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. It is a small, four-stringed guitar-like instrument that is made from a coconut husk. With that, the tradition of kulintang was expanded to include various tribe ceremonies such as before and after head-hunting expeditions and silat. The latter devised a notation system and wrote Palabunibunyan, a collection of kulintang music pieces from Maguindanaowhich made its study more accessible. 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. Based on the etymology, two routes have been proposed as the route for the kulintang to Mindanao: One from Sunda, through Banjermasin, Brunei and the Sulu Archipelago, a route where the word kulintangan is commonly used for the horizontal row of gongs; The other from Sunda, thru, Timor, Sulawesi, Moluccas and Mindanao where the word kolintang/kulintang is commonly seen. 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. 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. 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. ", Usopay H. Cadar, "The Role of Kolintang Music in Maranao Society. During the playful folk dance, two teams, one representing each side, circle and clash bamboo sticks in a gentle imitation of martial arts sparring. Maceda, Jose. [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. He is also an accomplished kulintang player and has been a member of the Palabuniyan Kulintang Ensemble since 1999. This type of ensemble is similar to the kulintang . Asian Music XXVII.2 (1996): 318. This occurs at the discretion of the kulintang player. . (Spring Summer, 1996), pp. 121182. Generally, ensembles consist of five to six instruments, dominated by a melody-playing gong row that functions as a lead melodic instrument for the entire ensemble.[37][38]. 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. Meanwhile, in the early 20th century, Francisca Reyes-Aquino described the Kumintang as the circular hand and wrist movement popularly known as "kunday". The difference between gamelan and kulintang. [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. The kulintang repertoire has no fixed labels because the music itself is not considered a fixed entity. Mercurio, Philip Dominguez. It is the only aerophone found in the Javanese gamelan (see Gamelan besi ), but is also played solo throughout Java for personal entertainment. Today, the existence of kulintang music is threatened by the influence of globalization, and the introduction of Western and foreign ideals into the region. "Variational and Improvisational Techniques of Gandingan Playing in the Maguindanaon Kulintang Ensemble." [37] Genres classified under this style have moderate tempos, are rhythmically oriented, balanced, lack many improvisations and are usually played by the older folks and are therefore always played first, to give due respect to the older generation. An Agung is a percussion instrument used by the ethnic groups in the Philippines. This piece also accompanies the contests of gandingan playing. Also common in other Southeast Asian countries like Indonesia, Malaysia, and Brunei, the kulintang is a traditional Filipino instrument composed of eight bronze gongs sitting in a row, each with different pitches. [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. ISBN links support NWE through referral fees. The framework of kulintang music is more flexible and time intervals are nonexistent, allowing for more improvisation and greater variety of composition.[3]. The Music of Maguindanao in the Philippines. Expedition into ETHS 545: Music of the Southern Philippines." [34] This common counter results in similar interval relationships of more or less equidistant steps between each of the gongs. The agung is also ubiquitous among other groups found in Palawan . 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. Subanen The original people of Zamboanga were the Subanen of Indonesian origin who came at about 2,000 to . : 8. "The Supportive Instruments of the Maguindanaon Kulintang Music. Because it is orally transmitted, the repertoire itself is always in a state of change. Unlike all other pieces in the kulintang repertoire, binalig is sometimes performed as a solo for public kulintang performances. Kulintang 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. Because of this, kulintang music was one of the rare socially approved vehicles for interaction among the sexes. Traditionally, kulintang performers are volunteers[6] and their only reward is the opportunity to receive recognition, prestige and respect from the community. Look at each picture and try to guess its country of origin and identify how it is played. 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. 27, No. [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. bonang,[1] kenong, canang, keromong,[2] kromong, kethuk, trompong/terompong, rejong, talempong,[3] chalempung, caklempong/caklempung,[2] khong wong yai/khong wong lek, khong toch/ khong thom, khong vong, krewaing/krewong[4]. [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. ", Scholz, Scott. Born on 3 March 1953, Sulaiman first learned playing kutyapi at around 13 years old from his uncle. [28], In Borneo, the kulintang was originally played during the harvest festival and the Bruneian court. 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. [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. Traditionally, when performers play kulintang music, their participation is voluntary. The kulintang gong itself is believed to have been one of those foreign musical elements incorporated into kulintang music, derived from the Sundanese kolenang due to its striking similarities. Gaerlan, Barbara. The improvisation inherent in kulintang compositions meant that modes and styles were continually revised and changed as they were passed on to a newer generation of musicians, making the pieces and any labels attached to them relevant only during a certain time frame. 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. [25][26][27], Because of limited data concerning gong music prior to European exploration, theories abound as to when the prototypes of what is now the kulintang came to be. [28][7] Performances bring people of adjacent regions together, helping to unify communities that otherwise may not have interacted with one another. Login . [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. During formal performances adherents follow a traditional set of rules that would govern playing and it usually involved people from outside the home. Kulintang (Indonesian: kolintang,[13] Malay: kulintangan[14]) Kiefer, Thomas M.. Music from the Tausug of Sulu: Moslem of the Southern Philippines. It is considered taboo to step or cross over the antangan while the kulintang gongs are placed on it. [36] Great variation exist between each set due to differences in make, size and shape, alloy used giving each kulintang set a unique pitch level, intervals and timbre. Maranao Traditional Brasscasting. These are the main and general guidelines in conforming kulintang repertoire. In the Southern Philippines alone, where kulintang is mostly heard, has several Kulintang-playing ethnic tribes including Maguindanao, Maranao . 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 Origins of Gamelan. At informal performances, the strict rules that normally govern play are often ignored and the performers are usually people well-acquainted with one another, such as close family members. Yup, that's how diverse the country is. [12] Young musicians, specifically young men, gravitate toward this style because of its emphasis on virtuosity and one's individualism. [5] It is played by striking the bosses of the gongs with two wooden beaters. In sociology, culture is defined as "what is common to a group of individuals and as what ties them together". Samaon Sulaiman was a Filipino musician who is a recipient of the National Living Treasure award. [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. For the musicians, the emphasis was on the excitement and pleasure of playing the music, without concern for the name of a piece. 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. The Tausug have three identifiable compositionskuriri, sinug, and lubak-lubak; the Yakan have twotini-id and kuriri; and the Dusan have threeayas, kudidi and tidung. [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. [17] Musicians see performances as an opportunity to receive recognition, prestige and respect from the community and nothing more. Ethnomusicology Research Digest 4(1993): 55102. Kulintang of the Southern Philippines is part of a larger, ancient gong and chime tradition found throughout Southeast Asia. Like the other two, kulintang music is primarily orchestral, with several rhythmic parts stacked one upon another in a prescribed order. ", Margeret J. Kartomi, "Is Malaku still musicological "terra incognita." [16], Sulu-type compositions on the kulintangan are found among the Tausug, Samal, Yakan, Sama/Badjao, Iranun and Kadazan-Dusun. [4], The instrument called the kulintang (or its other derivative terms) consists of a row/set of 5 to 9 graduated pot gongs, laid horizontally upon a frame and arranged in order of pitch, with the lowest gong on the players left. However, kulintang music differs in many aspects from gamelan music. The History of Musical Instruments. Philippine Muslim Kulintang: Music of Modernization. Though there exist no identifiable rhythmic or melodic differences between patterns with names such as the Maguindanao, each group has their own music compositions. The other is from Sunda, through Timor, Sulawesi, Moluccas and Mindanao where the word kolintang or kulintang is commonly used. It marks Folkways's first release of an album of Filipino music in sixty years (the previous release was in 1961 by Jos Maceda, the leading . ", Cadar, Usopay H., and Robert Garfias. Magindanaon kulintang repertoire. 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. [17] It was only when she was allowed to play during kulintang performances that suitors were allowed to view her. [34] Standard performance pieces for musical productions differ because young players practice before an event, and rarely rely on improvisations. 2. 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. London: Periplus, 2002. Due to its use across a wide variety groups and languages, the kulintang is also called kolintang by the people of Sulawesi and the Maranao, totobuang by those in central Maluku, kulintangan and gulintangan by those in Brunei, Sabah, North Kalimantan and the Sulu Archipelago. [17] It is also prohibited during the mourning period of the death of an important person, during funerals, and during the peak times of the planting and harvest season. [36] They are responsible for bringing kulintang music to the shores of the United States during the late twentieth century in an attempt to help connect contemporary Filipino American culture with ancient tribal traditions through music. The gong is refined, cleaned, and properly identified by the panday (gong-maker). [5] The earliest historical accounts of instruments resembling those of the present day kulintang are in the writings of various European explorers from the 16th century who would have seen such instruments used in passing. 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. [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. [19] This common contour results in similar interval relationships of more or less equidistant steps between each of the gongs. [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. The Maranao Kolintang Music: An Analysis of the Instruments, Musical Organization, Ethmologies, and Historical Documents. 4. The Kulintang is the 24th Instrument in my music/travel series.Recommended kulintang video: http://www.youtube.com/watch?v=__X7eTzJvmYAll media is educationa. Kalanduyan, Danongan S. "Maguindanaon Kulintang Music: Instruments, Repertoire, Performance, Contexts, and Social Functions." The kulintang player's ability to improvise within the parameters of a rhythmic mode is a must. [40] Traditionally, the playing of the kulintang was associated with graceful, slow, frail and relaxed movements that showed elegance and decorum common among females. [36] Sets of five bronze gong-chimes and a gong, which make up the totobuang ensembles of Buru island in Central Maluku, have also come into disuse. [49] Through the work of Professor Robert Garfias, both Cadar and Kalanduyan began teaching and performing traditional kulintang music in the United States during the late 20th century; quite unexpectedly, the music became a bridge between contemporary Filipino American culture and ancient Philippine tribal traditions.[32]. [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. 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. 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). [41] This music is unique in that it is considered a public music in the sense everyone is allowed to participate. From the video clips you have seen, identify the instruments' country of origin of each instrument and classify each using the Hornbostel-Sachs classification . Asian Music XXVII.2 (1996): 1932. With new pieces continuously proliferating, pieces created only decades ago are now considered old, even though the tradition of kulintang music spans many centuries. It is played informally in the home for the enjoyment of family members. Even the word kulintang is believed to be an altered form of the Sundanese word kolenang.[16] These similarities led theorists to conclude that the kulintang was originally imported to the Philippines during the migration of the kolenang through the Malay Archipelago. Terada, Yoshitaka. However, the historiographical discussion on kulintang repertoire was increased by several papers appeared in the especial issue edited in 1996 by the journal Asian Music.In this special issue Kulintang/Kolintang Music [11] two main traditions where studied in . [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. "Reviewed Work: Sama de Sitangkai by Alan Martenot and Jose Maceda. . [15] This is the basis of the rhythmic mode. How to use kulintang in a sentence. Kulintang is a Philippine musical instrument that looks like the gong/drums mixed. To India, in fact! Among the numerous musical genres that . New York: W.W. Norton & Co., Inc, 1940. Music in Java. [32], Improvisation was a vital aspect of the traditional role of kulintang music as entertainment for the entire community. Ann Arbor: University Microfilms, 1963. [11][12][13], Because of limited data concerning gong music prior to European exploration, theories explaining when the prototypes of the present-day kulintang might have originated abound. Curt Sachs (1881-1959) was a German musicologist known for his extensive study and . a. European accounts of the . "Music from the Tausug of Sulu: Moslems of the Southern Philippines. 105122. kulintang music ensembles have been playing for many centuries in regions of the Eastern Indonesia, Southern Philippines, Eastern Malaysia, Brunei and . It is considered one of the region's three major gong ensembles, alongside the gamelan of western Indonesia and piphat of Thailand, Burma, Cambodia and Laos, which use gongs and not wind or string instruments to carry the melodic part of the ensemble. The country of origin is different from where the product sells. An overview of the music-cultures of the province of Maluku. In fact, the most well known contemporary players of the kulintang are men. Cadar, Usopay H.. "The Role of Kolintang Music in Maranao Society. 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. Technically, kulintang is the Maguindanao, Ternate and Timor term for theidiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set. 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. Nevertheless the kulintang ensemble is the most advanced form of music from before the late 16th century and the legacy of hispanization in the Philippine archipelago. We know that there are over 7,000 islands in the Philippines. [South San Francisco]13 OCT 2005, natl.ed. [45], This emphasis on improvisation was essential due traditional role of the music as entertainment for the entire community. ", Usopay H. Cadar and Robert Garfias, "Some Principles of Formal Variation in the Kolintang Music of the Maranao. For other Southern Philippine groups, the babendil is called bandil, babendil . [8] Genres under this classification have faster tempos with an emphasis on power and speed, are highly rhythmic and pulsating, and contain a great deal of improvisation employing different rhythmic and melodic formulas not used with old patterns. ", Terada, Yoshitaka. 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. Hornbostel-Sachs instrument classification system was created by Erich Moritz von Hornbostel and Curt Sachs. Kulintang is a modern term for an instrumental form of music composed on a row of small, horizontally-laid gongs that function melodically, accompanied by larger, suspended gongs and drums. [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. [48] Another example concerns the discrepancy among old and new genres. The term refers to both the instrument, which comprises eight knobbed gongs laid horizontally on a wooden frame; as well as the larger ensemble, which includes several other suspended gongs and drums. Kulintang is a modern term for an instrumental form of music composed on a row of small, horizontally-laid gongs that function melodically, accompanied by larger, suspended gongs and drums. The Maguindanaon Kulintang: Musical Innovation, Transformation and the Concept of Binalig. [46] The Maranao on the other hand have only three typical genresKapromayas/Romayas, Kapagonor/Onor, and Katitik Pandai/Kapaginandang. 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. [6] It was only when they were allowed to play during kulintang performances that suitors were able to view them. [42], Musical contest, particularly among the Maguindanao, have become a unique feature of these kulintang performances. . Mindanao Art and Culture. What are the musical . (Spring Summer, 1996), pp. On a sheet of paper, make a Venn Diagram that can describe both musical ensembles. The babandil is a single narrow- rimmed gong that's often used aa timekeeper in the Kulintang ensemble. An overview of the music-cultures of the province of Maluku. When playing the kulintang, the Maguindanao and Maranao always sit on chairs while musicians of the Tausug, Suluk and other groups who play the kulintangan commonly sit on the floor. With Ismael Ahmad, Makapeges Baginda, Alibay Bano, Makpeni Bano. ed. [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. Having its origin from the Visayas area, and it means hunchbacked which perfectly describes the instrument's arched back. This is an example of kamamatuan style of the Maguindanao. [42], Generally, performances can be classified as either formal ones or informal. "The Supportive Instruments of the Maguindanaon Kulintang Music." Agung and Kulintang This is a gong-based musical ensemble commonly used in funerals and weddings in East Malaysia. 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. What are the religious beliefs of Italy? 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. Kulintang music is considered an ancient tradition that predates the influences of Hinduism, Buddhism, Islam, Christianity, and the West. 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. [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. [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. [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. 2. Often times, these dances would denote love and courtship. New York: Anthology Record and Tape Corporation, 1970. [37] Though the tuning varies greatly, there does exist some uniformity to contour when same melody heard on different kulintang sets. Everywhere you look around there's always a reminder of how art thrives amidst its episodes of struggles. [17], Kulintang music can be used for communicating long distance messages from one village or longhouse to another. Kunst, Jaap. [20] Generally genres under this classification have faster tempos with an emphasis on power and speed, are highly rhythmic and pulsating, and are highly improvised with musicians employing different rhythmic/melodic formulae not used with old patterns. Blair, Emma, and James Robertson. Flutes are cylindrical tubes stopped on one end, blown across a hole at the head, setting into vibration its air column inside. Artist or Group: Electric Kulintang Country Of Origin: Philippines 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.
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