[32], Improvisation was a vital aspect of the traditional role of kulintang music as entertainment for the entire community. And it is also a universe of exquisite folk art. The strict rules that normally govern play are often ignored and the performers are usually between people well acquainted with one another, usually close family members. Forces of assimilation have constantly worked to overcome cultural differences between the various ethnic groups that are scatteredsometimes in relative isolationthroughout the archipelago. , Muang Lao), is a landlocked country in the heart of the Indochinese peninsula of Mainland Southeast . Usopay Cadar (2001) traces such popularity of kulintang music to a confluence between two sets of aspects: (1) attributes of music (secular instrumental music played in small size ensemble); and (2) nature and changing social climate of the host country (lure of ancient tradition, public funding of arts, increasing ethnic awareness). The gongs weigh roughly from two pounds to three and 1/8 pounds and have dimensions from 610 inches for their diameters and 35 inches for their height. These are the main and general guidelines in conforming kulintang repertoire. Country of manufacturer as determined according to preset rules like value add rules, tariff shift or transformational process. ", Danongan S. Kalanduyan, "Maguindanaon Kulintang Music: Instruments, Repertoire, Performance, Contexts, and Social Functions", Yoshitaka Terada, "Variational and Improvisational Techniques of Gandingan Playing in the Maguindanaon Kulintang Ensemble", Karen L. Posner, "A Preliminary Analysis of Style in Maguindanoan Kulintang Music", Scott Scholz, "The Supportive Instruments of the Maguindanaon Kulintang Music.". Hornbostel-Sachs instrument classification system was created by Erich Moritz von Hornbostel and Curt Sachs. The kulintang frame is known as an "antangan" by the Maguindanao (which means to arrange) and "langkonga" by the Maranao. fear thy neighbor julia ames; drama techniques examples; dawes elementary school hours [45] Generally played after all kamamatuan pieces have been played to give younger musicians the opportunity to participate. [10] Called apad, these renditions mimic the normal speaking tones of the Maguindanao language, creating a specific message or, through the use of double entendre, a social commentary understood by nearly any adult native Maguindanao speaker. It is a small, four-stringed guitar-like instrument that is made from a coconut husk. The Maguindanaon is known for his mastery of the indigenous kutyapi instrument. KULINTANGAN: A STUDY OF PRODUCTION PROCESS The Sama are spread in many parts of Mindanao. Kulintang Percussionist 1 "San Pedro, USA - September 8, 2007: Performers from ""Pakaraguian Kulintang Ensemble"" at the 16th Annual Festival of Philippine Arts & Culture (FPAC). On the gandingan, suitors send their love interests sweet messages through apad, tones that mimic human speech in the poetic language of Maguindanao.Messages may also be sent on the kulintang and agong. "Reviewed Work: Sama de Sitangkai by Alan Martenot and Jose Maceda. Unlike all other pieces in the kulintang repertoire, binalig is sometimes performed as a solo for public kulintang performances. Traditionally, kulintang performers are volunteers[6] and their only reward is the opportunity to receive recognition, prestige and respect from the community. It is also based upon the pentatonic scale. [32], New styles, such as the Maguindanaos kagungudan and the Maranaos bago, are fast, rhythmic and showy. [12], Kulintang music generally could be found as the social entertainment at a host of different occasions. [46] Listeners in the audience expected players to surprise and astound them by playing in their own unique style, and by incorporating improvisation to make newer versions of the piece. [34], These general genres could be further grouped among each other into styles/subcategories/stylistic modifiers,[16] which are differentiated from one another based on instrumentation, playing techniques, function and the average age and gender of the musicians as well. [22], As ancient as this music is, there has never been substantial data recorded regarding the kulintang's origins. The last name Kulintang is the 1,244,200 th most numerous family name worldwide, held by approximately 1 in 39,180,354 people. The Rio Grande of Mindanao. Though these melodies vary even within groups like the Maguindanao and Maranao, one theme which characterizes the Sulu-type is the exchange of short melodic phrases between the kulintangan and the Agungs, where both instruments imitate and duplicate each other's rhythms very quickly. together with the kulintang and other gongs. The framework of kulintang music is more flexible and time intervals are nonexistent, allowing for more improvisation and greater variety of composition.[3]. The babandil is a single narrow- rimmed gong that's often used aa timekeeper in the Kulintang ensemble. [20] As with gamelan orchestras, each kulintang mode has a basic theme, which the kulintang player dresses up by adding ornamentation, and manipulating segments by inserting repetitions, extensions, insertions, suspensions, variations and transpositions. Kulintang music likely evolved from this simple signaling tradition, transitioning into a period consisting of one player, one-gong type ensembles (like those found among the Ifugao of Luzon or Tiruray of Mindanao), developing into a multi-gong, multiplayer ensemble with the incorporation of concepts originating from Sunda (Indonesian) and finally transforming into the present day kulintang ensemble, with the addition of the dabakan, babandil and musical concepts of Islam via Islam traders. Kulintang music most likely evolved from this simple signaling tradition, transitioning into a period of one player, one-gong type ensembles (like those found among the Ifugao of Luzon or Tiruray of Mindanao), developing into a multi-gong, multi-player ensemble with the incorporation of concepts originating from Sunda, and finally transforming into the present day kulintang ensemble, with the addition of the dbakan, babndir and musical concepts of Islam brought by Islamic traders. [21] Great variation exists between each set due to differences in the form, size and shape, and metal alloy used, giving each kulintang set a unique pitch level, intervals and timbre. For instance, the Tausug have three identifiable compositionsKuriri, Sinug, and Lubak-Lubakthe Yakan have twoTini-id and Kuririand the Dusun have threeAyas, Kudidi and Tidung. It was his dedication in the early 80's that created the cultural awareness in the Fil-Am community of San Franccisco that sparked a cultural movement. First, standardized titles weren't considered a priority. [5] It is played by striking the bosses of the gongs with two wooden beaters. Meanwhile, in the early 20th century, Francisca Reyes-Aquino described the Kumintang as the circular hand and wrist movement popularly known as "kunday". Due to the fact it is orally transmitted, the repertoire itself is considered something always in a state of flux due to two primary reasons. This piece also accompanies the contests of gandingan playing. "North Borneo Gongs and the Javanese Gamelan." In the Philippines, it represents the highest form of gong . [27], The main role of kulintang music in the community is as nonprofessional, social entertainment. [6] It is also prohibited during the mourning period of the death of important person, during funerals, and during the peak times of the planting and harvest season. No. [2] Called apad, these renditions mimic the normal speaking tones of the Maguindanao language, creating a specific message or, through the use of double entendre, a social commentary understood by nearly any adult native Maguindanao speaker. Lanao del Sur is the homeland of the Maranao people. Tradition and repertoire in the cultivated music of the Tausug of Sulu, Philippines. [41] Therefore, the kulintang player functions not only as the one carrying the melody, but also as the conductor of the entire ensemble. This is a motif that resonates with all working folks, and I won't even go into the hundreds of great songs dealing with this from the West's . "Reviewed Work: Sama de Sitangkai by Alan Martenot and Jose Maceda." Though these melodies vary even within groups, one theme which characterizes the sulu-type is the exchange of short melodic phrases between the kulintangan and the agungs, where both instruments imitate and duplicate each others rhythms very quickly. An Agung is a percussion instrument used by the ethnic groups in the Philippines. Oellana, Dionisio, and Efren Endriga. ", Matusky, Patricia. For the musicians, the emphasis was on the excitement and pleasure of playing the music, without concern for the name of a piece. Because kulintang-like ensembles extended over various groups with various languages, the term used for the horizontal set of gongs varied widely. Login . For the musicians, the emphasis is on the excitement and pleasure of playing the music without much regard to what the piece was referred to as. [7] When either of them brought their own students, from universities such as University of Washington or San Francisco State University, to Mindanao to play the kulintang in front of their own people, a renaissance of sorts occurred. Manila Bulletin USA: Kababayan Ed. (Spring Summer, 1996), pp. One theory suggest that the bronze gong had an ancient history in Southeast Asia, arriving in the Malay archipelago two or even three thousand years ago, making its way to the Philippines from China in the third century C.E. [38] This tuning system, not based upon equal temperament or upon a system of standard pitches but on a similar/certain pattern of large and small intervals, could also be found among the gamelan orchestras of western Indonesia. It is the only aerophone found in the Javanese gamelan (see Gamelan besi ), but is also played solo throughout Java for personal entertainment. Clevaland: Clark, 1903. [27], Though the variety of rhythms could result in innumerable different patterns, rhythmic modes can be generally categorized into genres according to criteria such as the number of beats in a recurring musical phrase, differences in the melodic and rhythmic groups with the musical phrase, differences in the rhythmic emphasis, and differences in the opening formulas and cadential patterns. The country of origin will be china. [10], Kulintang instrument has uses other than public performances. [17] Gulintangan or gulingtangan literally means rolling hands in Brunei, Sabah and Sulu[18], By the twentieth century, the term kulintang had a come to denote an entire Maguindanao ensemble of five to six instruments. Kulintang music is comprised of modes, with a prescribed rhythm for each of the five instruments in the ensemble, and compositions are passed down orally without any formal notation. Journal of Southeast Asian Studies 25(1994): 141173. [42], Generally, performances can be classified as either formal ones or informal. How to use kulintang in a sentence. It is used during large feasts, at festive and harvest gatherings, for entertainment of visiting friends and relatives, and at parades. is that "gamelan" is a genre of music of Indonesian origin typically featuring metallophones, xylophones, drums, gongs and a bamboo flute and "kulintang" is an ancient form of instrumental music of Southeast Asia, played on a row of small, horizontally-laid melodic gongs accompanied by larger suspended gongs and drums. [33] Listeners in the audience expected players to surprise and astound them by playing in their own unique style, and by incorporating improvisation to make newer versions of the piece. 1. This type of ensemble is similar to the kulintang . The kulintang is a type of metal gong that is played using sticks. Ethnomusicology Research Digest 4(1993): 55102. Though rhythmic or melodic differences between patterns are not identified with specific names, as they are by the Maguindanao, each group has its own musical compositions. Kulintang (Indonesian: kolintang, Malay: kulintangan) is a modern term for an ancient instrumental form of music composed on a row of small, horizontally laid gongs that function melodically, accompanied by larger, suspended gongs and drums.As part of the larger gong-chime culture of Southeast Asia, kulintang music ensembles have been playing for many centuries in regions of the Eastern . [29] The gongs are laid in the instrument face side up atop two cords/strings running parallel to the entire length of the frame, with bamboo/wooden sticks/bars resting perpendicular across the frame, creating an entire kulintang set called a "pasangan".[30]. Asian Music Vol. An Introduction to the Traditional Musical Instruments of Sabah. Dreamstime is the world`s largest stock photography community. Agung and Kulintang This is a gong-based musical ensemble commonly used in funerals and weddings in East Malaysia. [15] This is the basis of the rhythmic mode. With the expansion of Bruneian empire which at some point encompassed the island of Borneo and souther Philippine, the tradition of kulintang was adopted by the inland Dayak tribes. [19], The kulintang is traditionally considered a womens instrument by many groups: the Maguindanao, Maranao, Tausug and Sukul, Samal, Badjao and Sama, Illanum, Kadazan, Murut, Bidayuh and Iban. Musical contests, particularly among the Maguindanao, have become a unique feature of kulintang performances. The instrument called the kulintang (or its other derivative terms) consist of a row/set of 5 to 9 graduated pot gongs, horizontally laid upon a frame arranged in order of pitch with the lowest gong found on the players left. [18] Kulintang music also plays a significant role at state functions; it is used during official celebrations, the entertainment of foreign dignitaries, court ceremonies of either the sultanate or village chieftains, enthronements and coronations of new leaders, and the transferal of a sultanate from one family to another. Philippine flutes made of bamboo have different blowing end. Kulintang is believed to have evolved from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sunda. The new double CD Kulintang Kultura: Danongan Kalanduyan and Gong Music of the Philippine Diaspora produced by Smithsonian Folkways is a musical celebration of cultural diversity in the United States. Sachs, Curt. [35] As with gamelan orchestras, each kulintang mode has a kind of theme the kulintang player dresses up by variations of ornamentation, manipulating segments by inserting repetitions, extensions, insertions, suspensions, variations and transpositions. The gongs are laid face up in the instrument on two cords running parallel to the entire length of the frame, with bamboo or wooden bars resting perpendicularly across the frame, to create an entire kulintang set called a pasangan.[8]. The most popular and artistic way of playing the kulintang is the kapagonor, where the various styles of holding the basal (decorated sticks used in beating the kulintang pieces) are shown. Its association with the indigenous cultures that inhabited these islands prior to the influences of Hinduism, Islam, Christianity or the West make kulintang the most developed tradition of Southeast Asian archaic gong-ensembles. Curt Sachs (1881-1959) was a German musicologist known for his extensive study and . Technically, kulintang is the Ternate, Mollucas, Maguindanaon, Lumad and Timor term for the idiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set. [43] However, apad is falling into disuse because times have changed, and the necessity of its use for long-distance communication purposes has faded away. Certainly, gamelan seems to have been a feature of court life during the 8th to 11th centuries, among the Hindu and Buddhist kingdoms of Java, Sumatra, and . With new pieces continuously proliferating, pieces created only decades ago are now considered old, even though the tradition of kulintang music spans many centuries. In the Philippines, it represents the highest form of gong music attained by Filipinos[16] and in North Maluku, it is said to have existed for centuries. The word "kaplogo," from logo (sound), refers to the vocal music repertoire classified according to the themes or subjects and the manner in which these . Sets of five bronze gong-chimes and a gong making up the totobuang ensembles of Buru island in Central Maluku have also come to disuse. [46] The Maranao on the other hand have only three typical genresKapromayas/Romayas, Kapagonor/Onor, and Katitik Pandai/Kapaginandang. "Music from the Tausug of Sulu: Moslems of the Southern Philippines. Marawi City: University Research Center, Mindanao State University, 1980. [14] Another theory suggests that the kulintang could not have existed prior to the fifteenth century because the Javanese gong tradition, from which the kulintang is believed to derive, did not develop until around the fifteenth century. [3] The correct tuning is found by ear, with players striking a sequence of gongs, looking for a melodic contour they are familiar with.[20]. One theory suggest that the bronze gong had an ancient history in Southeast Asia, arriving in the Indonesian archipelago two or even three thousand years ago, making its way to the Philippines from China in the third century AD. ", Schramm, Adelaida Reyes. Due to its use across a wide variety groups and languages, the kulintang is also called kolintang by theMaranao and those in Sulawesi . [17] These performances usually were times when amateurs practiced on the instruments, young boys and girls gathered the instruments, substituting the kulintang with the saronay and inubab. [22] Genres classified under this style have moderate tempos, are rhythmically-oriented, balanced, and lack many improvisations. The agung is also ubiquitous among other groups found in Palawan . The frame can be crude, made from simple bamboo/wooden poles, or it can be highly decorated and rich with traditional okil/okir motifs or arabesque designs. In supply chain and logistics, country of origin usually refers to the country of manufacturer. The gongs weigh roughly from two pounds to three pounds each, and have dimensions of 6 to 10inches for their diameters and 3 to 5inches for their height. "The Supportive Instruments of the Maguindanaon Kulintang Music. 4. Today, the existence of kulintang music is threatened by the influence of globalization, and the introduction of Western and foreign ideals into the region. Lost at Sea: The strange route of the Lena Shoal junk. 2. ", Inge Skog, "North Borneo Gongs and the Javanese Gamelan. This chapter is the story of the meeting of various cultures which for purposes of typology is dubbed in this work as the originals referring to the indigenous My Kulintang journey began in 2012, during which I heard more kulintang music over a short period of time than I'd heard during 26 years of living in Manila. : 8. [1] Kulintang music also accompanies ceremonies marking significant life events, such as weddings and annual pilgrimages returning to and from Mecca. Kulintang music doesn't come from just one cultural group. [19] The first phase is the creation of wax molds of the gongs. 2. between 1900 and 1940, Group portrait of Ambonese with musical instrument of Kulintang in Ambon, Maluku, Indonesia. 123130. [15], There is a consensus that kulintang music developed from a foreign musical tradition which was borrowed and adapted to the indigenous music tradition already present in the area. This sample of Taggungo is used only to accompany healing rituals with trance dancers performing the dance. [27], Kulintang music has no set compositions due to its concept of rhythmic modes. Kulintang music was once used for communicating long distance messages from one village or longhouse to another. ed. Marawi City: University Research Center, Mindanao State University, 1980. annual pilgrimages returning to and from Mecca, Traditional Music of the Southern Philippines, Magindanaon Kulintang Music: Instruments, Repertoire, Performance Contexts, and Social Functions, A Comparison of Music of the Philippines and Sulawesi, Kulintang: A musical tradition of the Philippines, https://www.newworldencyclopedia.org/p/index.php?title=Kulintang&oldid=1044820, Creative Commons Attribution/Share-Alike License, Kulintang a Kayo - Gandingan a Kayo - Kulintang a Tiniok - Kubing - Luntang - Agung a Tamlang Kagul Palendag Tumpong Suling - Kutiyapi, Cadar, Usopay H. "The Role of Kolintang Music in Maranao Society. [41] An example of this could be found among the Maguindanao where the word binalig is used by contemporary musicians as a name for one of the rhythmic modes associated with kangungudan but it has also been used as a term designating a new style. The tradition of kulintang music has been waning throughout the Eastern Malay Archipelago, and has become extinct in many places where it may have once played a greater role. It has a diameter of . Edward M. Frame, "The Musical Instruments of Sabah, Malaysia. It is a single musical instrument composed of 7-8 gongs laid horizontally on a stand. [27], Generally, performances can be classified as either formal or informal. [6] If a player simply imitated a preceding player, playing patterns without any improvisation, the audience members would believe her to be repetitious and mundane. Kulintang of the Southern Philippines is part of a larger, ancient gong and chime tradition found throughout Southeast Asia. When playing the kulintang, the Maguindanao and Maranao would always sit on chairs while for the Tausug/Suluk and other groups that who play the kulintangan, they would commonly sit on the floor. It has several names that vary depending on the region, such as babendir in Maguindanao, and Babndir for the Maranao people. [2], Kulintang music is also used to accompany healing ceremonies, rituals (pagipat), and animistic religious ceremonies. "The Supportive Instruments of the Maguindanaon Kulintang Music." Ethnomusicology 26(1982): Matusky, Patricia. [42], Though allowing such a variety of rhythms would lead to innumerable patterns, generally one could categorize these rhythmic modes on the basis on various criteria such as the number of beats in a recurring musical phrase, differences in the melodic and rhythmic groups with the musical phrase, differences in the rhythmic emphasis, and differences in the opening formulas and cadential patterns. [4] The earliest historical accounts of instruments resembling those of the present day kulintang are in the writings of various European explorers from the sixteenth century who observed such instruments used in passing. [31] A rhythmic mode (or designation or genre or pattern) is defined as a musical unit that binds together the entire five instrument ensemble. This is a story of a remarkable traditional Maguindanaon musician nicknamed Tokan who plays for village celebrations and who also makes kulintangan instruments which are currently in . Yup, that's how diverse the country is. Like the other two, kulintang music is primarily orchestral, with several rhythmic parts stacked one upon another in a prescribed order. a. European accounts of the . Frame, Edward M.. "The Musical Instruments of Sabah, Malaysia." "Maranao Kolintang Music and Its Journey in America.". (2020) History, development and influence of kulintang music to the cultural heritage (adat-betad) of Maguindanaon. [39] Traditionally, unmarried daughters were kept in a special chamber in the attic called a lamin, off-limits to visitors and suitors. [17], The kulintang is played by striking the bosses of the gongs with two wooden beaters. Kalanduyan, Danongan S. "Maguindanaon Kulintang Music: Instruments, Repertoire, Performance, Contexts, and Social Functions." Cultural life Cultural milieu. Combes, Francisco. Origins of Gamelan. Asian Music 2(1971): Maceda, Jose M.. 1991. The Maguindanao hold unique solo gong contests, in which individual players showcase their skill on the various ensemble instruments, the agung, gandingan and the kulintang. [20] Though the Maguindanao, Maranao and Tausug artists technically have no concept of scale, because of the emphasis placed on the concept of rhythmic modes, the Pelog and Slendro scales of western Indonesia were found to be most compatible with their own varying pentatonic and heptatonic scales. This enhanced its popularity among students from all over the country. [10] Kolintang sets of bossed kettle gongs were played in Gorontalo, North Sulawesi long ago, but that traditiona has all but disappeared, replaced by what locals are presently familiar with, a slab-key instrument known as a kolintang.[31] The fact that some areas were able to keep kulintang tradition alive during European colonization has caused kulintang to be aptly termed, the music of resistance., Today, the existence of kulintang music is threatened by the influence of globalization, and the introduction of Western and foreign ideals into the region. [26] Therefore, the kulintang player functions not only as the one carrying the melody, but also as the conductor of the entire ensemble. Kulintang (Indonesian: kolintang,[13] Malay: kulintangan[14]) Unlike westernized instrumentation, there is no set tuning for kulintang sets throughout the Philippines. Because of this, kulintang music was one of the rare socially approved vehicles for interaction among the sexes. By the time he was 35 years old, he was already recognized in Maganoy for his skills in playing the instrument as well . It is also called kolintang, kolintan, kulintangan,[9] kwintangan, klintang, gong sembilan, gong duablas, momo, totobuang, nekara,[10] engkromong, kromong/enkromong and recently, kakula/kakula nuada. The kulintang of the Manobo'sis a musical instrument made up of a series of gongs laid out a horizontal fashion. Kulintang music has no set compositions due to its concept of rhythmic modes. [31], The kulintang players ability to improvise within the parameters of a rhythmic mode is essential. The extent of kulintang tradition in the Philippines, particularly in the Northern and Central islands of the Luzon and Visayas, will never be fully known due to the harsh realities of three hundred years of Spanish colonization. The Maranao Man. What are the musical . Kiefer, Thomas M.. Music from the Tausug of Sulu: Moslem of the Southern Philippines. [45], New styles such as the Maguindanao's kagungudan and the Maranao's bago, are considered fast, rhythmic and showy. During the playful folk dance, two teams, one representing each side, circle and clash bamboo sticks in a gentle imitation of martial arts sparring. From the video clips you have seen, identify the instruments' country of origin of each instrument and classify each using the Hornbostel-Sachs classification . To cite this article click here for a list of acceptable citing formats.The history of earlier contributions by wikipedians is accessible to researchers here: The history of this article since it was imported to New World Encyclopedia: Note: Some restrictions may apply to use of individual images which are separately licensed. Dance Philippines folk dances including Tinikling and Cariosa. In 1968, at the University of the Philippines, eminent ethnomusicologist Professor Jos Maceda ushered in a new interest in kulintang music with the kulintang Master, Aga Mayo Butocan. Manny Dragon is a martial arts instructor who teaches the Villabrille-Largusa Kali System in the San Francisco Bay Area. The recitative and simple two note music of Philippines originated as a result of the trade relations with different races such as the Arabs, Chinese, Indonesians, Japanese, Malaya, Hindus and the Indo Chinese. In supply chain and logistics, country of origin usually refers to the cultural (. ( 1971 ) kulintang country of origin 55102 the creation of wax molds of the Tausug Sulu. Just one cultural group is primarily orchestral, with several rhythmic parts stacked one upon in! Have constantly worked to overcome cultural differences between the various ethnic groups that are in. Asian Studies 25 ( 1994 ): 55102 creation of wax molds of the Maguindanaon kulintang music has set... 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