Religiöse Bezüge in der Vokalmusik 
der Bukidnon auf Mindanao, Philippinen. 

[Religious Elements in the Vocal Music of the 
Bukidnon on Mindanao Island, Philippines]

Vol. I, 1992 (Music and Religion), pp. 7-24.
Including 3 music recordings on tape cassette

The most important musical forms of expression of the Bukidnon (Higaonon, Talaandig, Banuwaen) can be found in the vocal music: the ceremonial songs kaligà of the male priests and the responsive choral songs tabúk of the women, the speech-song prayers pandalawit, the epic songs ulagíng with their promise of human immortality, the improvised songs limbay and salâ with philosophical contemplations and the rhythmically interesting speech-songs dasang of the tribal leaders. A short introduction into the belief system of the Bukidnon is followed by a myth about the origin of the kaligà songs, which indicates that singing was invented by humans and not by deities. Thereafter, all the vocal genres are explained regarding their religious implications and influence on the performance of a Bukidnon singer. This is to make clear how spiritual and religious aspects imbue many spheres of daily life and, therefore, of music making as well.

Of special importance with all vocal genres is the relationship between the performer and his or her spirit guides. Aside from being helpers and advisers, these spirits also function as messengers between the worlds of the humans and of the deities. Moreover, the interaction between spirit guides and humans is considered responsible for the characteristic variations in content and musical forms of the vocal genres, e.g. of the singing styles of the ulagíng epic. All performances of songs should traditionally start with an introduction called pamadà, in which the spirit guides of the performer are asked for help. In this respect, each traditional song performance of the Bukidnon establishes anew the relationship between the human and spirit worlds. 

Bukidnon und Tigwahanon: 
zwei Musikkulturen im Vergleich

[Bukidnon and Tigwahanon:
a Comparison of Two Musical Cultures]

Vol. IV, 1995 (Instruments and Environment / Free Reports), pp. 103-119.
Including 3 photographs and 6 music recordings on tape cassette. 

Zur Symbolik philippinischer Bootslauten

[A Preliminary Study of the 
Symbolic Meanings of Philippine Boat Lutes]

Vol. VI/VII, 1998 (Music and Symbol ...), pp. 59-86.
Including 3 pages of illustrations

As a family of musical instruments of many shapes and sizes, boat lutes are distributed in large areas of Southeast Asia, in Sumatra, Java, Sulawesi, Kalimantan and Sarawak. Moreover, related zithers can be found in Burma, Thailand and Kampuchea. In the Philippines, at least 13 different types of lutes are used by at least 21 ethnic groups on the islands of Mindanao and Palawan.

The term “boat lute” is misleading, as these instruments are usually associated with animals. Their symbolic meaning differs in various cultures and, in some cases, it can be typical for them. This paper tries to associate the known types of boat lutes with — let’s say — “types of symbolism” and to clarify the symbolic meanings by analyzing information about the traditional belief system and myths of those ethnic groups where these instruments can be found. The following symbolic meanings and possible connotations are discussed: (1) crocodile and lizard, (2) boat and ornamentation of houses, (3) dragon and snake, (4) chicken and other kinds of birds, (5) human body, (6) horse and (7) mixed concepts.

On the symbolic level, Philippine boat lutes usually represent the physical quality of living beings. The symbolism of the crocodile, probably originating from mainland Southeast Asia, Burma, Kampuchea and Thailand, and brought to the Philippines via the Indonesian archipelago, seems to be the oldest and most important one. Other symbolic meanings discussed are not clearly defined regarding their reference to boat lutes; however, their inclusion into this analysis offers a good insight into the scope and complexity of the symbolic thinking of traditionalist Filipinos.

Akkulturation bei philippinischen Bootslauten —
Sonderbare Entstehung und Wandlung
der Beschreibung eines Musikinstruments

[Acculturation and Philippine Boat Lutes —
The Strange Creation and Transformation
of the Description of a Musical Instrument]

Vol. IX/X, 2001 (... Traditional Music in Changing Societies), pp. 129-159. 
 Including 6 pages of illustrations and 1 music recording on compact disc