| Track 1: |
PHILIPPINE:
Zamboanga Zamboanga is a city on the southern tip of the island if Mindanao. This piece is an instrumental version of a love song in which the singer implores, "Don't go to Zamboanga for I'll never see you again!" Typical instruments in a rondalla ensemble include the banduria, a 14-string pear-shaped lyre; the laud, which is a larger version of the bandura; the octavina, a 14-string guitar-shaped instrument; the bajo de unyas, an upright bass with fours strings; and the guitara, Spanish guitar. This song was popular at "dance dance halls" in Hawai`i. At taxi dances, men could purchase a ticket to dance with a woman. East dance lasted about 3 minutes. |
| Track 2: |
PHILIPPINE: Filipino
Medley This is an instrumental arrangement of four songs that George Camarillo Sr., remembers hearing from his childhood: Bahay Kubo (bamboo dwelling on stilts), Leron-Leron Sinta (little Leron), O flaw (O light), and Magtanim Hindibiro (Planting rice). |
| Track
3: |
PHILIPPINE: Paru, parong bukid Butterfly farm fly-flight , In the middle of the road papagapagaspas |
| Track
4: |
PHILIPPINE:
Kulintang This is based on the traditional; practice of the natives of Sinuay, a tiny fishing village , southern Philippines. The kulintang is a set of eight knobbed gongs in graduated sized, laid-out horizontally on a wooden frame. It is played with a pair of wooden sticks. |
| Track
5: |
PHILIPPINE: Tribal dance Datu Abeng Dance, a prayer dance performed by six women commenmorating the dath of Datu Abeng (one of the early Bagobo settlers in Calinan, after whom the street where Munoy and Gabao reside has been named). |
| Track
6 |
TAHITI:
Himene
Tarave Point Venus. Every year on the 5th March, Tahitians assemble in their thousands to celebrate the historical arrical of the first missionaries to Tahiti, who landed off the LMS ship in 1797. University of Hawaii |
| Track 7 | TONGA:
Malu Efiafi This piece belongs to a Tangan secular music genre known as hiva kakala. The lyrics suggest the melancholy feelings that one has at dusk, a period when pone may think about all that he or she has left behind. Hiva kakala are generally started by a leader who sings the melody. Other members join in with harmonies. In form, the song alternates between verse and chorus. The most important part in the lower register is joined by other singers to create a distint "drone-like" repetition of tones. |
| Track 8: | SAMOA: Nonu
a Togi A traditional Samoan song, performed with rhythmic accompaniment. the text recalls the story of a volcanic eruption on the main island of Sava`i. Samoan songs are generally referred to as pese. A strong influenced form church hymn-singing in its harmonies, "call and response" sections, and chorale ending. The accompaniment is played on a pate (slit-drum). |
| Track 9: | SAMOA: Sasa This is a type of Samoan seated dance in which the performers produce sounds by slapping different parts of the body: hands, chest, arms, abdomen, and thighs. Slapping movements are choreographed so that each person in the group produces the same rhythmic pattern. |