", Usopay Hamdag Cadar, "Maranao Kolintang Music and Its Journey in America. [3] It is probable that the earliest gongs used among the indigenous populace had no recreational value, but were simply used for making signals and sending messages.[1]. Because compositions were passed down orally from generation to generation,[24] kulintang repertory was unfettered by an indigenous notation system. Asian Music 2(1971): Maceda, Jose M.. Skog, Inge. . Blair, Emma, and James Robertson. Asian Music Vol 16. To India, in fact! [37] Though the tuning varies greatly, there does exist some uniformity to contour when same melody heard on different kulintang sets. The groundwork for this Renaissance originated as early as 1978 through the work of one of the early cultural pioneers and activists amongst Filipino Americans, Robert Kikuchi-Yngojo. Iligan City: MSU Iligan Institute of Technology, 1984. It has a diameter of . Kulintang music is a tradtional gong based musical form originating in the Southern Philippines and Indonesia." kulintang stock pictures, royalty-free photos & images [25] Traditionally, the playing of the kulintang was associated with the graceful, slow, frail and relaxed movements that commonly represented elegance and decorum among females. is that "gamelan" is a genre of music of Indonesian origin typically featuring metallophones, xylophones, drums, gongs and a bamboo flute and . Kunst, Jaap. Clevaland: Clark, 1903. [17] It was only when she was allowed to play during kulintang performances that suitors were allowed to view her. Traditionally, kulintang performers are volunteers[6] and their only reward is the opportunity to receive recognition, prestige and respect from the community. 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 Indonesia, Southern Philippines, Eastern Malaysia, Brunei and Timor,[15] Kulintang evolved from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sundanese people in Java Island, Indonesia. Marawi City: University Research Center, Mindanao State University, 1980. [31] These performances are important in that they bring people in the community and adjacent regions together, helping unify communities that otherwise may not have interacted with one another. Because it is orally transmitted, the repertoire itself is always in a state of change. in accordance with New World Encyclopedia standards. Goddio, Franck. Due to its use across a wide variety of groups and languages, the kulintang is also called kolintang by the Maranao and those in Sulawesi, kulintangan by those in Sabah and the Sulu Archipelago and totobuang by those in central Maluku. [16], Kulintang music was also crucial in relation to courtships[44] due to the very nature of Islamic custom, which did not allow for unmarried men and women to intermingle. Despite the Philippines being a nation of many different ethnicities and religions, the Filipino people have a strong sense of cultural identity, centred around the language of Tagalog, which is the most widely-spoken language in the country. [29] Apad is falling into disuse since it is no longer needed for communication. ", 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.". Kulintang-like instruments are played by the Maguindanao, Maranao, Iranun, Kalagan, Kalibugan and more recently the Tboli, Blaan and Subanao of Mindanao, the Tausug, Samal, Sama/Badjao, Yakan and the Sangir/Sangil of the Sulu, the Ambon, Banda, Seram, Ternate, Tidore, and Kei of Maluku, the Bajau, Suluk, Murut, Kadazan-Dusan, Kadayah and Paitanic Peoples of Sabah, the Malays of Brunei, the Bidayuh and Iban/Sea Dayak of Sarawak, the Bolaang Mongondow and Kailinese/Toli-Toli of Sulawesi and other groups in Banjermasin and Tanjung. [16], Philippine kulintang music has had a revival of sorts due to the work of Philippine-born, U.S.-educated musicians/ethnomusicologists Master Danongan "Danny" Kalanduyan and Usopay Cadar, as well as their predecessor Professor Jos Maceda. [South San Francisco] 13 OCT 2005, natl. The Singkil Wikipedia page notes: The Singkl originated from the Maranao people who inhabit the shores of . With new pieces continuously proliferating even up till now, pieces only created decades ago are now considered old even though this is considered a tradition spanning many centuries. Kulintang is a Philippine musical instrument that looks like the gong/drums mixed. [50][51], Two dancers and a group of musicians of Kulintang in Buru Regency, Maluku, Indonesia. [17], The kulintang is played by striking the bosses of the gongs with two wooden beaters. [16] For the Maguindanao, three to five typical genres can be distinguished:[41] Duyug, Sinulog, Tidtu, Binalig and Tagonggo. [3] Another theory lays doubt to the former claim, suggesting the kulintang could not have existed prior to the 15th century due to the belief that Javanese (Indonesian) gong tradition, which is what the kulintang was believed to be derived from, developed only by the 15th century. 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. [45], New styles such as the Maguindanao's kagungudan and the Maranao's bago, are considered fast, rhythmic and showy. 2. 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. These are the main and general guidelines in conforming kulintang repertoire. The kulintang of the Manobo'sis a musical instrument made up of a series of gongs laid out a horizontal fashion. 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. 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. The Philippine Palabuniyan Kulintang musicians performing the kulintang instruments which is the music of the Maguindanao people. As an impressionable 1 -year-old, I d eveloped a sense of pride and awareness of my Philippine heritage learning diverse genres of Philippines music and dances with the Samahan Filipino American Performing Arts and Education Center. [40] Traditionally, the playing of the kulintang was associated with graceful, slow, frail and relaxed movements that showed elegance and decorum common among females. Generally, they consist of five to six instruments dominated of course by a melody-playing gong row that functions as a lead/central melodic instrument for the entire ensemble. Along with it begin called kulintang, it is also called kolintang, kolintan, kulintangan,[21] kwintangan, klintang, gong sembilan, gong duablas, momo, totobuang, nekara,[22] engkromong, kromong/enkromong and recently kakula/kakula nuada. Listen to music by Kulintang on Apple Music. 1. The kulintang may refer to: the series of graduated knobbed gongs laid in a row; the individual knobbed gong in the series; and the ensemble that is composed of other instruments such as agong (pair of heavy hanging gongs), dabakan (goblet-shaped drum), gandingan (four suspended gongs) and babandir (small metallic gong). The tongali, the nose flute of the Kalinga of Northern Luzon, has a small hole bored through its center that is placed against the nostril of the player.The paldong or Kalinga lip-valley flute has a valley . [32] For the first time in history, kulintang music is now formally taught to music students at several universities located throughout Metro Manila. [19] Traditionally the Maguindanao term for the entire ensemble is basalen or palabunibunyan, the latter term meaning an ensemble of loud instruments or music-making or in this case music-making using a kulintang.[20], Kulintang belongs to the larger unit/stratum of knobbed gong-chime culture prevalent in Southeast Asia. [15], The extent of past kulintang tradition in the Philippines, particularly in the Northern and Central islands of Luzon and the Visayas, will never be fully known due to the harsh realities of three hundred years of Spanish colonization. [17], The makeup of kulintang ensembles throughout the region can vary widely from group to group. [34] Standard performance pieces for musical productions differ because young players practice before an event, and rarely rely on improvisations. Quezon City: University of the Philippines Press, 1998. Netherlands: The Hague, 1949. Free or royalty-free photos and images. Though to the musicians themselves the melodies would sound similar, the labels they would place on a particular rhythmic mode or style could vary even from household to household within that same village. [19] The first phase is the creation of wax molds of the gongs. Asian Music Vol. The Manobo's are a people indigenous to the Philippines. Titles of compositions were never standardized; though musicians recognized a particular melody among themselves, the labels they placed on a particular rhythmic mode or style could vary even from household to household within that same village. [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. Kulintang evolved from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sundanese people in Java Island, Indonesia. [10], As ancient as this music is, there is no substantial record regarding the kulintangs origins. 121182. However, kulintang music differs in many aspects from gamelan music. [31] Traditionally they were made from bronze but due to the disruption and loss of trade routes between the islands of Borneo and Mindanao during World War II, resulting in loss of access to necessary metal ores, and the subsequent post-war use of scrap metal, brass gongs with shorter decaying tones are now commonplace. [16] Ensembles didn't necessary have to have five instruments like formal performances: they could be composed of only four instruments (three gandingan gongs, a kulintang, an agung, and a dabakan), three instruments (a kulintang, a dabakan, and either an agung or three gandingan gongs) or simply just one instrument (kulintang solo). 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 Among ethnomusicologists, it is the most widely used system for classifying musical instruments. [6], Kulintang music can be used for communicating long distance messages from one village or longhouse to another. An overview of the music-cultures of the province of Maluku. "Is Malaku still musicological "terra incognita." Unlike westernized instrumentation, there is no set tuning for kulintang sets throughout the Philippines. Asian Music XXVII.2 (1996): 318. In the past, before the availability of standardized wax sheets made specifically for foundry use, the molds were made out of either beeswax (talo) or candle wax (kandila). The layers are then left to dry under the sun, after which the entire mold is heated in a furnace to melt away the wax and hardening the coal/mud mixture, leaving behind a hollowed shell. 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. Magindanaon kulintang repertoire. [31]Tagunggo cannot be easily classified under one of these styles, being more ritualistic than recreational in nature. Because kulintang-like ensembles extended over various groups with various languages, the term used for the horizontal set of gongs varied widely. Vives, E.D.. Many of the younger generation of Maguindanao and Maranao were encouraged to play their traditional music by the sight of outsiders playing the kulintang. Nha Nhac was generally featured at the opening and closing of ceremonies associated with anniversaries, religious holidays, coronations, funerals and official receptions. [4] The wax mold is covered with a special mixture of finely-powdered coal and mud, which is applied on the wax surface using a brush. 123130. The greatest difference is the way in which a gamelan ensemble constructs melodies within a skeletal framework of tones, with a prescribed time interval for the entry of each instrument. Lost at Sea: The strange route of the Lena Shoal junk. The Maranao Man. This is clearly seen in the Tausug Sinug and Yakan Tini-id and Kuriri compositions where this sort of jousting becomes a game of skill and virtuoso playing.[12]. 4. 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. [15] This is the basis of the rhythmic mode. Due to the Islamic custom which did not allow unmarried men and women to intermingle[24], Kulintang music also played a crucial role in courtships[30] as a rare, socially approved vehicle for interaction among the sexes. What does kulintang mean? Agung and Kulintang This is a gong-based musical ensemble commonly used in funerals and weddings in East Malaysia. Kulintang music is considered an ancient tradition that predates the influences of Islam, Christianity, and the West. The frame is a necessary part of the instrument, and functions as a resonator. In the Southern Philippines, particularly among the Magindanaon-Maranao and Tausug-Samal-Yakan peoples, "the kulintang ensemble is often considered as the most cultivated of the . Even the word kulintang is believed to be just an altered form of the Sundanese word kolenang. : 8. 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. Having its origin from the Visayas area, and it means hunchbacked which perfectly describes the instrument's arched back. [26] Therefore, the kulintang player functions not only as the one carrying the melody, but also as the conductor of the entire ensemble. London: Periplus, 2002. Scholz, Scott. They are usually played by the elders and are therefore always played first, to give due respect to the older generation. 2. This is an example of kamamatuan style of the Maguindanao. Like the other two, kulintang music is primarily orchestral, with several rhythmic parts stacked one upon another in a prescribed order. 2. Nha Nhac, meaning "elegant music", refers to a broad range of musical and dance styles performed at the Vietnamese royal court from the fifteenth to the mid-twentieth century. [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. [16] It is played by striking the bosses of the gongs with two wooden beaters. [5] Informal ensembles dont necessarily require five instruments like formal performances; they can be composed of only four instruments (three gandingan gongs, a kulintang, an agung, and a dabakan), three instruments (a kulintang, a dabakan, and either an agung or three gandingan gongs) or simply just one instrument (kulintang solo). (Spring Summer, 1996), pp. Subanen The original people of Zamboanga were the Subanen of Indonesian origin who came at about 2,000 to . From the video clips you have seen, identify the instruments' country of origin of each instrument and classify each using the Hornbostel-Sachs classification . [10], Kulintang music is prohibited from being played inside mosques[27] and during Islamic observances and holidays, such as the fasting month (Ramadhan), where playing is only allowed at night during the time when observants are allowed to eat. This occurs at the discretion of the kulintang player. Kulintang music doesn't come from just one cultural group. Guide to Babendil. The kulintang frame, known as an antangan (to arrange) by the Maguindanao and langkonga by the Maranao, may have crude designs made from only bamboo poles, or be highly decorated with rich artistic designs like the traditional okir (okil) motifs or arabesques. . It has several names that vary depending on the region, such as babendir in Maguindanao, and Babndir for the Maranao people. The tradition of kulintang music has been slowly dying as it is replaced with modern forms of entertainment. Country of last process or activity thereby creating the finished good. ", Terada, Yoshitaka. Guide to Agung. No. [27] Traditionally, unmarried daughters were kept in a special chamber in the attic called a lamin, off-limit to visitors and suitors. "An Introduction to the Major Instruments and Forms of Traditional Malay Music." society usually begins to perform kulintang music as a form of family entertainment. Oellana, Dionisio, and Efren Endriga. The kulintang, thought to have been brought from China in the third century . Country that owns the technology behind the product. [26] Today, both women and men play all five instruments, and the kulintang is no longer seen strictly as a womans instrument. [17] Musicians see performances as an opportunity to receive recognition, prestige and respect from the community and nothing more. This enhanced its popularity among students from all over the country. Binalig is also played for kulintang contests. [12] With this hardened mold, molten bronze is poured down the mold's mouth cavity, cooled to a certain degree, then the coal/mud is broken apart, revealing a new gong. [22] Though the tuning varies greatly, there does exist some uniformity of contour when same melody is heard on different kulintang sets. [3] Young musicians, specifically young men, gravitate toward this style because of its emphasis on virtuosity and individualism. Posner, Karen L. "A Preliminary Analysis of Style in Maguindanao Kulintang Music." Mercurio, Philip Dominguez. 2. [6], Kulintang gongs are cast using the cire perdue method, a lost-wax process. ", Usopay H. Cadar and Robert Garfias, "Some Principles of Formal Variation in the Kolintang Music of the Maranao. [27], Kulintang music has no set compositions due to its concept of rhythmic modes. [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. The last name Kulintang is the 1,244,200 th most numerous family name worldwide, held by approximately 1 in 39,180,354 people. [16], Sulu-type compositions on the kulintangan are found among the Tausug, Samal, Yakan, Sama/Badjao, Iranun and Kadazan-Dusun. [22] Genres classified under this style have moderate tempos, are rhythmically-oriented, balanced, and lack many improvisations. [19] This common contour results in similar interval relationships of more or less equidistant steps between each of the gongs. New York: W.W. Norton & Co., Inc, 1940. [17] If a player simply imitated a preceding player, playing patterns without any improvisation, the audience members would believe she/he to be repetitious and mundane. [42], Musical contest, particularly among the Maguindanao, have become a unique feature of these kulintang performances. This sample of Taggungo is used only to accompany healing rituals with trance dancers performing the dance. [32], The kulintang is played by striking the bosses of the gongs with two wooden beaters. 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. Tremillio, Ricardo (1972). (Spring Summer, 1996), pp. [32] These styles are usually played after all kamamatuan pieces have been played, to give younger musicians the opportunity to participate. It is played informally in the home for the enjoyment of family members. He is also an accomplished kulintang player and has been a member of the Palabuniyan Kulintang Ensemble since 1999. It is a small, four-stringed guitar-like instrument that is made from a coconut husk. Credit is due under the terms of this license that can reference both the New World Encyclopedia contributors and the selfless volunteer contributors of the Wikimedia Foundation. [12] Young musicians, specifically young men, gravitate toward this style because of its emphasis on virtuosity and one's individualism. We know that there are over 7,000 islands in the Philippines. Unfortunately, however, we have very few good sources of information from the early period. 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