of New York at Buffalo, 2001.

Estell, M.R. Poetry in war and war in poetry: the martial role of song and the aesthetic
representation of war in ancient Greece. Doctoral dissertation, Yale University,
2000.

Eisner, E.W. “Art, music, and literature within social studies”. In J. P. Shaver (Ed.),

Electronic copy available at: https://ssrn.com/abstract=4462814

 11

Handbook of research on social studies teaching and learning (pp. 551-558). New
York: Macmillan, 1991.

Eugenio, Damiana L. The Folksongs, Philippine Literature Series Volume VII. Manila
Philippines: De La Salle University Press. Inc. 1996.

Fronda, Roland M. Development and Validation of Choral and Rondalla Arrangements

of Selected Folksongs of Zambales for High School Choir and Rondalla.
Masteral Thesis, Philippine Normal University, Manila, Philippines,
2001.

Furey, Simon. Harmony in Discord: An Analysis of Catalan Folk Song. Doctor of

Philosophy Dissertation, University of Sheffield, 2002.

Haviland, William A., Prins H., Walrath D., & McBride B. Cultural Anthropology: The
Human Challenge, 12 edition. Thomas Higher Education, Belmont CA, USA.
th

(2008)

Hoffer, C.R. Sociology and music education. In R. Colwell (Ed.), Handbook of research
on music teaching and learning (pp. 713-723). New York: Schirmer 1992.

Kim, Y. American general music textbooks: content usable in Korea. Doctoral

Dissertation, Temple University, 2001.

Kirgiss, Crystal. Folk Music. Smart Apple Media, North Mankata, MN 2005.

Landis Beth and Polly Carder. The Eclectic Curriculum in American Music Education:
Contributions of Dalcroze, Kodally and Orff, Pennsylvania State University.
Music Educators National Conference 1972.

Lee, L.L. Music education as a means for fostering young children’s knowledge of dual
cultures. Doctoral dissertation, Columbia University Teachers College, 2002.

Maceda, Corazon, S. and Garcia Crispina C. The Philippine Choruses for All Occasions,
Manila, 1953.

Maceda, Corazon S. Music Education and the Elementary School Teacher. Manila
Philippines, 1964.

Molina, Antonio J. New Treasures in Old Philippine Melodies. Unitas 21

Nettl, Bruno. Folk music in the United States: an introduction. Detroit MI: Wayne State
University Press. 1977.

Nettl, Bruno. An introduction to folk music in the United States. Detroit MI: Wayne State

Electronic copy available at: https://ssrn.com/abstract=4462814

 12

University Press, 1962.

Nettl, Bruno. Theory and method in ethnomusicology. New York: The Free Press, 1964.

Nettl, Bruno. Folk and traditional music of the Western Continents. Englewood Cliffs NJ:
Prentice-Hall 1965.

Pasamba, Angelita C. Tugtuging Pilipino sa Rondalla. Manila, Philippines: Philippine

Society for Music Education, October 1978.

Pasumbal, Concepcion F. Description, Transcription, Analysis of Alay Songs of

Alitagtag, Batangas. Masteral Thesis, Philippine Normal University 2002.

Prickett, C.A., & Bridges, M.S. Song repertoire across the generations: a comparison of
music therapy majors’ and senior citizens’ recognitions. Journal of Music
Therapy, 37 (3), 196-204. 2000.

Sparling, H.L. Puirt-a-Beul: an ethnographic study of mouth music in Cape Breton.

Masteral thesis, York University, 2000.

Spivacke, Harold. Southern Folklore Soceity. Southeastern Folklore Society, South

Atlantic Modern Language Association, University of Florida, 1940.

Tiongson, Nicanor. CCP Encyclopedia of Philippine Art VII 1 Edition. Cultural Center
st

of the Philippines Manila, 1994.

Electronic copy available at: https://ssrn.com/abstract=4462814