Informal performances are quite the opposite. Like the other two, kulintang music is primarily orchestral with several rhythmic parts orderly stacked one upon another. 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]. "Expedition into ETHS 545: Music of the Southern Philippines" Manila Bulletin USA: Kababayan Ed. It is a small, four-stringed guitar-like instrument that is made from a coconut husk. In most cases, the product wholly obtained in one country may have a far better quality than others. Traditionally, kulintang performers are volunteers[6] and their only reward is the opportunity to receive recognition, prestige and respect from the community. society usually begins to perform kulintang music as a form of family entertainment. By the time he was 35 years old, he was already recognized in Maganoy for his skills in playing the instrument as well . . [12] Young musicians, specifically young men, gravitate toward this style because of its emphasis on virtuosity and one's individualism. Journal of Southeast Asian Studies 25(1994): 141173. 121 relations. Asian Music XXVII.2 (1996): 3352. 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. Asian Music XXVII.2 (1996): 318. Musical contests, particularly among the Maguindanao, have become a unique feature of kulintang performances. It is the only aerophone found in the Javanese gamelan (see Gamelan besi ), but is also played solo throughout Java for personal entertainment. [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]. 105122. Meanwhile, in the early 20th century, Francisca Reyes-Aquino described the Kumintang as the circular hand and wrist movement popularly known as "kunday". "Variational and Improvisational Techniques of Gandingan Playing in the Maguindanaon Kulintang Ensemble." [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. This article abides by terms of the Creative Commons CC-by-sa 3.0 License (CC-by-sa), which may be used and disseminated with proper attribution. Samaon Sulaiman was a Filipino musician who is a recipient of the National Living Treasure award. This article focuses on the Philippine Kulintang traditions of the Maranao and Maguindanao peoples. 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. Kunst, Jaap. Forces of assimilation have constantly worked to overcome cultural differences between the various ethnic groups that are scatteredsometimes in relative isolationthroughout the archipelago. Technically, kulintang is the Maguindanao, Ternate and Timor term for the idiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set. [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. [18] Modern techniques include twirling the beaters, juggling them in midair, changing the arrangement of the gongs either before or while playing, crossings hands during play or adding very rapid fire strokes, all in an effort to show off a players grace and virtuosity. We know that there are over 7,000 islands in the Philippines. During the playful folk dance, two teams, one representing each side, circle and clash bamboo sticks in a gentle imitation of martial arts sparring. ", Matusky, Patricia. [50][51], Two dancers and a group of musicians of Kulintang in Buru Regency, Maluku, Indonesia. ", Schramm, Adelaida Reyes. 123130. Cadar, Usopay Hamdag (1971). Anun as a music without a message, is used instead to express sentiments and feelings, and has come more and more into use due to its compatibility with the musical elaborations and idiosyncratic styles of the times. [3] Young musicians, specifically young men, gravitate toward this style because of its emphasis on virtuosity and individualism. Ann Harbor, MI: University of Michigan, 2005. Country of manufacturer as determined according to preset rules like value add rules, tariff shift or transformational process. 4. [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. 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. [47] This also explains why set performance pieces for musical productions are different in some respectyoung men/women would be practicing before an event, therefore rarely relying on improvisations. It is played by striking the bosses of the gongs with two wooden beaters. The framework of kulintang music is more flexible and time intervals are nonexistent, allowing for more improvisation and greater variety of composition.[3]. [10], Kulintang instrument has uses other than public performances. [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 music ensembles have been playing for many centuries in regions of the Eastern Indonesia, Southern Philippines, Eastern Malaysia, Brunei and . 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. [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. [8] During the playing of these pieces, a ritual specialist dances in rhythm with the music calling on the help of ancestral spirits (tunong). There are a number of reasons to celebrate. During formal performances adherents follow a traditional set of rules that would govern playing and it usually involved people from outside the home. [45] Generally played after all kamamatuan pieces have been played to give younger musicians the opportunity to participate. Kulintang music doesn't come from just one cultural group. [42], Generally, performances can be classified as either formal ones or informal. Though this practice has died out among the Maranao because of Islam, some areas in Mindanao, Sabah and Malaku still practice this ancient tradition. 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. 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. Even the word kulintang is believed to be just an altered form of the Sundanese word kolenang. [19], These genres can be further categorized into styles, or stylistic modifications,[5] which are differentiated from one another based on instrumentation, playing techniques, function and the average age and gender of the musicians. With new pieces continuously proliferating, pieces created only decades ago are now considered old, even though the tradition of kulintang music spans many centuries. This is an example of kamamatuan style of the Maguindanao. [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. [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. Origins of Gamelan. ", Usopay H. Cadar, "The Role of Kolintang Music in Maranao Society. Terada, Yoshitaka. Flutes are cylindrical tubes stopped on one end, blown across a hole at the head, setting into vibration its air column inside. The tradition of kulintang music has been slowly dying as it is replaced with modern forms of entertainment. 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). 1. [19] The first phase is the creation of wax molds of the gongs. [16] It is played by striking the bosses of the gongs with two wooden beaters. [39] Traditionally, unmarried daughters were kept in a special chamber in the attic called a lamin, off-limits to visitors and suitors. together with the kulintang and other gongs. The History of Musical Instruments. [32], The kulintang 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). ", Kartomi, Margeret J. 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. [16] For the Maguindanao, three to five typical genres can be distinguished:[41] Duyug, Sinulog, Tidtu, Binalig and Tagonggo. 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. Download Kulintang stock photos. ISBN links support NWE through referral fees. 2. The kulintang player's ability to improvise within the parameters of a rhythmic mode is a must. It is used during large feasts, at festive and harvest gatherings, for entertainment of visiting friends and relatives, and at parades. 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 harden the coal and mud mixture, leaving behind a hollowed shell. Binalig is also played for kulintang contests. Formal performances follow a traditional set of rules that govern playing, and usually involve people from outside the home. Asian Music XXVII.2 (1996): 5379. The Legacy Bernard A young Bernard (L) with Kulintang master artist Danongan "Danny" Kalanduyan. ", Cadar, Usopay Hamdag. [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). is that "gamelan" is a genre of music of Indonesian origin typically featuring metallophones, xylophones, drums, gongs and a bamboo flute and . 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 . He is working to put the the two ancient arts together - Philippine kulintang music, and Philippine martial arts - as was done in the distant past. [26] This music is unique in that it is considered public music; members of the audience are also expected to participate. Netherlands: The Hague, 1949. 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. Its dance form is the comedia (a theatrical dance, also called moro-moro) and features a battalla (choreographed skirmish). It is considered taboo to step or cross over the antangan while the kulintang gongs are placed on it. The kulintang repertoire has no fixed labels because the music itself is not considered a fixed entity. [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. 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 . 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. 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. 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). On a sheet of paper, make a Venn Diagram that can describe both musical ensembles. [1][2], Though different theories abound as to the exact centuries the kulintang was finally realized, 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. Kulintang music is considered an ancient tradition that predates the influences of Hinduism, Islam, Christianity, and the West. [33] Kulintang music also plays a significant role during state functions, used during official celebrations, entertaining of foreign dignitaries and important visitors of distant lands, court ceremonies of either the sultanate or village chieftains, enthroning/coronations of a new leader and the transferral of a sultanate from one family to another. The latter devised a notation system and wrote Palabunibunyan, a collection of kulintang music pieces from Maguindanaowhich made its study more accessible. Kulintang music is also played at state functions, and to accompany healing ceremonies, rituals (pagipat), and animistic religious ceremonies. [5] They occur at almost all the formal occasions mentioned above, particularly at weddings. 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. The Maguindanaon Kulintang: Musical Innovation, Transformation and the Concept of Binalig. . ", Margeret J. Kartomi, "Is Malaku still musicological "terra incognita." [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. Look at each picture and try to guess its country of origin and identify how it is played. 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. [41] This music is unique in that it is considered a public music in the sense everyone is allowed to participate. 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 . Babandil or Babendil is a narrow-rimmed gong that is primarily used in the Maguindanao kulintang ensemble as a timekeeper. In the Philippines, it represents the highest form of gong . However, kulintang music differs in many aspects from gamelan music. Kulintang music is considered an ancient tradition that predates the influences of Islam, Christianity, and the West. 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 . (Spring Summer, 1996), pp. Posner, Karen L. "A Preliminary Analysis of Style in Maguindanao Kulintang Music." It was developed in 1914 by two European musicologists, despite their own fears that such a systematic system was nearly impossible. They occur at almost all the formal occasions mentioned above, particularly at weddings despite... 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