ABSTRACT

The study was conducted to analyze the Itawes Roman Catholic liturgical
songs in terms of the different literary approaches.The study utilized the interpretive
approach in research using a conversational method. The informants of the study were
the original composer of the Itawes Roman Catholic liturgical songs, Fr. Ferdinand
Maguigad, and ten (10) elders in Tuao, Cagayan aging from 50 and above. The results
of the study revealed that the author started writing Itawes Roman Catholic liturgical
songs in his native language for the Itawes people to have a more meaningful liturgical
service and to preserve the Itawes language. Moreover, the current situation in the
society when the composer wrote the lyrics of the song was the need to alter the view of
people as regards the Roman Catholic liturgical songs. Since there were still no Itawes
songs ever recorded in the society, Rev. Fr. Ferdinand Maguigad came up with an idea
that the parishes must appreciate their local ideology. Priests and elders also
recommended that Parishes, which use Itawes as means of delivering a Eucharistic
celebration, must use these songs to sanctify the people and to make the celebration
more meaningful. However, it is recommended to discover more Itawes Roman Catholic
liturgical songs for the study suggested that celebrating Eucharistic events using Itawes
made the celebration more meaningful especially to the elders.

Keywords: Roman Catholic, Liturgical Songs, Itawes, Literary Approaches

______________________________________________________________________

INTRODUCTION

Music plays a huge role in every society. The understanding of the power music
holds is vastly recognized and utilized to cause effect to an audience (Zambas, 2011).
The recognition of specific melodies becomes a trademark. It creates social conditions
including the factors that either facilitate or impede social change (Hoban, 2008). Much
of music is important and plays significant roles in all human endeavors, its place in
Christian worship is also obvious (Dickson, 2014).Since music is universally accepted as
a means for communicating human emotions, it should play important role in public
worship (Segler & Bradley, 2006). It is not surprising that music plays an important part
in the worship of biblical communities, as a way of approaching the mystery of God and
expressing the joy of His presence (Leonard, 2005). Worship songs are one of the most
effective means of impressing the heart with spiritual truth. As part of religious service,
singing is as much as an act of worship as is prayer (White, 2003). In local church
communities, worship singers willingly give their vocal talents to support the communal
activity of congregational singing (Robinson, 2011).

In Cagayan, Itawes people are honored because of their indispensable part of

the social legacy in terms of songs in the context of religion (Cuarteros, 2016). Itawes
people have their own Catholic liturgical songs which mirror virtues.The Itawes occupy
the territory drained by the Chico and Matalag Rivers, as well as all of Southern
Cagayan. Among the sixteen ethnolinguistic groups in the Cagayan proverbs, Malauegs,
Ibanags, and Itawes are considered as cultural minority groups due to a small number of
speakers (Nolasco, 2006). However, Itawes Catholic liturgical songs are very limited
because there is not much of its validation and it is only passed through oral
transmission, but it can still be revenue of infusing definite ideas in the community
(Cuarteros, 2016).
The Analysis of Itawes Roman Catholic Liturgical Songs 1
 Moreover, with the rapid expansion of the society, it is crucial that Itawes Roman
Catholic liturgical songs must be compiled to make the Eucharistic celebration more
meaningful (Aquino, 1983). There are few studies yet pertaining to their liturgical songs,
so the researchers decided to collect and analyze the existing Itawes Catholic liturgical
songs. It is therefore important to analyze these songs in terms of different literary
approaches to unfold their underlying substances ---the writer’s background, the context
as to when they were written, and the audiences’ responses.

Research Objective
The study aimed to analyze the Itawes Roman Catholic liturgical songs in terms
of the different literary approaches.
Significance of the Study
The study will be beneficial to the Itawes people. Through the analysis of their
Itawes Catholic liturgical songs, they would appreciate its value and purpose and
eventually have a more meaningful liturgical service. This could also serve as their
reference as they preserve them.

Literature Review
Conceptual Framework

This study is in line with Literary Theory, sometimes called as Critical Theory;
which is defined as the set of ideas and principles that regulate both the writing and the
study of literature (Tolentino, 2000). Literary theory therefore is the result of long and
sustained analyses of specific literary texts (Wellek and Warren, 2001). All critical
practice regarding literature must account in the different approaches in the total
situation (Abrams, 2000). These approaches are:

a.) Biographical Approach. The work which is the artistic product itself and the
artist being the producer of the work. Literary theory traces the standpoint of
the biography of the author and an analysis of their thematic presence within
texts.
b.) Sociological Approach. Literary theory explains that literature itself is a
product of society and in turn how those texts help to create the social
context. Literary works are received by a particular society at a particular
moment in history.

c.) Reader-Response Approach. Literary theory includes the audience in

analyzing and evaluating a literary work and the relevance of some elements
of the text.

In relation to the study, collecting and analyzing the Itawes Catholic Liturgical
songs serve as a way to better understand their significance and purpose. The Itawes
people would eventually appreciate their existing liturgical songs.

Itawes Liturgical Songs

The Analysis of Itawes Roman Catholic Liturgical Songs 2
 Songs and music are the vital part of liturgies (Kinga, 2001). The most significant
trend in the development of modern songs is the abrupt break away from religious
themes, which permeated most traditional songs to very secular and urban concerns.
Catholic worship defies definition; worship can only be experienced. It is experiencing
renewal in our day. This is evident by the number of conferences through contemporary
Catholic songs and praise choruses. Music has a central place in the Catholic’s
expression of praise. They sing psalms and hymns and spiritual, making melody unto
the Lord (Segler, 2006).
Itawes Catholic liturgical songs are both vocal and instrumental. Music functioned
as a "sacrifice of praise," an offering of a song to accompany the offering of sacrifice. It is
not surprising, then, that music played an important part in the worship of biblical
communities, as a way of approaching the mystery of God and of expressing the joy of
his presence (Leonard, 2005). Music as a tool for values education stressed that both
the simple and the prudent, the education and wisdom encompassed in the language
under study will have an explicit possibility of incessant transfer to the younger age
group, thus, an extensive and positive reception of the culture and its people as a whole
to choose the songs that will depict a particular desired value, value clarification and
value indicators (Abrenica, 1998).

Religion and Roman Catholicism

Religion is a historical category emerged in the West and has come to be applied
as a universal concept (Asad, 2009). It can be conveyed that religion in its classic sense,
is a broad individual and institutional domain that serves a variety of purposes, secular
as well as sacred (Stanke, 2004). Also, it is a set of beliefs concerning the cause, nature,
and purpose of the universe, especially when considered as the creation of a
superhuman agency or agencies, usually involving devotional and ritual observances,
and often containing a moral code governing the conduct of human affairs (Batson, et.
al, 2000).

Religion has undergone a radical change since the Christian Reformation—from

totalitarian and socially repressive to private and relatively benign (Asad, 2009). Roman
Catholicism originated with the very beginnings of Christianity (McKenzie, et. al, 2005)
An essential component of the definition of any one of the other branches of
Christendom, moreover, is its relation to Roman Catholicism (Dean, 2005). Roman
Catholicism is referred to as a Christian church that has been the decisive spiritual force
in the history of Western civilization (Oakley, et. al, 2005). It is one of the three major
branches of Christianity along with Eastern Orthodoxy and Protestantism (Attfield, 2000).

Music and Worship

Music and worship are one of the most effective means of impressing the heart
with spiritual truth. How often to the soul hard-pressed and ready to despair, memory
recalls some word of God’s,—the long-forgotten burden of a childhood song,—and
temptations lose their power, life takes on new meaning and new purpose, and courage
and gladness are imparted to other souls. As a part of religious service, singing is as
much an act of worship as is prayer. Indeed, many a song is prayer (Dickson, 2014).

Music plays a very significant role in every aspect of traditional life ranging from
birth to death. It is also aimed at proffering an approach by which music can serve as a
vehicle for moral rejuvenation and an aid in curbing moral decadence in adolescents

The Analysis of Itawes Roman Catholic Liturgical Songs 3

(Ojukwu & Esimone, 2014). It embodies the role and qualities of music; the impact of
music for good; the effective use of music in the services of the church and some
counsel that may be of interest to those who arrange for and lead music. As a part of
religious service, singing is as much an act of worship as is prayer (White, 2003). It has
tried to establish the obvious that music had served and can still serve as a very good
medium for channeling moral education to the youths since it enhances easy
comprehension and assimilation. Intended for liturgical music majors, as well as
professional pastoral musicians, pastors, and liturgical practitioners, Liturgy and Music
provides a solid introduction to the scope and role of liturgical music in both Catholic and
Christian worship (Leaver, 1998). However, the Itawes recognizes brotherhood, faith
understanding, treasure their unique liturgical songs, characteristics and the right
attitudes in dealing with other people through their music (Cuarteros, 2016).

It can be assumed that music, directly or indirectly, is the materialisation of a

feeling or belief. Instrumental classical music can be theorized to have many different
meanings but ultimately it has different meanings to different people. The understanding
of the power music holds is vastly recognized and utilized to cause affect to an audience
(Zambas, 2011). It is a very powerful medium and in some societies, there have been
attempts to control its use. It is powerful at the level of the social group because it
facilitates communication which goes beyond words, enables meanings to be shared,
and promotes the development and maintenance of individual, group, cultural and
national identities. It is powerful at the individual level because it can induce multiple
responses – physiological, movement, mood, emotional, cognitive and behavioral
(Hoban,2008).

Much of music is important and plays significant roles in all human endeavors; its
place in Christian worship is also obvious since music is universally accepted as a
means “for communicating human emotions it should play important role in public
worship (Segler and Bradley, 2014). Students of religious phenomena have long
recognized that music transcends our understanding and appeals to our intuitive nature.
It is not surprising, then, that music played an important part in the worship of biblical
communities, as a way of approaching the mystery of God and of expressing the joy of
his presence. Thus, singing is an integral part of Christian worship (Robinson, 2011).

Biographical Approach
Biographical approach is a form of literary criticism which analyzes a writer’s
biography to show the relationship between the author’s life and his/her works of
literature (Eagleton, 2006). This approach emphasizes that literary work is primarily the
product of a unique individual. It therefore seeks to interpret the work in terms of the
author’s life and personality (Wellek and Warren, 2003).

Sociological Approach
Sociological approach examines the social content of literary works as to what
cultural, economic or political values a particular text promote (Sanstrom, et. Al. 2014).
This approach regards the work as the product of social institutions. It considers that the

The Analysis of Itawes Roman Catholic Liturgical Songs 4

medium of literature is language, and language is a product of society. Language didn’t
exist prior to the appearance of human society (Wellek, 2000).

Reader-Response Approach
Reader-response criticism focuses on the reader and their experience of a
literary work (Tolentino, 2003). This approach regards a work of literature doesn’t just
exist as ‘words on page.’ It has no objective existence; it only exists when it has entered
the mind of a particular reader (Bonnycastle, 2001).

METHODS

Research Design
The study utilized an interpretive approach in research using a conversational
method.

Informants of the Study

The informants of the study were the original composer of the Itawes Roman
Catholic liturgical songs, Fr. Ferdinand Maguigad, and ten elders in Tuao, Cagayan
aging from 50 and above who are attendees in the Parish where the songs are sung.

Research Instrument

An unstructured interview was conducted as regards the Itawes Roman Catholic

liturgical songs to substantiate the details needed in the analysis. The questions were
not prearranged, thus, generate qualitative data through the use of open-ended
questions.

Data Analysis
The researchers combined the data gathered from the informants using
conversational analysis method. With this, the researchers analyzed the songs, and then
the informants validated the analysis.

Data Gathering Procedure

In this study, the researchers used a four-step sequence with regard to the form,
structure and themes of Itawes Catholic liturgical songs:
1. locating the informants
2. interviewing the informants
3. making a record
4. analyzing the documents through the assistance of the informants

The researchers located the informants. The informants were interviewed to

gather the essential data, the researchers made a record, and then analyzed the given
songs. The informants validated the analysis. In the biographical approach, the author
stated the history behind the writing of the liturgical songs. In the sociological approach,
we interviewed the author and some elders who witnessed the society they were in

The Analysis of Itawes Roman Catholic Liturgical Songs 5

during that time. Lastly, the reader-response approach was done with the consultant of
the elders.

Ethical Considerations
Ethical considerations were practiced by the researchers to ensure that the
research gathering, analysis of results, and mode of verification and validation were
properly ensured. Further, all letters and communications were properly addressed to
proper authorities and informed consents were given and explained to the informants
before the conduct of the study.

RESULTS

Table 1 Itawes Catholic Liturgical Songs Lyrics and their English Translation

Itahung Mi We Offer
Chorus: Chorus:
Itah-hung mi, Afu, Lord, we offer
yaw nga binarayang, yaw nga pan the bread and wine
Hunga ya imami, Yielded by our hands,
hurayuk ya negagangayan will give its relief
Sangaw, gafu cha Espiritum, Now, from Your Spirit
matalibahuwan. The Blood and Body of Christ
Daha en baggi y Hesus, came as one
anda pabbalinan
I.
I. Bread that came from many tribes
Pan nga naggafu Separated in the past,
cha mara-marihu nga trigu but now came as one
Kattunay, nassisirinna, Hear us from there as Your people
sangaw nakkikirihu Different, but Your Spirit made us one!
Hinan ta kunakannay
pay ikami nga totolay Mu II.
Nadduduruma, ngam pakesan ya Grapes we reaped
pangapangngua ya Espiritu! that came from the field
Entirely now should be mangled, extracted
II. Hear us from there as we live, Lord
Ubas nga inampat mi, Mangled and extracted
kan koman naggafu for the sake of Your people.
Tangaggi ngam sangaw maparappat,
mapadannu
Hinan ta kunakunnay pay
ya attolay mi, Afu
Maparappat, mapadannu cha
ammanu’nut mi cha maharu.

Marim Mahurung Do Not Worry

I. I.
Da’ma nakallap ya pappangetan, Even if you’re unsure where you’ll go,

The Analysis of Itawes Roman Catholic Liturgical Songs 6

 Da’ma naguribat ya kanaddanan, Even if your road to home gets darker,
Da’ma marim masingan ya ginafanan: Even if you can’t see where you began:
“Mangurug ka, Yakan ya tuntulan.” “ Believe Me, I am the Founder.”

II. II.
“Ngammin ya dandam-mu, napurbang-Ku, “Everything that you experienced,
Ngammin ya rihat mu, nanalanang-Ku, I have undertaken,
Ngammin matahenap-mu, nappasa- All of your hardships, I have overcome,
pasang-Ku: Everything that you felt, I have endured:
“Mangurug ka, Yakan ya gi’nam-mu.” “Believe and listen to Me.”

Refrain: Refrain:
Marim mahurung, marim pulus ipahulun Do not worry, do not even let
Nga magunggun cha dalan nga mari To unbent the road that is curved
natunung. Be silent, listen before you speak,
Mahimammak-ka, hinan ta umang ka Because of you, I am nailed in the cross.
mattalak,
Ta megafu kan ikaw Yakan e nepatak. III.
Even if it doesn’t get clear why
III. the majority of people you can’t
Da’ma mari nanawag no caam understand.
Ta no karruan y’attolay marim nga Why does it have to be hard:
mantindiyan. “Believe Me, I am the Likeness.”
No caam ta asan peba la mariha-rihatan:
“Mangurug ka, Yakan ya pamarihan.” Refrain:
Do not worry, do not even let
Refrain: To unbent the road that is curved
Marim mahurung, marim pulus ipahulun Be silent, listen before you speak,
Nga magunggun cha dalan nga mari Because of you, I am nailed in the cross.
natunung.
Mahimammak-ka, hinan ta umang ka IV.
mattalak, Do not worry; do not worry
Ta megafu kan ikaw Yakan e nepatak. Expect Me to be with you.

IV.
Marim mahurung, marim mahurung
Ta asanak la nga mamulu-mulun.

Ya Ultimo Nga Paggiram The Last Supper

I. I.
Yaw ya Pan nga mangiddan kan bannay: This bread that gives relief,
‘Maranni ka ta umang ka nga makibillay. Come near and take part
Yaw ya Pan nga mangiddan-pattolay: Of this bread that gives life,
Sikan para cha ginnonotan nga nalaray. Strength for the weak.

Refrain I: Refrain I:
Yaw ya Baggi nga naparihat This body that suffered for you to be saved
Tase ikaw makalasat. From grievous sins
Cha liwat nga kuru nadammat You are lifted,
Annaka nga inapat, You are dissevered from evil.
Finutat cha mari nga mepangngat.
The Analysis of Itawes Roman Catholic Liturgical Songs 7
 II. II.
Yaw ya Binarayang ya nakatabban This wine that is served
Y Afu en ya tolay nga makakalippan. Is Christ forgotten by people.
Yaw ya Binarayang nga panakkilalan This wine symbolizes the remembrance
Cha daha nga pinaturut para cha Of the blood poured for humanity.
kata’hutan.
Refrain II:
Refrain II:
Yaw ya Daha nga naparappat: He willingly bled
Tabbat cha aru nga liwa-liwat. To redeem us from transgressions
Takkilala ya anna nga nangipanat, He offered His life
Se intera mesipat, cha nasimpat nga ayat For us to experience the kindness of God.
y Afu.
III.
III. This bread that that’s gives relief
Yaw ya Pan nga mangiddan kan bannay. This wine that is shed
Yaw ya Binarayang ya pabbirillay.
Refrain I:
Refrain I: This body that suffered
Yaw ya Baggi-k nga naparihat,
My blood extracted
Yaw ya Daha-k nga naparappat.
Yaw ya umang mu panandanan Is a remembrance I gave you
Cha umang Ku nga neddan Make it as an example
Of how you must live your life.
Pamarihan para cha tangara’hunan.
Refrain II:
Refrain II: This body that suffered for you to be saved
Yaw ya Baggi-k nga naparihat, From grievous sins
Tase ikaw makalasat. You are lifted,
Cha liwat nga kuru nadammat antaka nga You are dissevered from evil.
inapat,
Cha’ttolay nga kan ikaw e mepangngat.

I. Biographical Approach
Rev. Fr. Ferdinand Tallud Maguigad was born and raised in Tuao, Cagayan,
a first class municipality which has Itawes as the dominant language. His parents are
native speakers of Itawes, thus, he learned and spoke the language since childhood. He
is now the principal at the Lyceum of Aparri High School where he also serves as the
Parish priest. Being sent off to different parishes, he learned different languages, making
him a polyglot. Due to his quest of learning more about languages, he established the
Special Curricula for Arts and Foreign Languages. Journeying different places, he had
seen how beautiful the Eucharistic Celebration is when people sing the liturgical songs in
their own native language. He realized that in his own hometown Tuao, people slowly
forget to use their own native language – Itawes, due to factors such as intercultural
marriage. He also observed that Eucharistic Celebration often uses songs in the foreign
language due to lack of Itawes liturgical songs. This triggered him to start writing songs
in his native language for the Itawes people to have a more meaningful liturgical service
and to preserve the Itawes language.
The Analysis of Itawes Roman Catholic Liturgical Songs 8
 He originally wrote the liturgical songs “Marim Mahurung” or Don’t Worry, “Ya
Ultimo Nga Paggiram” or The Last Supper, and “Itahung Mi” or We Offer while the other
Itawes liturgical songs were only translated by him. “Marim Mahurung” or Don’t worry
was first sang in Tuao Parish around 2004 during the Good Friday Mass. “Ya Ultimo Nga
Paggiram” or The Last Supper was introduced in 2005 during the Holy Thursday. The
latest among them all, “Itahung Mi” or We Offer was introduced on December 2017
Midnight Mass. Having sung all these songs in different parishes in Itawes region,
especially in Tuao, Cagayan, elders became more emotional and young people are
starting to embrace the language until today. At present, Rev. Fr. Ferdinand Maguigad is
a consultant of Itawes of the Linguistic Society of the Philippines.

II. Sociological Approach

The current situation in the society when the composer wrote the lyrics of the
song was the need to alter the view of people as regards the Roman Catholic liturgical
songs. Since there were still no Itawes songs ever recorded in the society, Rev. Fr.
Ferdinand Maguigad came up with an idea that the parishes must appreciate their local
ideology. This incidence has driven the elders with the age of 50 and above of Tuao,
Cagayan to listen to the three authentic songs written by Rev. Fr. Ferdinand Maguigad.
The songs later on were sang during the Eucharistic celebrations in Tuao as well as in
other Itawes region in Cagayan. As days passed by, the elders in the Itawes community
have appreciated more the sanctity of the holy mass. Meanwhile, the clergy in Itawes
region were encouraged to also use the songs as they perform such religious activity.
As supported by the informant, the elders even become expressive during their
Eucharistic celebration since they appreciate more the song through their own language.
Indeed, language affects the society as it now becomes a part of reframing liturgical
identity. Singing of divine identities in liturgical space brought about the essence of
worship to the elders, most specifically in the Itawes region. These songs were
recognized by the churches as the old people of the community continue to use them
during Eucharistic celebrations.

III. Reader-Response Approach

A. Itah-hung Mi

“Itah-hung Mi” or We Offer is usually sung during the Liturgy of the Eucharist in
Roman Catholic Liturgical Celebration. Narrated in the first person point of view, this
song has the theme of unity amidst diversity in culture, faith, and beliefs. “Binarayang”
and “Pan” or wine and bread symbolize the body and blood of Christ offered to people to
cleanse the spirit and be able to spread benevolence on earth just as Jesus did when He
exist. “Ubas” or Grapes represent the people’s work of hands, or the service they render
for God to enter His Kingdom in the afterlife.

“Dakdakal yo nepamasita y Afu nga ayat kanyo totolay ira. Yan ta meppangngat
laman nga eddan tera yo nagagangay para kan iggina.” , which means Christ showed
His great love unto us, His people. It is but right to give back what He deserves, an elder,
aged 59, added.

The Analysis of Itawes Roman Catholic Liturgical Songs 9

 B. Marim Mahurung

The song “Marim Mahurung” or Do Not Worry is a Roman Catholic song that is
usually sung during the communion rites of the Holy Eucharistic celebration. It is a song
narrated in the first person point of view, the Lord, our savior, as the speaker. “Marim
Mahurung” has the theme of having despair being replaced by hope, and conceit being
conquered by humility. Through this song, Jesus Christ tells His people to always have
faith amidst uncertainties in life.

There are symbolisms present in the song such as “Dalan nga mari natunung”, when
translated in English, “A road that is curved”, which denotes the deceiving deeds of
Satan but is being rebuked by the power of the Holy Spirit through the lyrics “Ta megafu
kan ikaw, Yakan e nepatak”, “Because of you, I am nailed in the cross”, which means the
forgiveness and redemption of His people from sin and any form of evil.

An Itawes elderly at the age of 64, appreciated these songs and said,
“Mababbannayan nak nu maginak yaw nga kansyon. Megafu chaw, alle meppatatenat
yo Afu kan yakan nga ayayatan na yakan maski peba aru yo liwat ku kan iggina.” This
Itawes line denotes that satisfaction in the emotional and spiritual domain of people is
achieved upon hearing the lines of this song. The unconditional love of Christ for His
people is expressed in every word that the song speaks

C. Ya Ultimo Nga Paggiram

“Ya Ultimo nga Paggiram” or the Last Supper is also a liturgical song sung in
introducing the Liturgy of the Eucharist. It used the first person point of view and has the
theme of Jesus’ life offering for the redemption of His people from sins. “Pan” or bread in
this song gives relief and takes part as the strength for the weak. “Baggi nga naparihat”
or the body of Christ that suffered signifies His act of lifting His people from grievous sins
and sufferings. “Binarayang” or wine symbolizes the remembrance of blood poured for
the humanity.

In a holistic approach, this song emphasizes that Christ willingly bled to redeem
His people from transgressions and offered His life for people to experience the
kindness of God. This act of Jesus Christ is called as a commemoration of how must
people live their lives.

“Maski hanna yo kwan tera, panonotan tera hinan yo napya para kanni tera antre
kan y Afu.” In whatever things we do, let us think for the good of all especially for the
good of our God, an elder, aged 78, stated.

It is clear in the songs discussed that hope must be rooted from a deep faith in
God. Like the book of Micah in the Holy Bible, this song is full of hope with a firm
reliance to the mighty power of the Almighty. It is noticable that God offers an endless
compassion and trust to His people that despite the earthly actions felt to be highly
reprehensible, His Kingdom still welcomes those who repent and believe in Him.

In addition, Monsignor Benjamin Lasam of Santo Nino Parish and Shrine argued
that this song has a lot of values to impart- love, forgiveness, repentance, faith, and
The Analysis of Itawes Roman Catholic Liturgical Songs 10
hope. As a deep sign of admiration to this song, he recommended that Parishes, which
use Itawes as means of delivering a Eucharistic celebration, must use this song to
sanctify the people and to make the celebration more meaningful.

DISCUSSION
The primary purpose of this study was to analyze the Itawes Roman Catholic
liturgical songs using the different literary approaches. Basically, the lyrics were
composed by the informant authentically in Itawes. Thus, this is not a duplicate of any
research work. Itawes Roman Catholic liturgical songs are spiritual in nature, and they
present theological values.

The crucial observation for literary critiques is the recognition that every act of
communication has three dimensions: Author, Message, and Audience or Listeners. A
better acquaintance will be with a particular act of communication when the target
readers know about the original author, the actual message produced by the author, and
the original audience. An awareness of this tri-partite character of communication is for
great help for literary critiques. The study found out that the approaches used in
analyzing the three songs namely- “Itah Hung Mi” or We Offer, “Marim Mahurung” or
Don’t Worry and “Ya Ultimu Nga Paggiram” or the Last Supper were of great help in
finding out why the author wrote them in the first place.

Moreover, Rev. Fr. Ferdinand Maguigad’s Itawes Roman Catholic liturgical songs
speak of: acknowledgment of God as the Creator and Provider, expression of man’s
gratitude to the Father through Jesus Christ, recognition of man’s gratitude worthiness to
face God because of His mercy, expressing man’s gratitude to God because of His
immeasurable goodness, acknowledgment of Christ as the sacrificial lamb for man’s
transgressions, the offering of Christ’s body and blood to the Father as a Paschal
sacrifice, knowing the substantiality of God’s limitless love for a man, acceptance of the
unifying power of prayer and the acknowledgement of Christ as the ultimate redeemer
(Rowman, 2016). Catholic church music is circumscribed by its place in the divine
service; the limits of its expression and its forms are clearly set by the shape of the
liturgy (Fellerer, 1999).

Every line contains a striking message and is deep in thought since deeper
Itawes words were used. As supported by the informants, elders of Tuao even become
emotional during their Eucharistic celebration since they appreciate more the song
through their own language. This has been proven by the informants since they attend to
the Eucharistic celebration. Sacred music is a universal phenomenon of humanity where
there is faith, there is also music to express it (Swain, 2016). The Catholic church has
always sought a dynamic balance between the expressive and the formative attributes of
liturgical music (Schaefer, 2008). Though these Itawes Roman Catholic liturgical songs
are not yet widely known by the Itawes Region, they are still being recognized by the
churches as the old people of the community continue to use them during Eucharistic
celebrations.

These Itawes Roman Catholic liturgical songs have a wonderful power to quicken
thought and awaken sympathy, to promote harmony of action, and to banish the gloom
and foreboding that destroy courage and weaken effort. Hence, Itawes Roman Catholic

The Analysis of Itawes Roman Catholic Liturgical Songs 11

liturgical songs were made to serve a holy purpose, to lift the thoughts to that which is
pure, noble, and elevating, and to awaken in the soul devotion and gratitude to God
(Dickson, 2014).

CONCLUSION

This study concludes that the Itawes Roman Catholic liturgical songs
were written by the author to let the audience or listeners appreciate more the
Eucharistic celebration. This enables them to reflect in the message brought by the
songs. Also, this would help them sustain the Itawes language. Itawes Roman Catholic
liturgical songs were alternative music not only from a clerical but also from a cultural
point of view; the function of Itawes Roman Catholic liturgical songs in listeners’ religious
folk life, their experience during listening to these songs. Whereas many elders suggest
that these songs should be embraced and recognized even by the Itawes young adults
since these are literary products of their own.

RECOMMENDATIONS

Based on the results, Itawes Roman Catholic liturgical songs are rich in religious
concepts and that members of the Christian community should consider incorporating
Itawes Roman Catholic liturgical songs in the Eucharistic celebration for this can be a
good tool for the songs to be more meaningful and easily understood.

Also, it is recommended to discover more Itawes Roman Catholic liturgical songs

for the study suggests that celebrating Eucharistic events using Itawes makes the
celebration more meaningful especially to the elders as proved by the informant being
the parish priest himself. Church attendees specifically elders could appreciate more the
celebration by meditating the message of the song in their own language. Researchers
in Itawes region are advised to conduct more researches in the songs and music of the
Itawes.

The Analysis of Itawes Roman Catholic Liturgical Songs 12

REFERENCES

Abrenica, V. E.. (1998). Music as a Tool for Values Education. Layag, 3(1). Retrieved
from http://ejournals.ph/form/cite.php?id=1401

Allen, R. (2013). Bursting Bubbles:‘Soap Opera. Audiences, and the Limits of Genre’, in
Remote Control: Television, Audiences and Cultural Power, eds. by Ellen Seiter,
Hans Borchers, Gabriele Kreutzner, and Eva-Maria Warth (London and New
York: Routledge, 1989), 44-54.

Aquino, Ernestina. (1983). The Itawes way of life as reflected in their literature.
Unpublished Master Theses of Saint Paul University.

Asad, T. (2009). Genealogies of religion: Discipline and reasons of power in Christianity

and Islam. JHU Press.

Attfield, R. (2000). Christianity and nature. A companion to environmental philosophy,

96-110.

Batson, C. D., Naifeh, S. J., & Pate, S. (2000). Social desirability, religious orientation,
and racial prejudice. Journal for the Scientific Study of Religion, 31-41.

Berkenkotter, C., & Huckin, T. N. (2016). Genre knowledge in disciplinary

communication: Cognition/culture/power. Routledge. Retrieved on June 7,
2018 from https://scholar.google.com/scholar?um=1&ie=UTF-
8&lr&cites=8488425098809212828

Cuarteros, J. C, (2016). The Social Life of the Itawes as Reflected in the Major Themes
of their Literature. International Journal Advances in Social Science and
Humanities, Vol. 4 Issue 03, 28-36

Cuddon, JA., (1999). The Penguin Dictionary of Literary Terms and Literary Theory.
London: Penguin. Retrieved on June 7, 2018 from
https://ac.elscdn.com/S1877042815022454/1-s2.0-S1877042815022454-
main.pdf?_tid=8e75a9a9-f592-4fc0-8e95-
78d0eb5e4805&acdnat=1529288864_e2818279d76dcbf446e5f8c3e1afd050

Dickson, T. (2014). Contemporary Worship Music and its Implications for Adventist
Music Ministry in Africa. Retrieved on June 7, 2018 from
https://www.researchgate.net/publication/283499011_Contemporary_Worship_
Music_and_Its_Implications_for_Adventist_Music_Ministry_in_Africa

Gordon, D. (2005). Translation Theory. Retrieved on August 28, 2018 from

http://www.bible-researcher.com/gordon.html

Hoban, T. (2008). The Powerful Role of Music in Society. Retrieved on June 7, 2018
from https://musicmagic.wordpress.com/2008/07/10/music-in-society/#more-29

The Analysis of Itawes Roman Catholic Liturgical Songs 13

Howlett, M. (2012). Song means : Analysing and interpreting recorded popular song by
Allan Moore.Journal on the Art of Record Production online-online. Retrieved
on June 7, 2018 from https://eprints.qut.edu.au/56744/2/56744.pdf

Huckin, T. et al., (1992). Second language reading and vocabulary learning. Albex
Publishing Corporation. Retrieved on June 7, 2018 from
https://scholar.google.com/scholar_lookup?hl=en&author=+Hucki
%2C+T.author =+Hayes%2C+M.author=+Coady
%2C+J.&title=Second+language+reading+an d+vocabulary+learning

Kinga, S. (2001). The Attributes and Values of Folk and Popular Songs. Retrieved on
June 7, 2018 from
http://www.bhutanstudies.org.bt/publicationFiles/JBS/JBS_Vol3No1/5.songs.pdf

Leaver, R. (1998). Liturgy and Music: Lifetime Learning. ISBN: 978-0-8146-2501-9,

2501. Retrieved on June 7, 2018 from
https://litpress.org/Products/2501/Liturgy-And-Music

Leitch, V. (2000). Literary Criticism in the 21st Century:Theory Renaissance. London:

Bloomsbury, 2014. ISBN 978-1-4725-2770-7. Retrieved on July 26, 2018 from
http://home.olemiss.edu/~egjbp/spring97/litcrit.html

Leonard, R. (2005). Music and Worship in the Bible. Retrieved on June 7, 2018 from
https://www.laudemont.org/a-mawitb.htm

Mackenzie, J. (2005). Holden's public university and its Rawlsian silence on religion.
Educational Philosophy and Theory, 44(7), 686-706.

Moore, A. F, (2012). Song Means: Analysing and Interpreting Recorded Popular Song.
Journal on the Art of Record Production. ISSN: 1754-9892. Retrieved on June
7, 2018 from http://arpjournal.com/song-means-analysing-and-interpreting-
recorded-popular-song/

Nolasco, L. (2006). Values and Themes as Reflected in the Ybanag Folk Literature of
the First District of Isabela. Unpublished Master Degree's Dissertation.
University of Saint Louis, Tuguegarao City, Cagayan

Ojukwu, E. V. (2017). Music Education: A Vehicle for Fostering Positive Youth

Development. UJAH: Unizik Journal of Arts and Humanities, 18(2), 489-506.

Ox, J. (2014). Analogy and Conceptual Blending are Part of a Visualization Toolkit for
Artists and Scientists: Introducing the Cognitive Space Transfer. Proceedings of
the IEEE VIS2014 Arts Program VISAP’14: Art + Interpretation.

Peck, J. & Coyle, M. (2002). Literary Terms and Criticism. Retrieved on July 26, 2018
from https://www.macmillanihe.com/page/detail/literary-terms-and-criticism-
john-peck/?sf1=barcode&st1=9780333962589

The Analysis of Itawes Roman Catholic Liturgical Songs 14

Raj, A., & Dean, K. E. (2005). Burnout and depression among Catholic priests in India.
Pastoral Psychology, 54(2), 157-171.

Robinson, D. K. (2011). Teaching the Contemporary Worship Singer. In S. D. Harrison

(Ed.), Perspectives on teaching singing: Australian vocal pedagogues sing their
stories (pp. 276–292).Brisbane, QLD: Australian Academic Press. Retrieved on
June 7, 2018 from https://www120.secure.griffith.edu.au/rch/file/a6e0fbc7-2dce-
895f-bf5f-f72bdccbf30d/1/Robinson_2011_02Thesis.pdf

Ruth Oakley, L., & Susan Kinmond, K. (2005). Developing safeguarding policy and
practice for spiritual abuse. The Journal of Adult Protection, 16(2), 87-95.

Saussure, F. (2002). Literary Theory. Retrieved on July 26, 2018 from

https://www.iep.utm.edu/literary/

Segler, F. M., & Bradley, R. (2006). Christian Worship: Its Theology and Practice (3rd
Edition ed.). Nashville, TN: B&H Publishing Group. Retrieved on June 7, 2018
from https://www120.secure.griffith.edu.au/rch/file/a6e0fbc7-2dce-895f-bf5f-
f72bdccbf30d/1/Robinson_2011_02Thesis.pdf

Selden, R. (2000) A Reader's Guide to Contemporary Literary Theory. Retrieved on July

26, 2018 from https://www.persee.fr/doc/rbph_0035-
0818_1992_num_70_3_3845_t1_0758_0000_2

Stanke, A., & Taylor, M. (2004). Religiosity, Locus of Control, and Superstitious Belief.
Journal of Undergraduate Research, 7(1), 1-5.

Swales, John M. 2004: Research Genres: Explorations and Applications. Cambridge:

Cambridge University Press. Retrieved on June 7, 2018 from
https://www.researchgate.net/publication/292718121_Methodological_Issues_i
n_Genre_Analysis

Tony, B. (2003). Literary Theory: An Introduction. Retrieved on June 7, 2018 from

https://mthoyibi.files.wordpress.com/2011/05/literary-theory_an-
introduction_terry-eagleton.pdf

White, E. (2003). Music: Its Role, Qualities and Influence. Retrieved on June 7, 2018
from http://www.whiteestate.org/issues/music.html

Zambas, D. (2011). The Importance of Music Within Society. Retrieved on June 7, 2018
from https://www.raggeduniversity.co.uk/2012/10/12/importance-music-society-
daniel-zambas/

The Analysis of Itawes Roman Catholic Liturgical Songs 15

The Analysis of Itawes Roman Catholic Liturgical Songs 16
The Analysis of Itawes Roman Catholic Liturgical Songs 17
The Analysis of Itawes Roman Catholic Liturgical Songs 18
The Analysis of Itawes Roman Catholic Liturgical Songs 19
The Analysis of Itawes Roman Catholic Liturgical Songs 20
The Analysis of Itawes Roman Catholic Liturgical Songs 21
The Analysis of Itawes Roman Catholic Liturgical Songs 22
The Analysis of Itawes Roman Catholic Liturgical Songs 23
The Analysis of Itawes Roman Catholic Liturgical Songs 24
The Analysis of Itawes Roman Catholic Liturgical Songs 25
The Analysis of Itawes Roman Catholic Liturgical Songs 26
The Analysis of Itawes Roman Catholic Liturgical Songs 27
The Analysis of Itawes Roman Catholic Liturgical Songs 28
The Analysis of Itawes Roman Catholic Liturgical Songs 29
The Analysis of Itawes Roman Catholic Liturgical Songs 30
The Analysis of Itawes Roman Catholic Liturgical Songs 31
The Analysis of Itawes Roman Catholic Liturgical Songs 32
The Analysis of Itawes Roman Catholic Liturgical Songs 33
The Analysis of Itawes Roman Catholic Liturgical Songs 34
The Analysis of Itawes Roman Catholic Liturgical Songs 35
The Analysis of Itawes Roman Catholic Liturgical Songs 36
The Analysis of Itawes Roman Catholic Liturgical Songs 37
The Analysis of Itawes Roman Catholic Liturgical Songs 38
The Analysis of Itawes Roman Catholic Liturgical Songs 39
 CURRICULUM VITAE

Personal Information

Name : Mayrich M. Taguba

Address : Lanna, Enrile, Cagayan
Date of Birth : January 28, 1999
Age : 19
Mother’s Name : Thelma M. Taguba
Father’s Name : Mario T. Taguba Sr.

Educational Background

Tertiary : University of Saint Louis Tuguegarao

Mabini Street, Ugac Sur, Tuguegarao, Cagayan
Bachelor of Secondary Education major in English
S.Y. 2015- Present

Secondary : Magalalag National High School

Magalalag West, Enrile, Cagayan
S.Y. 2011-2015

Primary : Lanna Elementary School

Lanna, Enrile, Cagayan
S.Y. 2005-2011

The Analysis of Itawes Roman Catholic Liturgical Songs 40

 CURRICULUM VITAE

Personal Information

Name : Mary Joyce T. Iquin

Address : Capatan, Tuguegarao City, Cagayan
Date of Birth : October 13, 1998
Age : 19
Mother’s Name : Villa A. Tagacay
Father’s Name : Ormel C. Iquin

Educational Background

Tertiary : University of Saint Louis Tuguegarao

Mabini Street, Ugac Sur, Tuguegarao, Cagayan
Bachelor of Secondary Education major in English
S.Y. 2015- Present

Secondary : Cagayan National High School

Taft Street, Tuguegarao City, Cagayan
S.Y. 2011-2015

Primary : Capatan Elementary School

Capatan, Tuguegarao City, Cagayan
S.Y. 2005-2011

The Analysis of Itawes Roman Catholic Liturgical Songs 41

 CURRICULUM VITAE

Personal Information

Name : Bryan James M. Maddela

Address : Bagay, Tuguegarao City, Cagayan
Date of Birth : April 16, 1999
Age : 19
Mother’s Name : Josefa M. Maddela
Father’s Name : Gaspar M. Maddela Jr.

Educational Background

Tertiary : University of Saint Louis Tuguegarao

Mabini Street, Ugac Sur, Tuguegarao, Cagayan
Bachelor of Secondary Education major in English
S.Y. 2015- Present

Secondary : Cagayan National High School

Taft Street, Tuguegarao City, Cagayan
S.Y. 2011-2015

Primary : Bagay Elementary School

Bagay, Tuguegarao City, Cagayan
S.Y. 2005-2011

The Analysis of Itawes Roman Catholic Liturgical Songs 42

49