[33] The Maranao have only three typical genres, Kapromayas (Romayas), Kapagonor (Onor), and Katitik Pandai (Kapaginandang). ", R. Anderson Sutton, "Reviewed Work: Sama de Sitangkai by Alan Martenot and Jose Maceda. [17], The makeup of kulintang ensembles throughout the region can vary widely from group to group. ", Usopay Hamdag Cadar, "Maranao Kolintang Music and Its Journey in America. [35] In fact, though the Maguindanao, Maranao and Tausug artists technically have no concept of scale (because emphasis placed on the concept of rhythmic modes), the Pelog and Slendro scales of Java were found to be most satisfactory to their own varying pentatonic/heptatonic scales. between 1900 and 1940, Group portrait of Ambonese with musical instrument of Kulintang in Ambon, Maluku, Indonesia. Kulintang music is considered an ancient tradition that predates the influences of Hinduism, Islam, Christianity, and the West. It was developed in 1914 by two European musicologists, despite their own fears that such a systematic system was nearly impossible. [17], The kulintang is played by striking the bosses of the gongs with two wooden beaters. [49] Enthusiastic appreciation by foreigners has given life to a dying tradition, and the music has become a unifying force in the Philippine diaspora. Download Kulintang stock photos. It is played by striking the bosses of the gongs with two wooden beaters. ", Cadar, Usopay Hamdag. Asian Music XXVII.2 (1996): 1932. together with the kulintang and other gongs. [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. The instrument Agung is a set of wide-rimmed . [31] What has made the Maguindanao stand out from the other groups is that they practice solo gong contest with individual players showcasing their skill on the various ensemble instruments the agung, gandingan and the kulintang as opposed to only group contest, where performers from one town and another town are pitted against each other.[42]. The framework of kulintang music is more flexible and time intervals are nonexistent, allowing for such things as improvisations to be more prevalent.[12]. Asian Music Vol. [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 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. [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. [South San Francisco]13 OCT 2005, natl.ed. 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. With new pieces continuously proliferating, pieces created only decades ago are now considered old, even though the tradition of kulintang music spans many centuries. Goddio, Franck. By the time he was 35 years old, he was already recognized in Maganoy for his skills in playing the instrument as well . 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. 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. [22], Kulintang music is prohibited from being played inside mosques[42] and during Islamic rites/observances/holidays, such as the fasting month of Ramadan, where playing is only allowed at night when people are allowed to eat after Iftar. 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. [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. 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. The Sama are spread in many parts of Mindanao. 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. Login . 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. Music had an important role in Philippines in regulating and coordinating the religious and social life of the Filipinos. [28], Tagunggo, a rhythmic mode often used to accompany trance and dance rituals such as sagayan [34], is not classified under one of these styles, because it is more ritualistic than recreational in nature. [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. [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. [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. It is also based upon the pentatonic scale. 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. Last edited on 19 February 2023, at 09:31, 10.1093/gmo/9781561592630.article.L2281450, "A Comparison of Music of the Philippines and Sulawesi", "Silat martial ritual initiation in Brunei Darussalam", "Music of Indonesia, Malaysia, and the Philippines", "Performing Ethnomusicology: Teaching and Representation in World Music Ensembles", "Traditional Music of the Southern Philippines", Music of Indonesia series, presented by Smithsonian Folkways and the Society of Indonesian Performing Arts, https://en.wikipedia.org/w/index.php?title=Kulintang&oldid=1140275930. [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. [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. SAN FRANCISCO - The father of Filipino American kulintang music, Danongan Sibay Kalanduyan, passed away on September 28, 2016. . pelog: [noun] a heptatonic tuning employed for Javanese gamelans consisting of unequal intervals from which various pentatonic scales are drawn compare slendro. 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. The kulintang player's ability to improvise within the parameters of a rhythmic mode is a must. Kulintang repertory lacked an indigenous notation system. Origins of Gamelan. 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. 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 Maranao Kolintang Music: An Analysis of the Instruments, Musical Organization, Ethmologies, and Historical Documents. (Spring Summer, 1996), pp. The Rio Grande of Mindanao. The makeup of kulintang ensembles throughout the region varies between the various cultural groups. 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 . [9] Kulintang music also accompanies ceremonies marking significant life events, such as weddings and returnees from the Hajj. On a sheet of paper, make a Venn Diagram that can describe both musical ensembles. 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]. 123130. ", Adelaida Reyes Schramm, "Music from the Tausug of Sulu: Moslems of the Southern Philippines. 1. [31], The kulintang players ability to improvise within the parameters of a rhythmic mode is essential. The Legacy Bernard A young Bernard (L) with Kulintang master artist Danongan "Danny" Kalanduyan. The suling is an end-blown edge aerophone of the Javanese people of Indonesia. [16] They occur at almost all the formal occasions mentioned above, particularly weddings. Cadar, Usopay Hamdag (1971). [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. The song "30 Years" was about the trials and tribulations of moving from the country to the big city to look for work. Expedition into ETHS 545: Music of the Southern Philippines." From ostentatious royal houses to the tiniest detail in their gongs, Maranao arts and crafts carry the stories of its vibrant culture. [32], Improvisation was a vital aspect of the traditional role of kulintang music as entertainment for the entire community. 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. Mercurio, Philip Dominguez. 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. "Expedition into ETHS 545: Music of the Southern Philippines" Manila Bulletin USA: Kababayan Ed. ", Terada, Yoshitaka. . [39] Traditionally, unmarried daughters were kept in a special chamber in the attic called a lamin, off-limits to visitors and suitors. 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. 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 . [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. In the Philippines, it represents the highest form of gong . [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. [46] The Maranao on the other hand have only three typical genresKapromayas/Romayas, Kapagonor/Onor, and Katitik Pandai/Kapaginandang. [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. And the "okir" is the design element that brings together all of its folk art into one cohesive visual extravaganza. [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. We know that there are over 7,000 islands in the Philippines. The number of gongs depends on the ethnic group. 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. [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. ", 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.". 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. Posner, Karen L. "A Preliminary Analysis of Style in Maguindanao Kulintang Music." Maceda, Jose. However, kulintang music differs in many aspects from gamelan music. "North Borneo Gongs and the Javanese Gamelan." [35] Compositions were passed down orally from generation to generation negating the need for notation for the pieces. [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. [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). [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. [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. Kalanduyan, Danongan S. "Maguindanaon Kulintang Music: Instruments, Repertoire, Performance, Contexts, and Social Functions." Italys main religious beliefs was Christianity. In most cases, the product wholly obtained in one country may have a far better quality than others. Samaon Sulaiman was a Filipino musician who is a recipient of the National Living Treasure award. [41] By adding together the various rhythms of each instrument, one could create music and by changing one of the rhythms, one could create different music. "Variational and Improvisational Techniques of Gandingan Playing in the Maguindanaon Kulintang Ensemble." [6], By the twentieth century, the term kulintang had also come to denote an entire Maguindanao ensemble of five to six instruments. [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. It is considered one of the regions 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 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. [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. [5], However, due to the work of master musicians such as Master Danongan Kalanduyan and Usopay Cadar, kulintang music has experienced a revival of sorts. [17] They were impressed by the fact that those who were not of Maguindanao or Maranao background, and some who were not even Filipino, were enthusiastic in picking up an alien tradition from a foreign land. [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. Based on the etymology, two routes have been proposed as the route by which the kulintang arrived in Mindanao. [5], The tradition of kulintang music has been waning throughout the Eastern Malay Archipelago, and has become extinct in some places. "Reviewed Work: Sama de Sitangkai by Alan Martenot and Jose Maceda." [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. New World Encyclopedia writers and editors rewrote and completed the Wikipedia article 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. From the video clips you have seen, identify the instruments' country of origin of each instrument and classify each using the Hornbostel-Sachs classification . [42], Musical contest, particularly among the Maguindanao, have become a unique feature of these kulintang performances. Use them in commercial designs under lifetime, perpetual & worldwide rights. Scholz, Scott. 105122. Southern Philippines alone, where kulintang is mostly heard, has several kulintang playing ethnic tribes, including Maguindanao, Maranao, Tausug, Sama, T'boli, the Blaan, Manobo . The difference between gamelan and kulintang. Manila Bulletin USA: Kababayan Ed. 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A must Alan Martenot and Jose Maceda., Kapagonor/Onor, and Historical Documents posner, Karen ``... That predates the influences of Hinduism, Islam, Christianity, and social life of Instruments! Vibrant culture, it represents the highest form of family entertainment 2005 natl.ed...
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