Kulintang - Knowledge

2646: 2698: 2670: 1740: 1142: 1932:, the repertoire itself is considered something always in a state of flux due to two primary reasons. First, standardized titles weren't considered a priority. 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. 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. Secondly, because musicians improvised their pieces regularly, modes and styles were continually revised and changed as they were passed on to a newer generation of musicians, making the pieces and therefore the labels attached to them relevant only during a certain frame of time. 1912:. Though there exist no identifiable rhythmic or melodic differences between patterns with names such as the Maguindanao, each group has their own music compositions. For instance, the Tausug have three identifiable compositions—Kuriri, Sinug, and Lubak-Lubak—the Yakan have two—Tini-id and Kuriri—and the Dusun have three—Ayas, Kudidi and Tidung. 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. 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. 40: 1444:

greatly, there does exist some uniformity to contour when same melody heard on different kulintang sets. This common counter results in similar interval relationships of more or less equidistant steps between each of the gongs. This tuning system, not based upon equal temperament or upon a system of standard pitches but on a similar/certain pattern of large and small intervals, could also be found among the gamelan orchestras of western Indonesia. 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

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kulintang students traveled to Mindanao to perform, sparking a kulintang renaissance in the Philippines. 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. It was his dedication in the early 80's that created the cultural awareness in the Fil-Am community of San Franccisco that sparked a cultural movement. The knowledge of outsiders playing traditional kulintang has encouraged the younger generation of musicians in the Philippines, both in Mindanao and in

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expected to participate. 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. Traditionally, when performers play kulintang music, their participation is voluntary. Musicians see performances as an opportunity to receive recognition, prestige and respect from the community and nothing more.

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designating a “new” style. Another example concerns the discrepancy among “old” and “new” genres. 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. These differences could sometimes make discussing this repertoire and the modes and styles within it a bit confounding.

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suspensions, variations and transpositions. This occurs at the discretion of the kulintang player. Therefore, the kulintang player functions not only as the one carrying the melody, but also as the conductor of the entire ensemble. She determines the length of each rendition and could change the rhythm at any time, speeding up or slowing down, accord to her personal taste and the composition she plays.

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piece. 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. This also explains why set performance pieces for musical productions are different in some respect—young men/women would be practicing before an event, therefore rarely relying on improvisations.

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different rhythmic/melodic formulae not used with old patterns. “Young” musicians, specifically young men, gravitate toward this style because of its emphasis on virtuosity and one's individualism. Generally played after all kamamatuan pieces have been played to give younger musicians the opportunity to participate.

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normally govern play are often ignored and the performers are usually between people well acquainted with one another, usually close family members. These performances usually were times when amateurs practiced on the instruments, young boys and girls gathered the instruments, substituting the kulintang with the

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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. Based on the etymology, two routes have been proposed as the route for the kulintang to Mindanao: One from Sunda,

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Such issues made attempts to codify the compositions in a uniform manner impossible. 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

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The kulintang player's ability to improvise within the parameters of a rhythmic mode is a must. 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,

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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. The gongs are laid in the instrument face side up atop two cords/strings

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As ancient as this music is, there has never been substantial data recorded regarding the kulintang's origins. 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

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Gong chime of Sabah, Malaysia. Found throughout Sabah, but especially in the coastal communities, the kulintangan is a set of small, brass, pot-shaped bossed gongs placed horizontally (with boss upward) in a single row in a wooden frame. Along the west coast seven to nine gongs constitute a set, and

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Old styles are considered slow, well-pronounced and dignified like the Maguindanao's kamamatuan and the Maranao's andung. 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

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The kulintang is traditionally considered a women's instrument by many groups: the Maguindanao, Maranao, Tausūg/Suluk, Samal, Badjao/Sama, Iranun, Kadazan, Murut, Bidayuh and Iban. Traditionally, the playing of the kulintang was associated with graceful, slow, frail and relaxed movements that showed

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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. With this hardened mold, molten bronze is poured down the mold's mouth cavity, cooled to a certain degree, then

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Kulintang music has no set compositions due to its concept of rhythmic modes. A rhythmic mode (or designation or genre or pattern) is defined as a musical unit that binds together the entire five instrument ensemble. By adding together the various rhythms of each instrument, one could create music

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Kulintang music was also crucial in relation to courtships due to the very nature of Islamic custom, which did not allow for unmarried men and women to intermingle. Traditionally, unmarried daughters were kept in a special chamber in the attic called a lamin, off-limits to visitors and suitors. It

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The kulintang is played by striking the bosses of the gongs with two wooden beaters. 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. Modern techniques

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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. It's likely the earliest

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New styles such as the Maguindanao's kagungudan and the Maranao's bago, are considered fast, rhythmic and showy. 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

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This emphasis on improvisation was essential due traditional role of the music as entertainment for the entire community. 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

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Generally, performances can be classified as either formal ones or informal. During formal performances adherents follow a traditional set of rules that would govern playing and it usually involved people from outside the home. Informal performances are quite the opposite. The strict rules that

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music, primarily in the way the latter constructs melodies within a framework of skeletal tones and prescribed time interval of entry for each instruments. The framework of kulintang music is more flexible and time intervals are nonexistent, allowing for such things as improvisations to be more

2645: 2075:. Enthusiastic appreciation by foreigners has given life to a dying tradition, and the music has become a unifying force in the Philippine diaspora. For the first time in history, kulintang music is now formally taught to music students at several universities located throughout Metro Manila. 1725:

Musical contest, particularly among the Maguindanao, have become a unique feature of these kulintang performances. They occur at almost all the formal occasions mentioned above, particularly weddings. What has made the Maguindanao stand out from the other groups is that they practice solo gong

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Unlike westernized instrumentation, there is no set tuning for kulintang sets throughout the Philippines. 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. Though the tuning varies

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Because kulintang-like ensembles extended over various groups with various languages, the term used for the horizontal set of gongs varied widely. Along with it begin called kulintang, it is also called kolintang, kolintan, kulintangan, kwintangan, k’lintang, gong sembilan, gong duablas, momo,

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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,

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The main purpose for kulintang music in the community is to function as social entertainment at a professional, folk level. This music is unique in that it is considered a public music in the sense everyone is allowed to participate. Not only do the players play, but audience members are also

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Both Kalanduyan and Cadar have been impressed that so many people lacking Maguindanaon or Maranao background, and some who are not even Filipino, have become dedicated students and supporters of their cultural heritage. An additional surprise came after a decade-long series of American-based

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In 1968, at the University of the Philippines, eminent ethnomusicologist Professor José Maceda ushered in a new interest in kulintang music with the kulintang Master, Aga Mayo Butocan. The latter devised a notation system and wrote Palabunibunyan, a collection of kulintang music pieces from

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These general genres could be further grouped among each other into styles/subcategories/stylistic modifiers, which are differentiated from one another based on instrumentation, playing techniques, function and the average age and gender of the musicians as well. Generally, these styles are

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process, tuning these either by hammering the boss from the inside to slightly raise its pitch, or by hammering the boss from the outside to lower the pitch. The correct tuning is found by ear, with players striking a sequence of gongs, looking for a melodic contour they are familiar with.

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The makeup of kulintang ensembles throughout the region varies between the various cultural groups. 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.

2047:, and the introduction of Western and foreign ideals into the region. Younger generations would rather listen to American music, or bike in the streets with other children than spend time practicing and imitating on the traditional instruments of their parents. 2669: 1229:

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. One theory suggest that the bronze gong had an ancient history in Southeast Asia, arriving in the

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two or even three thousand years ago, making its way to the Philippines from China in the third century AD. 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

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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.

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kolenang due to its striking similarities. Along with the fact that they play important roles in their respectively ensembles, both the kulintang and kolenang show striking homogeneity in tapered rims (as opposed to pronouncedly tapered Javanese

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The kulintang frame is known as an "antangan" by the Maguindanao (which means to “arrange”) and "langkonga" by the Maranao. The frame can be crude, made from simple bamboo/wooden poles, or it can be highly decorated and rich with traditional

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and souther Philippine, the tradition of kulintang was adopted by the inland Dayak tribes. With that, the tradition of kulintang was expanded to include various tribe ceremonies such as before and after head-hunting expeditions and silat.

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of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set. It is played by striking the bosses of the gongs with two wooden beaters. Due to its use across a wide variety groups and languages, the

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elegance and decorum common among females. 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.

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on the east coast a set can have five to seven or more gongs. Sometimes the gongs are decorated with embossed geometric patterns. The player sits on the floor before the frame and plays the gongs with a pair of wooden beaters

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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

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Kulintang instrument has uses other than public performances. It also is used to accompany healing ceremonies/rituals (pagipat)/animistic religious ceremonies. Though this practice has died out among the Maranao due to its

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was only when she was allowed to play during kulintang performances that suitors were allowed to view her. Because of this, kulintang music was one of the rare socially approved vehicles for interaction among the sexes.

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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,

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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.

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The tradition of kulintang music has been waning throughout the Eastern Malay Archipelago, and has become extinct in some places. Sets of five bronze gong-chimes and a gong making up the totobuang ensembles of

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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 player's grace and virtuosity.

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differences in the rhythmic emphasis, and differences in the opening formulas and cadential patterns. For the Maguindanao, three to five typical genres can be distinguished: Duyug, Sinulog, Tidtu, Binalig and

2059:, 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 2040:

Maguindanao—which made its study more accessible. Further, she emphasized the improvisational aspect of performing on the kulintang. This enhanced its popularity among students from all over the country.

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The gongs weigh roughly from two pounds to three pounds each, and have dimensions of 6 to 10 inches for their diameters and 3 to 5 inches for their height. Traditionally they were made from

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kolintang /ko·lin.tang/ n Mus alat musik pukul yang terdiri atas bilah-bilah kayu yang disusun berderet dan dipasang di atas sebuah bak kayu (seperti gambang), terutama terdapat di Sulawesi Utara

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cannot be easily classified under one of these styles, being more ritualistic than recreational in nature. Tagunggo is a rhythmic mode often used to accompany trance and dance rituals such as

2036:. 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.” 4403: 2881:

Cadar, Usopay Hamdag (1971). The Maranao Kolintang Music: An Analysis of the Instruments, Musical Organization, Ethmologies, and Historical Documents. Seattle, WA: University of Washington.

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Kartomi, Margeret J.. "Is Malaku still musicological "terra incognita." An overview of the music-cultures of the province of Maluku." Journal of Southeast Asian Studies 25(1994): 141–173.

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In Borneo, the kulintang was originally played during the harvest festival and the Bruneian court. With the expansion of Bruneian empire which at some point encompassed the island of

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Cadar, Usopay H., and Robert Garfias. "Some Principles of Formal Variation in the Kolintang Music of the Maranao." Asian Music Vol. 27, No. 2. (Spring – Summer, 1996), pp. 105–122.

1803: 1484:. Compositions were passed down orally from generation to generation negating the need for notation for the pieces. Recent attempts have been made to transcribe the music using 1304:

running parallel to the entire length of the frame, with bamboo/wooden sticks/bars resting perpendicular across the frame, creating an entire kulintang set called a "pasangan".

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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

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Matusky, Patricia. "An Introduction to the Major Instruments and Forms of Traditional Malay Music." Asian Music Vol 16. No. 2. (Spring-Summer 1985), pp. 121–182.

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Terada, Yoshitaka. "Variational and Improvisational Techniques of Gandingan Playing in the Maguindanaon Kulintang Ensemble." Asian Music XXVII.2 (1996): 53–79.

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Kalanduyan, Danongan S. "Maguindanaon Kulintang Music: Instruments, Repertoire, Performance, Contexts, and Social Functions." Asian Music XXVII.2 (1996): 3–18.

1697:, creating a specific message or, through the use of double entendre, a social commentary understood by nearly any adult native Maguindanao speaker. However, 1739: 4389: 3124:

Benitez, Kristina. The Maguindanaon Kulintang: Musical Innovation, Transformation and the Concept of Binalig. Ann Harbor, MI: University of Michigan, 2005.

1488:, with gongs indicated by a numbering system for example, starting from 1 to 8 with the lowest gong starting at number 1 for an eight gong kulintang set. 629: 3776:

Mercurio, Philip Dominguez. Expedition into ETHS 545: Music of the Southern Philippines." Manila Bulletin USA: Kababayan Ed. 13 OCT 2005, natl. ed.: 8.

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KULINTANGAN: A STUDY OF PRODUCTION PROCESS 2019Adsone Matthew Mitty Gabu Gabu10.35631/ijham.25007International Journal of Heritage, Art and Multimedia

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and inubab. Ensembles didn't necessary have to have five instruments like formal performances: they could be composed of only four instruments (three

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Abdullah, Samsuddin N. PhD. (2020) History, development and influence of kulintang music to the cultural heritage (adat-betad) of Maguindanaon.

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had a come to denote an entire Maguindanao ensemble of five to six instruments. Traditionally the Maguindanao term for the entire ensemble is

768:, Kulintang evolved from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from 4944: 4939: 4811: 1955:

The kulintang gong itself is believed to have been one of those foreign musical elements incorporated into kulintang music, derived from the

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Kiefer, Thomas M.. Music from the Tausug of Sulu: Moslem of the Southern Philippines. New York: Anthology Record and Tape Corporation, 1970.

3227: 1560:), three instruments (a kulintang, a dabakan, and either an agung or three gandingan gongs) or simply just one instrument (kulintang solo). 3872: 2021:

long ago but that has all but disappeared, replaced by what locals are presently familiar with—a slab-key instrument known as a kolintang.

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is falling into disuse because times have changed, and the necessity of its use for long-distance communication purposes has faded away.

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Otto, Steven W.. "Repertorial Nomenclature in Muranao Kolintang Music." Asian Music Vol. 27, No. 2. (Spring – Summer, 1996), pp. 123–130.

1106: 4659: 3285: 4413: 1856:. The Maranao on the other hand have only three typical genres—Kapromayas/Romayas, Kapagonor/Onor, and Katitik Pandai/Kapaginandang. 3794:

Oellana, Dionisio, and Efren Endriga. Maranao Traditional Brasscasting. 2. Iligan City: MSU – Iligan Institute of Technology, 1984.

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Maceda, Jose. Gongs and Bamboo: A Panorama of Philippine Music Instruments. Quezon City: University of the Philippines Press, 1998.

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the coal/mud is broken apart, revealing a new gong. The gong is then refined, cleaned, and properly identified by the blacksmith (

1422:). The wax mold is covered with a special mixture of finely powdered coal/mud, which is applied on the wax surface using a brush. 5007: 4997: 4977: 3865: 3804: 1251:

gongs used among the indigenous populace had no recreational value but were simply used for making signals and sending messages.

780:. Its importance stems from its association with the indigenous cultures that inhabited these islands prior to the influences of 3539: 989:

totobuang, nekara, engkromong, kromong/enkromong and recently kakula/kakula nuada. Kulintang-like instruments are played by the

916:, the latter term meaning “an ensemble of loud instruments” or “music-making” or in this case “music-making using a kulintang.” 4992: 4618: 1576:

Kulintang music generally could be found as the social entertainment at a host of different occasions. It is used during large

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The kulintang repertoire has no fixed labels because the music itself is not considered a fixed entity. Due to the fact it is

1239:(Indonesian) gong tradition, which is what the kulintang was believed to be derived from, developed only by the 15th century. 4967: 3847: 3048: 3135: 4248: 2033: 1794: 3084: 4982: 175:, chalempung, caklempong/caklempung, khong wong yai/khong wong lek, khong toch/ khong thom, khong vong, krewaing/krewong 3785:

The Maranao Man. Mindanao Art and Culture. 4. Marawi City: University Research Center, Mindanao State University, 1980.

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Kulintang music can be used for communicating long distance messages from one village or longhouse to another. Called

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Posner, Karen L. "A Preliminary Analysis of Style in Maguindanao Kulintang Music." Asian Music XXVII.2 (1996): 19–32.

1984:, a route where the word “kulintangan” is commonly used for the horizontal row of gongs; The other from Sunda, thru, 78: 4924: 3751:

Scholz, Scott. "The Supportive Instruments of the Maguindanaon Kulintang Music." Asian Music XXVII.2 (1996): 33–52.

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Schramm, Adelaida Reyes. "Music from the Tausug of Sulu: Moslems of the Southern Philippines." Asian Music 2(1971):

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Sutton, R. Anderson. "Reviewed Work: Sama de Sitangkai by Alan Martenot and Jose Maceda." Ethnomusicology 27(1983):

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and non-tapered Laotian khong vong gongs). Even the word kulintang is believed to be just an altered form of the

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The extent of past kulintang tradition in the Philippines, particularly in the Northern and Central islands of

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Tremillio, Ricardo (1972). Tradition and repertoire in the cultivated music of the Tausug of Sulu, Philippines

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and by changing one of the rhythms, one could create different music. This is the basis of the rhythmic mode.

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island in Central Maluku have also come to disuse. Kolintang sets of bossed kettle gongs were once played in

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Skog, Inge. "North Borneo Gongs and the Javanese Gamelan." Ethnomusicology Research Digest 4(1993): 55–102.

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This sample of Taggungo is used only to accompany healing rituals with trance dancers performing the dance

732:) is a modern term for an ancient instrumental form of music composed on a row of small, horizontally laid 3853:

Music of Indonesia series, presented by Smithsonian Folkways and the Society of Indonesian Performing Arts

1270:), developing into a multi-gong, multiplayer ensemble with the incorporation of concepts originating from 3852: 3505:

An Introduction to the Traditional Musical Instruments of Sabah. Kota Kinabalu: Sabah State Muzium, 1992.

686: 1274:(Indonesian) and finally transforming into the present day kulintang ensemble, with the addition of the 972:

instruments to carry the melodic part of the ensemble. Like the other two, kulintang music is primarily

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Combes, Francisco. Historia de las Isles de Mindanao in the Philippine Islands. Clevaland: Clark, 1903.

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or arabesque designs. The frame is a necessary part of the instrument, and functions as a resonator.

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Maceda, Jose M.. The Music of Maguindanao in the Philippines. Ann Arbor: University Microfilms, 1963.

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Palabuniyan Kulintang Ensemble – Traditional Gong Music and Dance from Mindanao Island, Philippines

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Blair, Emma, and James Robertson. The Philippine Islands. Cleveland: The Arthur K. Clark Co, 1903.

3293: 39: 4735: 3231: 3040: 218: 1516: 3857: 2954: 1639:. It is also prohibited during the mourning period of the death of an important person, during 1231: 1002: 3711:

Goddio, Franck. Lost at Sea: The strange route of the Lena Shoal junk. London: Periplus, 2002.

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Sachs, Curt. The History of Musical Instruments. New York: W.W. Norton & Co., Inc, 1940.

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Evans, Ivor H.. Among Primitive Peoples in Borneo. London: Seeley, Service & Co., 1922.

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differentiated by what is considered traditional or “old,” and more contemporary or “new.”

1694: 234: 1580:, festive/harvest gatherings, for entertainment of visiting friends and relatives, and at 936:

Kulintang belongs to the larger unit/stratum of “knobbed gong-chime culture” prevalent in

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Frame, Edward M.. "The Musical Instruments of Sabah, Malaysia." Ethnomusicology 26(1982):

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with several rhythmic parts orderly stacked one upon another. It is also based upon the

4987: 4788: 4411: 4330: 4128: 4103: 3889: 3432: 2757: 2157: 1616: 1584:. Kulintang music also accompanies ceremonies marking significant life events, such as 990: 812: 360: 321: 299: 226: 153: 3837: 3812: 3188: 2816:. Department of Information, Ministry of Culture, Youth and Sports, Brunei Darussalam. 4783: 4694: 4500: 3044: 2703: 2684: 2656: 2576: 2537: 2060: 1525: 1521: 1154: 1026: 969: 649: 541: 531: 471: 230: 3370:

Vives, E.D.. The Rio Grande of Mindanao. 2. Cagayan de Oro: Xavier University, 1995.

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Kulintang music is considered an ancient tradition that predates the influences of

1038: 1034: 977: 886: 882: 852: 769: 748:, kulintang music ensembles have been playing for many centuries in regions of the 634: 551: 526: 19:

This article is about the traditional instrument. For the Philippine province, see

3540:"Performing Ethnomusicology: Teaching and Representation in World Music Ensembles" 1885: 1066: 1022: 4644: 4345: 2771: 2032:, will never be fully known due to the harsh realities of three hundred years of 1485: 1236: 1215: 965: 940:. It is considered one of the region's three major gong ensembles, alongside the 639: 461: 410: 390: 222: 107: 2953:. Embassy of the Republic of Indonesia in Berlin – Germany. 2007. Archived from 1165: 4972: 3914: 3006: 2056: 2018: 1965: 1929: 1748: 1681: 1350:

to step or cross over the antangan while the kulintang gongs are placed on it.

1263: 1214:. In the Philippines, it represents the highest form of gong music attained by 1185: 1014: 937: 929: 862: 857: 745: 725: 576: 451: 71: 49: 2052: 1635:, where playing is only allowed at night when people are allowed to eat after 4961: 4740: 4574: 4423: 4217: 4176: 4163: 2680: 2605: 2238: 2044: 1909: 1744: 1376: 1255: 1211: 1146: 1046: 1042: 998: 924: 797: 753: 614: 604: 546: 521: 491: 481: 345: 340: 134: 3690: 3671:

Gaerlan, Barbara. Philippine Muslim Kulintang: Music of Modernization. 1991.

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Cadar, Usopay Hamdag. "Maranao Kolintang Music and Its Journey in America."

1631:

and during Islamic rites/observances/holidays, such as the fasting month of

4755: 4730: 4603: 3842: 2729: 2652: 2072: 1893: 1889: 1597: 1415: 1219: 1207: 1170: 1070: 1030: 1010: 1006: 816: 800:, making kulintang the most developed tradition of Southeast Asian archaic 793: 380: 2043:

Today, the existence of kulintang music is threatened by the influence of

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A group of men from the Ngada tribe with drums and gongs (Kulintang) in

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that function melodically, accompanied by larger, suspended gongs and

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Cadar, Usopay H.. "The Role of Kolintang Music in Maranao Society."

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Archaeological Excavations in Protohistoric Brunei Penerbitan khas

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always played first, to give due respect to the older generation.

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Two proposed routes for the migration of the kulintang gong to

1920: 1905: 1901: 1646: 1611: 1577: 1568: 1505: 1388: 1361: 1324: 1315: 1307: 1290: 1243: 1150: 1058: 945: 890: 889:. Gulintangan or gulingtangan literally means rolling hands in 874: 761: 561: 446: 441: 248: 197: 168: 164: 160: 111: 3397:. National Commission For Culture And The Arts. Archived from 1884:

Sulu-type compositions on the kulintangan are found among the

1619:

kulintang ensemble accompanying a healing ritual dance called

1365:

Those in the Sulu Archipelago play the kulintang on the floor.

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PnoyAndTheCity: A center for Kulintang – A home for Pasikings

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A kulintang ensemble being used for purpose of entertainment.

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Kunst, Jaap. Music in Java. 2. Netherlands: The Hague, 1949.

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This is an example of kamamatuan style of the Maguindanao.

1693:, these renditions mimic the normal speaking tones of the 1776: 1456:

were found to be most satisfactory to their own varying

980:. However, kulintang music differs in many aspects from 3085:"A Comparison of Music of the Philippines and Sulawesi" 1627:

Kulintang music is prohibited from being played inside

1332:

gongs with shorter decaying tones are now commonplace.

3189:"Silat martial ritual initiation in Brunei Darussalam" 2812:

Brunei. Jabatan Penyiaran dan Penerangan, ed. (1985).

2651:

Two dancers and a group of musicians of Kulintang in

2000:

where the word kolintang/kulintang is commonly seen.

1879: 1520:

A traditional kulintang ensemble being played by the

3546:. The University of California Press. Archived from 3178:

Vol. 27, No. 2. (Spring – Summer, 1996), pp. 80–103.

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Calculintang, Gulingtangan, Kolintang, Kulintangan,

4264:

Traditional instruments of the Southern Philippines

3286:"Music of Indonesia, Malaysia, and the Philippines" 2078: 3359:A Voyage to New Guinea and the Moluccas: 1774–1776 3292:. University of California, Irvine. Archived from 3321:Gallery of Photographs from Mindanao, Philippines 2829: 1319:The light beaters used to strike the gong bosses. 1282:and musical concepts of Islam via Islam traders. 4959: 3323:. Filipino Association of Berlin. Archived from 3604:"Traditional Music of the Southern Philippines" 3388: 3382: 2706:musicians at the Philippine Reservation of the 3544:California: The University of California Press 3458: 3456: 3454: 3452: 3450: 3361:. Kuala Lumpur: Oxford University Press, 1969. 2825: 2823: 4945:National Music Competitions for Young Artists 4940:Philippine Association of the Record Industry 4619: 4397: 4249: 3873: 1743:Musicians playing a totobuang (Kulintang) in 694: 4633: 3533: 3531: 3529: 3527: 3136:"Menabuh Kulintango, Menyelamatkan Bintauna" 2902: 2893: 1430:). Finally, the gongs are refined using the 1222:, it is said to have existed for centuries. 3447: 3270: 3268: 3266: 3264: 3262: 3260: 3258: 2992: 2936: 2934: 2932: 2930: 2820: 4626: 4612: 4404: 4390: 4256: 4242: 3880: 3866: 3772: 3770: 3768: 3766: 3680: 3667: 3665: 3663: 3661: 3659: 3657: 3576: 3574: 3517: 3515: 3513: 3511: 3133: 3120: 3118: 3116: 3114: 3112: 3110: 3108: 3106: 3104: 3102: 3041:10.1093/gmo/9781561592630.article.L2281450 2990: 2988: 2986: 2984: 2982: 2980: 2978: 2976: 2974: 2972: 2063:and ancient Philippine tribal traditions. 1311:The different sized brass kulintang gongs. 701: 687: 4414:traditional Malaysian musical instruments 3747: 3745: 3735: 3733: 3723: 3721: 3719: 3717: 3597: 3595: 3537: 3524: 3501: 3499: 3205: 3203: 3201: 3170: 3168: 3166: 3164: 3162: 3160: 3158: 3156: 2807: 2805: 1604:of a new leader and the transferral of a 1480:Kulintang repertory lacked an indigenous 1395:process using a hammer to tune the gongs. 23:. For the Taiwanese political party, see 3601: 3472: 3470: 3468: 3314: 3277: 3255: 2927: 2877: 2875: 2873: 2871: 2869: 2867: 2865: 2679:with musical instrument of Kulintang in 1943: 1919: 1738: 1708: 1645: 1610: 1567: 1515: 1504: 1466: 1387: 1360: 1357:Individual names for each kulintang gong 1352: 1314: 1306: 1289: 1180: 1164: 1140: 923: 3788: 3779: 3763: 3654: 3647: 3645: 3643: 3641: 3639: 3637: 3635: 3633: 3571: 3562: 3508: 3422: 3348: 3225: 3221: 3219: 3134:Prasetyadi, Kristian Oka (2021-12-11). 3099: 3078: 3076: 3074: 3072: 3070: 3068: 3066: 3064: 3026: 2969: 2943: 2920: 2918: 2916: 2914: 2855: 2853: 2843: 2841: 1684:still practice this ancient tradition. 4960: 3754: 3742: 3730: 3714: 3705: 3674: 3592: 3583: 3496: 3418: 3416: 3317:"Photographs of Mindanao, Philippines" 3246: 3198: 3153: 2802: 1713:An agung contestant performing on the 1491: 308:(gong ageng, gong suwukan, kempul) of 16:Southeast Asian traditional instrument 4607: 4385: 4237: 3861: 3797: 3621: 3465: 3364: 3339: 3308: 2862: 1939: 1915: 1777:Maguindanaon and Maranao compositions 1471:Example of kulintang cipher notation. 3630: 3373: 3216: 3082: 3061: 2911: 2850: 2838: 1509:A kulintang ensemble performance in 919: 3888:Traditional musical instruments of 3681:Kalanduyan, Danongan Sibay (2006). 3602:Mercurio, Philip Dominguez (2006). 3413: 3283: 1563: 1399:Kulintang gongs are made using the 904:By the twentieth century, the term 13: 3843:Kulintang Music of the Philippines 1880:Sulu-type kulintangan compositions 1842:Problems playing these files? See 1783: 1475: 1081:, Kadayah and Paitanic Peoples of 14: 5019: 3831: 3389:Canave-Dioquino, Corazon (2007). 1734: 4708: 2764: 2750: 2736: 2722: 2696: 2668: 2644: 2148: 2139: 2132: 2125: 2118: 2079:Composition of various ensembles 2055:. Through the work of Professor 1820: 1799: 1763: 298: 38: 3484:. KQED – Arts and Culture. 2006 3181: 3020: 2999: 2830:Matussin bin Omar, ed. (1981). 2088: 1729: 1654:is normally chosen for playing 5008:Philippine musical instruments 4998:Pitched percussion instruments 4978:Indonesian musical instruments 4647:" (Philippine national anthem) 3848:Audio of Maguindanao Kulintang 3538:Trimillos, Ricardo D. (2004). 3429:Kulintang and the Maguindanaos 3395:Articles on Culture & Arts 3391:"Philippine Music Instruments" 2884: 2814:Brunei Darussalam, Issues 1-41 1500: 1375:include twirling the beaters, 1298: 171:, trompong/terompong, rejong, 1: 4993:Malaysian musical instruments 2795: 2708:Louisiana Purchase Exposition 2090:Group and their ensemble name 1795:"Sinulog a Kamamatuan Ver. 1" 1662: 1285: 1226:instruments used in passing. 1177:with the traditional carvings 1061:, and Kei of Maluku; and the 167:, canang, keromong, kromong, 60:Museum of the Filipino People 4968:Bruneian musical instruments 4789:Billboard Philippine Hot 100 3011:Kamus Besar Bahasa Indonesia 1608:from one family to another. 1369: 180:More articles or information 7: 4784:Billboard Philippines Songs 4218:List of gamelan instruments 3230:. Tao Music. Archived from 2715: 10: 5024: 4983:Indonesian styles of music 4935:Philippine patriotic songs 4930:Philippine music festivals 4838:List of Filipino composers 4828:List of Filipino musicians 3226:Butocan, Aga Mayo (2007). 3027:Matusky, Patricia (2015). 2637: 1383: 1136: 964:, which use gongs and not 928:Map of kulintang music in 18: 4917: 4846: 4820: 4797: 4776: 4718: 4705: 4652: 4641: 4573: 4540: 4486: 4442: 4421: 4311: 4269: 4223:List of gamelan varieties 4210: 4162: 4017: 3954: 3921: 3896: 2089: 2061:Filipino American culture 2003: 1438: 944:of western Indonesia and 826:, and Timor term for the 270: 244: 214: 209: 184: 179: 159: 152: 140: 133: 103: 77: 66: 37: 4833:List of Filipino singers 4635:Music of the Philippines 3423:Butocan, Aga M. (2006). 2691:. between 1900 and 1940 1294:Kulintang from Mindanao. 1173:kulintang ensemble from 1021:tribes of Mindanao, the 740:. As part of the larger 4925:Philippine music awards 3315:Brandeis, Hans (2006). 3228:"Maguindanao Kulintang" 3083:Amin, Mohammad (2005). 2663:. between 1900 and 1940 1596:or village chieftains, 1588:and returnees from the 1552:gongs, a kulintang, an 219:Music of Southeast Asia 1952: 1925: 1788: 1756: 1718: 1672:nature, some areas in 1659: 1624: 1573: 1536: 1513: 1472: 1396: 1366: 1358: 1320: 1312: 1295: 1232:Indonesian archipelago 1191: 1178: 1162: 933: 729: 721: 4312:Other (non-ensemble) 4272:Maguindanao kulintang 3805:"Musical Instruments" 3478:"Danongan Kalanduyan" 1947: 1923: 1787: 1742: 1712: 1649: 1614: 1571: 1519: 1511:Daly City, California 1508: 1470: 1391: 1364: 1356: 1318: 1310: 1293: 1184: 1168: 1144: 927: 86:Percussion instrument 3815:on February 16, 2007 3809:SabahTravelGuide.Com 3683:"What is Kulintang?" 3327:on February 16, 2005 2423:Kulintangan Ensemble 2285:Kulintangan Ensemble 2244:Kulintangan Ensemble 2034:Spanish colonization 1695:Maguindanao language 1117:and other groups in 861:by those in central 750:Southern Philippines 261:Southern Philippines 235:Music of Philippines 3435:on January 18, 2008 3401:on January 17, 2006 3296:on February 4, 2007 3033:Oxford Music Online 2493:Engkromong ensemble 2407:Double-headed drums 2361:Kwintangan Ensemble 2111:Other gong or drum 1492:Feminine instrument 271:Typical instruments 239:Music of East Timor 154:Related instruments 34: 4664:Genres and styles 4331:Kulintang a tiniok 4104:Kempyang and ketuk 3838:What is Kulintang? 3693:on August 31, 2006 3550:on January 7, 2007 3213:27(1996): 131–146. 2758:Philippines portal 2675:Group portrait of 2392:Kolintang Ensemble 2204:Kolintang Ensemble 2108:Other gong or drum 1953: 1940:Origin of the gong 1930:orally transmitted 1926: 1916:Composition titles 1789: 1757: 1719: 1660: 1625: 1574: 1537: 1514: 1473: 1397: 1367: 1359: 1321: 1313: 1296: 1192: 1179: 1163: 934: 839:by the people of 322:Music of Indonesia 227:Music of Indonesia 210:Kulintang ensemble 30: 4953: 4952: 4601: 4600: 4416:by classification 4379: 4378: 4231: 4230: 3284:Garfias, Robert. 3050:978-1-56159-263-0 3013:(in Indonesian). 2635: 2634: 1825: 1816:"Taggungo Ver. 1" 1804: 1526:Kaamulan Festival 1522:Matigsalug people 1346:It is considered 1155:Dutch East Indies 1103:Bolaang Mongondow 920:Geographic extent 758:Eastern Indonesia 711: 710: 592: 586: 293: 292: 231:Music of Malaysia 215:Stylistic origins 205: 204: 5015: 4799:Record companies 4713: 4712: 4628: 4621: 4614: 4605: 4604: 4406: 4399: 4392: 4383: 4382: 4326:Gandingan a Kayo 4321:Kulintang a kayo 4258: 4251: 4244: 4235: 4234: 4211:Related articles 4182:Gordang sambilan 3882: 3875: 3868: 3859: 3858: 3825: 3824: 3822: 3820: 3801: 3795: 3792: 3786: 3783: 3777: 3774: 3761: 3758: 3752: 3749: 3740: 3737: 3728: 3725: 3712: 3709: 3703: 3702: 3700: 3698: 3689:. 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4141: 4136: 4131: 4126: 4121: 4116: 4111: 4106: 4101: 4096: 4091: 4086: 4081: 4080: 4079: 4069: 4064: 4059: 4054: 4049: 4044: 4039: 4034: 4029: 4023: 4021: 4015: 4014: 4012: 4011: 4006: 4001: 3996: 3991: 3986: 3981: 3976: 3971: 3966: 3960: 3958: 3952: 3951: 3949: 3948: 3943: 3938: 3933: 3927: 3925: 3919: 3918: 3897: 3894: 3893: 3885: 3884: 3877: 3870: 3862: 3856: 3855: 3850: 3845: 3840: 3833: 3832:External links 3830: 3827: 3826: 3796: 3787: 3778: 3762: 3753: 3741: 3729: 3713: 3704: 3673: 3653: 3629: 3620: 3591: 3582: 3570: 3561: 3523: 3507: 3495: 3464: 3446: 3412: 3381: 3372: 3363: 3347: 3338: 3307: 3276: 3254: 3245: 3215: 3197: 3180: 3152: 3126: 3098: 3060: 3049: 3019: 2998: 2968: 2951:"Ethnic Music" 2942: 2926: 2910: 2901: 2892: 2883: 2861: 2849: 2837: 2819: 2800: 2799: 2797: 2794: 2793: 2792: 2787: 2782: 2776: 2775: 2761: 2747: 2733: 2717: 2714: 2713: 2712: 2702: 2695: 2693: 2674: 2667: 2665: 2650: 2643: 2639: 2636: 2633: 2632: 2630: 2625: 2620: 2618: 2613: 2608: 2602: 2601: 2595: 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1371: 1368: 1300: 1297: 1287: 1284: 1138: 1135: 938:Southeast Asia 930:Southeast Asia 921: 918: 914:palabunibunyan 746:Southeast Asia 709: 708: 706: 705: 698: 691: 683: 680: 679: 678: 677: 672: 667: 662: 657: 652: 647: 642: 637: 632: 627: 622: 617: 612: 607: 599: 598: 597:Regional music 594: 593: 588: 587: 582: 581: 580: 579: 577:Tifa totobuang 574: 569: 564: 559: 554: 549: 544: 539: 534: 529: 524: 519: 514: 509: 504: 499: 494: 489: 484: 479: 474: 469: 464: 459: 454: 449: 444: 439: 434: 426: 425: 424:Specific forms 421: 420: 419: 418: 416:Tapanuli ogong 413: 408: 403: 398: 393: 388: 383: 378: 373: 368: 363: 358: 353: 348: 343: 338: 330: 329: 325: 324: 318: 317: 303: 291: 290: 272: 268: 267: 246: 242: 241: 216: 212: 211: 203: 202: 201: 200: 195: 190: 182: 181: 177: 176: 157: 156: 150: 149: 138: 137: 131: 130: 105: 101: 100: 99: 98: 93: 88: 81: 79:Classification 75: 74: 68: 64: 63: 50:Maranao people 43: 15: 9: 6: 4: 3: 2: 5020: 5009: 5006: 5004: 5001: 4999: 4996: 4994: 4991: 4989: 4986: 4984: 4981: 4979: 4976: 4974: 4971: 4969: 4966: 4965: 4963: 4956: 4946: 4943: 4941: 4938: 4936: 4933: 4931: 4928: 4926: 4923: 4922: 4920: 4916: 4910: 4907: 4905: 4902: 4900: 4897: 4895: 4892: 4890: 4887: 4885: 4882: 4880: 4877: 4875: 4872: 4870: 4867: 4865: 4862: 4860: 4857: 4855: 4852: 4851: 4849: 4845: 4839: 4836: 4834: 4831: 4829: 4826: 4825: 4823: 4819: 4813: 4810: 4808: 4805: 4804: 4802: 4800: 4796: 4790: 4787: 4785: 4782: 4781: 4779: 4775: 4767: 4764: 4763: 4762: 4759: 4757: 4754: 4752: 4749: 4747: 4744: 4742: 4739: 4737: 4734: 4732: 4729: 4727: 4724: 4723: 4721: 4717: 4711: 4696: 4693: 4692: 4691: 4688: 4684: 4681: 4679: 4676: 4675: 4674: 4671: 4669: 4666: 4665: 4663: 4661: 4658: 4657: 4655: 4651: 4646: 4640: 4636: 4629: 4624: 4622: 4617: 4615: 4610: 4609: 4606: 4594: 4591: 4589: 4586: 4584: 4581: 4580: 4578: 4576: 4572: 4566: 4563: 4561: 4558: 4556: 4553: 4551: 4548: 4547: 4545: 4543: 4539: 4533: 4530: 4527: 4524: 4522: 4519: 4517: 4514: 4512: 4509: 4507: 4504: 4502: 4499: 4497: 4494: 4493: 4491: 4489: 4485: 4478: 4476: 4473: 4471: 4468: 4466: 4463: 4460: 4458: 4455: 4453: 4450: 4449: 4447: 4445: 4441: 4437: 4433: 4429: 4425: 4420: 4415: 4407: 4402: 4400: 4395: 4393: 4388: 4387: 4384: 4372: 4369: 4367: 4364: 4362: 4359: 4357: 4354: 4352: 4349: 4347: 4344: 4342: 4339: 4337: 4334: 4332: 4329: 4327: 4324: 4322: 4319: 4318: 4316: 4310: 4304: 4301: 4299: 4296: 4294: 4291: 4289: 4286: 4284: 4281: 4280: 4278: 4276: 4273: 4268: 4259: 4254: 4252: 4247: 4245: 4240: 4239: 4236: 4224: 4221: 4219: 4216: 4215: 4213: 4209: 4203: 4200: 4198: 4195: 4193: 4190: 4188: 4185: 4183: 4180: 4178: 4177:Gendang beleq 4175: 4173: 4170: 4169: 4167: 4165: 4161: 4155: 4152: 4150: 4147: 4145: 4142: 4140: 4137: 4135: 4132: 4130: 4127: 4125: 4122: 4120: 4117: 4115: 4112: 4110: 4107: 4105: 4102: 4100: 4097: 4095: 4092: 4090: 4087: 4085: 4082: 4078: 4075: 4074: 4073: 4070: 4068: 4065: 4063: 4060: 4058: 4055: 4053: 4050: 4048: 4045: 4043: 4040: 4038: 4035: 4033: 4030: 4028: 4025: 4024: 4022: 4020: 4016: 4010: 4007: 4005: 4002: 4000: 3997: 3995: 3992: 3990: 3987: 3985: 3982: 3980: 3977: 3975: 3972: 3970: 3967: 3965: 3962: 3961: 3959: 3957: 3953: 3947: 3944: 3942: 3939: 3937: 3934: 3932: 3929: 3928: 3926: 3924: 3920: 3916: 3912: 3908: 3904: 3900: 3895: 3891: 3883: 3878: 3876: 3871: 3869: 3864: 3863: 3860: 3854: 3851: 3849: 3846: 3844: 3841: 3839: 3836: 3835: 3814: 3810: 3806: 3800: 3791: 3782: 3773: 3771: 3769: 3767: 3757: 3748: 3746: 3736: 3734: 3724: 3722: 3720: 3718: 3708: 3692: 3688: 3684: 3677: 3668: 3666: 3664: 3662: 3660: 3658: 3648: 3646: 3644: 3642: 3640: 3638: 3636: 3634: 3624: 3609: 3605: 3598: 3596: 3586: 3577: 3575: 3565: 3549: 3545: 3541: 3534: 3532: 3530: 3528: 3518: 3516: 3514: 3512: 3502: 3500: 3483: 3479: 3473: 3471: 3469: 3459: 3457: 3455: 3453: 3451: 3434: 3430: 3426: 3419: 3417: 3400: 3396: 3392: 3385: 3376: 3367: 3360: 3356: 3351: 3342: 3326: 3322: 3318: 3311: 3295: 3291: 3287: 3280: 3271: 3269: 3267: 3265: 3263: 3261: 3259: 3249: 3233: 3229: 3222: 3220: 3212: 3206: 3204: 3202: 3190: 3184: 3177: 3171: 3169: 3167: 3165: 3163: 3161: 3159: 3157: 3141: 3137: 3130: 3121: 3119: 3117: 3115: 3113: 3111: 3109: 3107: 3105: 3103: 3086: 3079: 3077: 3075: 3073: 3071: 3069: 3067: 3065: 3057: 3052: 3046: 3042: 3038: 3034: 3030: 3029:"Kulintangan" 3023: 3016: 3012: 3008: 3002: 2993: 2991: 2989: 2987: 2985: 2983: 2981: 2979: 2977: 2975: 2973: 2956: 2952: 2946: 2937: 2935: 2933: 2931: 2921: 2919: 2917: 2915: 2905: 2896: 2887: 2878: 2876: 2874: 2872: 2870: 2868: 2866: 2856: 2854: 2844: 2842: 2833: 2826: 2824: 2815: 2808: 2806: 2801: 2791: 2788: 2786: 2783: 2781: 2778: 2777: 2773: 2762: 2759: 2748: 2745: 2734: 2731: 2720: 2709: 2705: 2699: 2694: 2690: 2686: 2682: 2678: 2671: 2666: 2662: 2658: 2654: 2647: 2642: 2641: 2631: 2629: 2626: 2624: 2621: 2619: 2617: 2614: 2612: 2609: 2607: 2604: 2603: 2599: 2598:Dabi-Dabi/Cik 2596: 2593: 2590: 2588: 2585: 2583: 2580: 2578: 2575: 2573: 2570: 2568: 2565: 2564: 2560: 2559:Dabi-Dabi/Cik 2557: 2554: 2551: 2549: 2546: 2544: 2541: 2539: 2536: 2534: 2533: 2529: 2526: 2524: 2521: 2520: 2516: 2513: 2511: 2509: 2506: 2504: 2501: 2499: 2496: 2494: 2491: 2489: 2485: 2482: 2481: 2478: 2476: 2474: 2471: 2469: 2466: 2464: 2461: 2459: 2456: 2454: 2451: 2450: 2446: 2443: 2441: 2439: 2436: 2434: 2431: 2429: 2426: 2424: 2421: 2419: 2416: 2415: 2412: 2410: 2408: 2405: 2403: 2400: 2398: 2395: 2393: 2390: 2388: 2385: 2384: 2381: 2378: 2376: 2374: 2372: 2369: 2367: 2364: 2362: 2359: 2356: 2355: 2351: 2348: 2346: 2344: 2341: 2339: 2336: 2334: 2331: 2329: 2326: 2324: 2321: 2320: 2316: 2313: 2310: 2307: 2305: 2301: 2298: 2296: 2293: 2291: 2288: 2286: 2283: 2280: 2279: 2275: 2274:Buahan(Duahan 2272: 2269: 2266: 2264: 2260: 2257: 2255: 2252: 2250: 2247: 2245: 2242: 2240: 2237: 2236: 2233: 2230: 2227: 2224: 2220: 2217: 2215: 2212: 2210: 2207: 2205: 2202: 2200: 2197: 2196: 2192: 2189: 2186: 2183: 2181: 2178: 2176: 2173: 2170: 2168: 2165: 2161: 2159: 2156: 2155: 2151: 2147: 2145: 2142: 2138: 2135: 2131: 2128: 2124: 2121: 2117: 2115: 2114: 2110: 2107: 2105: 2102: 2100: 2097: 2095: 2092: 2085: 2076: 2074: 2070: 2064: 2062: 2058: 2054: 2048: 2046: 2045:globalization 2041: 2037: 2035: 2031: 2027: 2022: 2020: 2016: 2012: 2001: 1999: 1995: 1991: 1987: 1983: 1979: 1975: 1969: 1967: 1963: 1958: 1951: 1946: 1937: 1933: 1931: 1922: 1913: 1911: 1910:Kadazan-Dusun 1907: 1903: 1899: 1895: 1891: 1887: 1877: 1875: 1871: 1865: 1861: 1857: 1855: 1847: 1845: 1833: 1817: 1796: 1774: 1770: 1764:Improvisation 1761: 1754: 1750: 1746: 1741: 1727: 1723: 1716: 1711: 1707: 1704: 1700: 1696: 1692: 1691: 1685: 1683: 1679: 1675: 1671: 1657: 1653: 1648: 1644: 1642: 1638: 1634: 1630: 1622: 1618: 1613: 1609: 1607: 1603: 1599: 1595: 1591: 1587: 1583: 1579: 1570: 1561: 1559: 1555: 1551: 1547: 1541: 1535: 1531: 1527: 1523: 1518: 1512: 1507: 1498: 1489: 1487: 1483: 1469: 1465: 1463: 1459: 1455: 1451: 1447: 1436: 1433: 1429: 1423: 1421: 1417: 1413: 1409: 1405: 1403: 1394: 1390: 1381: 1378: 1363: 1355: 1351: 1349: 1344: 1342: 1339: 1333: 1331: 1326: 1317: 1309: 1305: 1292: 1283: 1281: 1277: 1273: 1269: 1265: 1261: 1257: 1252: 1248: 1245: 1240: 1238: 1233: 1227: 1223: 1221: 1217: 1213: 1209: 1205: 1201: 1197: 1190: 1187: 1183: 1176: 1172: 1167: 1160: 1156: 1152: 1148: 1143: 1134: 1132: 1128: 1124: 1120: 1116: 1112: 1108: 1104: 1100: 1096: 1092: 1088: 1084: 1080: 1076: 1072: 1068: 1064: 1060: 1056: 1052: 1048: 1044: 1040: 1036: 1035:Sangir/Sangil 1032: 1028: 1024: 1020: 1016: 1012: 1008: 1005:, Kalibugan, 1004: 1000: 996: 992: 986: 983: 979: 975: 971: 967: 963: 959: 955: 951: 947: 943: 939: 931: 926: 917: 915: 911: 907: 902: 900: 896: 892: 888: 884: 880: 876: 872: 868: 864: 860: 859: 854: 850: 846: 842: 838: 834: 829: 825: 821: 818: 814: 810: 807:Technically, 805: 803: 799: 795: 791: 787: 783: 779: 775: 771: 767: 763: 759: 755: 751: 747: 743: 739: 735: 731: 727: 723: 719: 715: 704: 699: 697: 692: 690: 685: 684: 682: 681: 676: 673: 671: 668: 666: 663: 661: 658: 656: 653: 651: 648: 646: 643: 641: 638: 636: 633: 631: 628: 626: 623: 621: 618: 616: 613: 611: 608: 606: 603: 602: 601: 600: 596: 595: 590: 589: 584: 583: 578: 575: 573: 570: 568: 565: 563: 560: 558: 555: 553: 550: 548: 547:Gendang beleq 545: 543: 540: 538: 535: 533: 530: 528: 525: 523: 522:Kurung-kurung 520: 518: 515: 513: 510: 508: 505: 503: 500: 498: 495: 493: 490: 488: 487:Joged bumbung 485: 483: 480: 478: 475: 473: 470: 468: 467:Gender Wayang 465: 463: 460: 458: 455: 453: 450: 448: 445: 443: 440: 438: 435: 433: 430: 429: 428: 427: 423: 422: 417: 414: 412: 409: 407: 404: 402: 399: 397: 394: 392: 389: 387: 384: 382: 379: 377: 374: 372: 369: 367: 364: 362: 359: 357: 354: 352: 349: 347: 346:Tembang sunda 344: 342: 341:Kecapi suling 339: 337: 334: 333: 332: 331: 327: 326: 323: 320: 319: 315: 311: 307: 301: 297: 296: 289: 285: 281: 277: 273: 269: 266: 262: 258: 254: 250: 247: 243: 240: 236: 232: 228: 224: 220: 217: 213: 208: 199: 196: 194: 191: 189: 186: 185: 183: 178: 174: 170: 166: 162: 158: 155: 151: 147: 143: 139: 136: 135:Playing range 132: 129: 125: 121: 117: 113: 109: 106: 102: 97: 94: 92: 89: 87: 84: 83: 82: 80: 76: 73: 69: 65: 61: 57: 56: 51: 47: 41: 36: 33: 26: 22: 4955: 4918:Other topics 4731:Manila Sound 4677: 4559: 4488:Chordophones 4431: 4282: 4271: 3956:Chordophones 3902: 3819:February 22, 3817:. Retrieved 3813:the original 3808: 3799: 3790: 3781: 3756: 3707: 3695:. Retrieved 3691:the original 3686: 3676: 3623: 3613:February 25, 3611:. Retrieved 3607: 3585: 3564: 3554:February 22, 3552:. Retrieved 3548:the original 3543: 3488:February 22, 3486:. Retrieved 3481: 3439:February 22, 3437:. Retrieved 3433:the original 3428: 3405:February 22, 3403:. Retrieved 3399:the original 3394: 3384: 3375: 3366: 3358: 3350: 3341: 3331:February 12, 3329:. Retrieved 3325:the original 3320: 3310: 3300:February 22, 3298:. Retrieved 3294:the original 3289: 3279: 3248: 3238:February 22, 3236:. Retrieved 3232:the original 3210: 3183: 3175: 3144:. Retrieved 3139: 3129: 3091:February 22, 3089:. Retrieved 3054: 3032: 3022: 3014: 3010: 3001: 2961:February 22, 2959:. Retrieved 2955:the original 2945: 2904: 2895: 2886: 2831: 2813: 2730:Music portal 2653:Buru Regency 2530: 2239:Tausug/Suluk 2166: 2163: 2158:Maguindanaon 2082: 2073:Metro Manila 2065: 2049: 2042: 2038: 2023: 2007: 1970: 1954: 1934: 1927: 1883: 1866: 1862: 1858: 1850: 1841: 1771: 1767: 1758: 1755:. Circa 1980 1730:Compositions 1724: 1720: 1702: 1698: 1689: 1686: 1666: 1655: 1626: 1617:Maguindanaon 1575: 1542: 1538: 1495: 1479: 1442: 1431: 1427: 1424: 1419: 1411: 1401: 1398: 1392: 1373: 1345: 1334: 1322: 1302: 1253: 1249: 1241: 1228: 1224: 1220:North Maluku 1208:Christianity 1193: 1188: 1017:, and other 991:Maguindanaon 987: 935: 913: 909: 905: 903: 873:by those in 870: 866: 856: 848: 836: 832: 813:Maguindanaon 808: 806: 794:Christianity 713: 712: 511: 381:Langgam jawa 274:Kulintang • 53: 45: 31: 5003:Moro people 4812:Independent 4660:Instruments 4653:Traditional 4560:Kulintangan 4432:Kulintangan 4314:instruments 3697:November 1, 3290:Anthro 1385 3211:Asian Music 3176:Asian Music 3007:"Kolintang" 2528:Kulintang / 2468:Tawag-Tawag 2463:Kulintangan 2445:Tawak-Tawak 2428:Kulintangan 2333:Kulintangan 2323:Sama/Badjao 2290:Kulintangan 2249:Kulintangan 2225:(*archaic) 2053:José Maceda 1974:Banjermasin 1602:coronations 1534:Philippines 1501:Performance 1402:cire perdue 1299:Description 1119:Banjarmasin 985:prevalent. 871:gulintangan 867:kulintangan 804:ensembles. 774:Java Island 744:culture of 730:kulintangan 650:Minangkabau 477:Gong kebyar 386:Celempungan 124:Philippines 110:influence, 67:Other names 4962:Categories 4719:Post-1960s 4542:Idiophones 4528:Tongkungon 4444:Aerophones 4436:Caklempong 4077:Gong ageng 4019:Idiophones 3969:Cekuntrung 3923:Aerophones 3146:2023-11-07 3087:. 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the 1023:Tausug 999:Iranun 993:; the 970:string 946:piphat 891:Brunei 875:Brunei 863:Maluku 762:Brunei 660:Dayaks 655:Bataks 610:Borneo 562:Suling 492:Melayu 452:Degung 447:Gambus 442:Calung 328:Genres 249:Brunei 198:Piphat 169:kethuk 165:kenong 161:bonang 148:scales 112:Brunei 4973:Gongs 4847:Years 4807:Major 4550:Agung 4521:Sapeh 4516:Rebab 4511:Gitar 4496:Biola 4288:Agung 4172:Bedug 4134:Siter 4129:Saron 4089:Kecer 4027:Agung 4009:Sapeh 3999:Rebab 3482:Spark 3192:(PDF) 2681:Ambon 2628:Drums 2623:Tifus 2606:Ambon 2453:Lotud 2433:Agong 2371:Agung 2295:Tamuk 2214:Agong 2175:Agung 2104:Drums 2026:Luzon 1986:Timor 1894:Yakan 1890:Samal 1745:Ambon 1715:agung 1678:Sabah 1637:Iftar 1554:agung 1446:Pelog 1414:) or 1348:taboo 1330:brass 1272:Sunda 1260:Luzon 1204:Islam 1189:agong 1171:Lumad 1147:Ngada 1131:Timor 1083:Sabah 1079:Dusun 1071:Murut 1067:Suluk 1063:Bajau 1051:Seram 1047:Banda 1043:Ambon 1031:Yakan 1019:Lumad 1011:Blaan 1007:Tboli 954:Burma 895:Sabah 879:Sabah 817:Lumad 790:Islam 766:Timor 738:drums 734:gongs 726:Malay 645:Malay 625:Papua 482:Jegog 351:Kecak 306:Gongs 276:Agung 142:Pelog 4909:2024 4904:2023 4899:2022 4894:2021 4889:2020 4884:2019 4879:2018 4874:2017 4869:2016 4864:2015 4859:2014 4854:2010 4761:Rock 4746:Jazz 4673:Folk 4555:Gong 4501:Kreb 4154:Ugal 4072:Gong 3821:2007 3699:2006 3615:2006 3556:2007 3490:2007 3441:2007 3407:2007 3333:2007 3302:2007 3240:2007 3093:2007 3045:ISBN 2963:2007 2790:Gong 2592:Podo 2577:Momo 2553:Podo 2538:Momo 2484:Iban 2011:Buru 1996:and 1908:and 1898:Sama 1703:Anun 1699:apad 1690:apad 1680:and 1668:non- 1656:apad 1650:The 1590:Hajj 1454:Java 1448:and 1412:talo 1129:and 1121:and 1105:and 1095:Iban 1093:and 966:wind 962:Laos 960:and 899:Sulu 897:and 869:and 843:and 764:and 615:Java 605:Bali 411:Rock 144:and 126:and 96:Gong 55:okir 4751:Pop 4736:OPM 3974:Cuk 3964:Cak 3037:doi 1528:of 1266:of 1262:or 1258:of 1125:in 1113:of 968:or 948:of 912:or 851:by 796:or 772:in 760:, 312:in 4964:: 4434:• 4430:• 4426:• 3913:• 3909:• 3905:• 3901:• 3807:. 3765:^ 3744:^ 3732:^ 3716:^ 3685:. 3656:^ 3632:^ 3606:. 3594:^ 3573:^ 3542:. 3526:^ 3510:^ 3498:^ 3480:. 3467:^ 3449:^ 3427:. 3415:^ 3393:. 3357:. 3319:. 3288:. 3257:^ 3218:^ 3200:^ 3155:^ 3138:. 3101:^ 3063:^ 3053:. 3043:. 3035:. 3031:. 3009:. 2971:^ 2929:^ 2913:^ 2864:^ 2852:^ 2840:^ 2822:^ 2804:^ 2687:, 2683:, 2659:, 2655:, 2302:, 2221:, 2071:, 2017:, 1992:, 1988:, 1976:, 1904:, 1896:, 1892:, 1888:, 1751:, 1747:, 1676:, 1615:A 1532:, 1278:, 1206:, 1202:, 1198:, 1169:A 1153:, 1149:, 1133:. 1073:, 1069:, 1065:, 1057:, 1053:, 1049:, 1045:, 1029:, 1025:, 1013:, 1009:, 1001:, 997:, 956:, 952:, 901:. 893:, 881:, 877:, 865:, 855:, 847:, 822:, 815:, 792:, 788:, 784:, 776:, 756:, 752:, 728:: 724:, 720:: 286:• 282:• 278:• 263:, 259:, 255:, 251:, 237:• 233:• 229:• 225:• 221:• 163:, 122:, 118:, 44:A 4643:" 4627:e 4620:t 4613:v 4405:e 4398:t 4391:v 4257:e 4250:t 4243:v 3881:e 3874:t 3867:v 3823:. 3701:. 3617:. 3558:. 3492:. 3443:. 3409:. 3335:. 3304:. 3242:. 3194:. 3149:. 3095:. 3039:: 2965:. 2486:/ 2164:/ 1900:/ 1846:. 1834:. 1623:. 1600:/ 1460:/ 1418:( 1410:( 1157:( 1109:/ 1097:/ 1077:- 932:. 716:( 702:e 695:t 688:v 114:, 27:.

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