Answer:
Where a folk song originated is rarely known to its community, and thus the anonymity of the creative process was once considered a major criterion of folk music identification. It has become clear, however, that folk songs and other pieces are the result of individual creation, either by villagers or by professional or church musicians whose work is somehow taken up in the folk culture. The repertory of a folk community probably always included songs of very diverse origins.
The form of a folk song as heard at any one time, however, is likely to have been very much affected by the entire community because of its life in oral tradition. Once introduced, a song could be easily dropped from the repertory. More likely, however, as it was passed from parents to children and to friends and associates and coworkers, it would be changed. Numerous influences acted on a song, including creativity, forgetfulness, previously learned songs, and stylistic expectations. As a result, it might become shorter or more like new styles of popular or church music, for example. Any new song would be likely to undergo this process of communal re-creation. An important characteristic of a song or piece in traditional folk culture is, thus, its dependence on acceptance by a community—that is, by a village, nation, or family—and its tendency to change as it is passed from one individual to another and performed.
Transmission and variation
Ten verses of the folk song “Barbara Allen,” performed by Capt. Pearl R. Nye, who lived and worked on the Ohio and Erie Canal until it closed in 1913; recorded by John Lomax in 1937.
Library of Congress Motion Picture, Broadcasting and Recorded Sound Division, Washington, D.C.
Excerpt of the folk song “Barbara Allen,” performed by Rosetta Spainhard and Lois Judd; recorded by Charles Todd and Robert Sonkin at a Farm Security Administration migrant camp in California, 1940.
Library of Congress Motion Picture, Broadcasting and Recorded Sound Division, Washington, D.C.
Excerpt from the folk song “Barbara Allen,” performed by Mary Sullivan; recorded by Charles Todd and Robert Sonkin at a Farm Security Administration migrant camp in California, 1940.
Library of Congress Motion Picture, Broadcasting and Recorded Sound Division, Washington, D.C.
Excerpt from the folk song “Barbara Allen,” as performed by Hule (“Queen”) Hines; recorded by John and Ruby Lomax at the Florida State Penitentiary, Raiford, 1939.
Library of Congress Motion Picture, Broadcasting and Recorded Sound Division, Washington, D.C.
Fiddle rendition of the folk song “Barbara Allen,” performed by Henry Reed; recorded by Alan Jabbour at Reed's home in Glen Lyn, Virginia, 1967.
Library of Congress Motion Picture, Broadcasting and Recorded Sound Division, Washington, D.C.
Because a folk song lives largely through oral transmission, it ordinarily does not exist in a standard form. In each region of a country, community, village, or family, and even in the repertory of each singer over time, it may have significant differences. Each performance of a song may be unique. In colloquial discussions of folk songs (or tales), the terms variant and version are used to highlight the differences in ways of singing the same song (or telling the same story). In the technical literature about folklore, the terms version, variant, and form may be used to express degrees of relationship. Thus, for example, several quite similar performances by one singer might constitute a version of a song. Several versions, not so similar to each other, would constitute a variant. Several variants, comprising a body of performances of the song that are clearly related but not homogeneous, might be designated as a form. Groups of songs (words or music) that appear, on the basis of analysis, to be related are called tune families or text types. Text types, such as narratives that form the basis of ballads, may have numerous variants and versions. The ballad usually known as “Lady Isabel and the False Knight,” studied by Iivar Kemppinen, has about 1,800 renditions, collected in nations throughout Europe and the Americas. Bertrand H. Bronson, assembling all available versions of the English ballad “Barbara Allen,” found 198 versions of the story sung in the English-speaking world, accompanied by tunes belonging to three tune families. (Accompanying this article are audio recordings of five renditions of “Barbara Allen” from collections at the Library
Answer:
awiting bayan .
AWITING BAYAN - Mutya ng Pasig
Mutya ng Pasig
Nicanor Abelardo
Kung gabing ang buwan
sa langit ay nakadungaw;
Tila ginigising ng habagat
sa kanyang pagtulog sa tubig;
Ang isang larawang puti at busilak,
Na lugay ang buhok na animo'y agos;
Ito ang Mutya ng Pasig,
Ito ang Mutya ng Pasig.
Sa kanyang pagsiklot
sa maputing bula,
Kasabay ang awit,
kasabay ang tula;
Dati akong Paraluman,
Sa Kaharian ng pag-ibig,
Ang pag-ibig ng mamatay,
Naglaho rin ang kaharian.
Ang lakas ko ay nalipat,
Sa puso't dibdib ng lahat;
Kung nais ninyong akoy mabuhay,
Pag-ibig ko'y inyong ibigay.
