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. These ethnic groups, including the Maguindanao, Sama-Bajau, Maranao, and Tausug people,use the Agung as a support instrument for the kulintang ensemble, a row of small gongs that functionmelodically. 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. Now with the number of Antidumping and Countervailing duties dramatically increasing, the imposition of Section 232 and 301 duties on products of certain countries, and new or changed free trade agreements, the definition of country of origin has taken on . "Music from the Tausug of Sulu: Moslems of the Southern Philippines. Each gong is knobbed at the centre and is perched across two cords, allowing them to resonate freely when struck. (Spring-Summer 1985), pp. 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. [22] Though the tuning varies greatly, there does exist some uniformity of contour when same melody is heard on different kulintang sets. "Music from the Tausug of Sulu: Moslems of the Southern Philippines." 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. Guide to Babendil. [South San Francisco] 13 OCT 2005, natl. Country Of Origin: Philippines. ", Usopay H. Cadar, "The Role of Kolintang Music in Maranao Society. in accordance with New World Encyclopedia standards. The kulintang frame is known as an "antangan" by the Maguindanao (which means to arrange) and "langkonga" by the Maranao. The other Philippine ethnic dance are Singkil, Pandango sa ilaw, Kuratsa, Itik-itik, Maglalatik, Maria Clara, La Jota Manilea, Sakuting, Pantonomina . ", Patricia Matusky, "An Introduction to the Major Instruments and Forms of Traditional Malay Music. [45], This emphasis on improvisation was essential due traditional role of the music as entertainment for the entire community. Kulintang gongs are made using the cire perdue method, a lost-wax process used for casting the individual gongs. Informal performances are quite the opposite. It also is used to accompany healing ceremonies/rituals (pagipat)/animistic religious ceremonies. [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. Evans, Ivor H.. ", 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.". Southern Philippines alone, where kulintang is mostly heard, has several kulintang playing ethnic tribes, including Maguindanao, Maranao, Tausug, Sama, T'boli, the Blaan, Manobo . [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. This article focuses on the Philippine Kulintang traditions of the Maranao and Maguindanao peoples. [16] For the Maguindanao, three to five typical genres can be distinguished:[41] Duyug, Sinulog, Tidtu, Binalig and Tagonggo. The Legacy Bernard A young Bernard (L) with Kulintang master artist Danongan "Danny" Kalanduyan. Even the word kulintang is believed to be just an altered form of the Sundanese word kolenang. Traditionally, kulintang performers are volunteers whose only reward is recognition and prestige. Philippine society is a unique blend of diversity and homogeneity.Although geographically part of Southeast Asia, the country is culturally strongly Euro-American. It is a single musical instrument composed of 7-8 gongs laid horizontally on a stand. What does kulintang mean? But, all the sources - including this wiki agree - that, yes, the Singkil IS a traditional Muslim dance, as it is a dance of the Maranao, a Malay Muslim or Moro people or tribe. 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. Kulintang (Template:Lang-id) 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 Indonesia, Southern Philippines . Tradition and repertoire in the cultivated music of the Tausug of Sulu, Philippines. 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. Maranao Traditional Brasscasting. [28], In Borneo, the kulintang was originally played during the harvest festival and the Bruneian court. Netherlands: The Hague, 1949. 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. Asian Music Vol. Terada, Yoshitaka. [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 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. [31], The kulintang players ability to improvise within the parameters of a rhythmic mode is essential. 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. The origin of gongs is probably China's Western Regions in the sixth century. 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. 2. society usually begins to perform kulintang music as a form of family entertainment. It is also based upon the pentatonic scale. [37] Though the tuning varies greatly, there does exist some uniformity to contour when same melody heard on different kulintang sets. [45] Generally, these styles are differentiated by what is considered traditional or old, and more contemporary or new., Old styles are considered slow, well-pronounced and dignified like the Maguindanao's kamamatuan and the Maranao's andung. [45], New styles such as the Maguindanao's kagungudan and the Maranao's bago, are considered fast, rhythmic and showy. A pair of shoes manufactured in China might sell in the United States. [19] The first phase is the creation of wax molds of the gongs. a. European accounts of the . "Some Principles of Formal Variation in the Kolintang Music of the Maranao." [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). The Sama are spread in many parts of Mindanao. Agung and Kulintang This is a gong-based musical ensemble commonly used in funerals and weddings in East Malaysia. 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. Maceda, Jose. This page was last edited on 5 November 2020, at 23:58. Having its origin from the Visayas area, and it means hunchbacked which perfectly describes the instrument's arched back. [49] The fact that there are areas which were able to keep kulintang tradition alive during European colonization has caused some observers to aptly term this music the music of resistance.. 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. Expedition into ETHS 545: Music of the Southern Philippines." Mercurio, Philip Dominguez. In the Philippines, it represents the highest form of gong music attained by Filipinos[5] and in North Maluku, it is said to have existed for centuries. [10], Kulintang instrument has uses other than public performances. 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 . ", Adelaida Reyes Schramm, "Music from the Tausug of Sulu: Moslems of the Southern Philippines. 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 . 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. [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. Artist or Group: Electric Kulintang Country Of Origin: Philippines 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. [6], By the twentieth century, the term kulintang had also come to denote an entire Maguindanao ensemble of five to six instruments. Music had an important role in Philippines in regulating and coordinating the religious and social life of the Filipinos. Unlike westernized instrumentation, there is no set tuning for kulintang sets throughout the Philippines. 27, No. The last name Kulintang is the 1,244,200 th most numerous family name worldwide, held by approximately 1 in 39,180,354 people. [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. 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. Magindanaon kulintang repertoire. 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. Dreamstime is the world`s largest stock photography community. The tradition of kulintang ensemble music itself is a regional one, predating the establishing of borders between the Philippines, Indonesia and Malaysia. 4. . Gongs and Bamboo: A Panorama of Philippine Music Instruments. [7] Traditionally the Maguindanao term for the entire ensemble is basalen or palabunibuyan, the latter term meaning an ensemble of loud instruments or music-making or in this case music-making using a kulintang.[8], Kulintang belongs to the larger unit/stratum of knobbed gong-chime culture prevalent in Southeast Asia. However, kulintang music differs in many aspects from gamelan music. Country Of Origin: Russian Federation. It is considered taboo to step or cross over the antangan while the kulintang gongs are placed on it. [41] Nowadays, the traditional view of kulintang as strictly for women has waned as both women and men play all five instruments, with some of the more renowned kulintang players being men. "Being an Alaskan country girl myself, Danny and I could . (2020) History, development and influence of kulintang music to the cultural heritage (adat-betad) of Maguindanaon. ed. Ann Harbor, MI: University of Michigan, 2005. It has several names that vary depending on the region, such as babendir in Maguindanao, and Babndir for the Maranao people. [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. Improvisation is an essential aspect of kulintang music. Goddio, Franck. The surname Kulintang is mostly found in Asia, where 100 percent of Kulintang are found; 99 percent are found in Southeast Asia and 97 percent are found in Fil-Southeast Asia. ", Posner, Karen L. "A Preliminary Analysis of Style in Maguindanoan Kulintang Music. What are the musical . The difference between gamelan and kulintang. [1] Kulintang music also accompanies ceremonies marking significant life events, such as weddings and annual pilgrimages returning to and from Mecca. Unlike westernized instrumentation, there is no set tuning for kulintang sets throughout the Philippines. Further, she emphasized the improvisational aspect of performing on the kulintang. Formal performances follow a traditional set of rules that govern playing, and usually involve people from outside the home. Cleveland: The Arthur K. Clark Co, 1903. Traditionally, kulintang performers are volunteers[6] and their only reward is the opportunity to receive recognition, prestige and respect from the community. 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. Because of this, kulintang music was one of the rare socially approved vehicles for interaction among the sexes. 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. An Agung is a percussion instrument used by the ethnic groups in the Philippines. The Maguindanaon is known for his mastery of the indigenous kutyapi instrument. 27, No. [12] Young musicians, specifically young men, gravitate toward this style because of its emphasis on virtuosity and one's individualism. Cagayan de Oro: Xavier University, 1995. Dance Philippines folk dances including Tinikling and Cariosa. [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. Login . [4], It was these similarities that lead theorists to conclude that the kulintang was originally imported to the Philippines during the migration of the kolenang through the Malay Archipelago. [3] Molten bronze is poured into the mouth of the hardened mold, cooled to a certain temperature, and then the mold is broken apart, revealing a new gong. Kulintang is the (percussion) gong musical instrument of Mindanao, Philippines. From the video clips you have seen, identify the instruments' country of origin of each instrument and classify each using the Hornbostel-Sachs classification . [6] During informal performances, amateurs have an opportunity to practice on the instruments, and young boys and girls substitute other instruments, such as saronay (metallophone) and inubab, for kulintang. This is clearly seen in the Tausugs sinug and Yakans tini-id and kuriri compositions, where this sort of jousting becomes a game of skill and virtuoso playing.[3]. It is the only aerophone found in the Javanese gamelan (see Gamelan besi ), but is also played solo throughout Java for personal entertainment. 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. Traditionally they are made from bronze, but due to the shortage of bronze after World War II, and the subsequent use of scrap metal, brass gongs with shorter decaying tones have become commonplace. Iligan City: MSU Iligan Institute of Technology, 1984. [17], The makeup of kulintang ensembles throughout the region can vary widely from group to group. Though this practice has died out among the Maranao due to its non-Islamic nature, some areas in Mindanao, Sabah and Maluku still practice this ancient tradition. Mindanao Art and Culture. Gamelan seems to have developed early in the history of what is now Indonesia. 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. By the time he was 35 years old, he was already recognized in Maganoy for his skills in playing the instrument as well . Born on 3 March 1953, Sulaiman first learned playing kutyapi at around 13 years old from his uncle. 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. [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. 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. The Maranao Man.

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