Strama
Mindano Music
KOLINTANG
TAGONGKO and KAPANIRONG Asian musical cultures come together in the Southern Philippines. On these islands old Malay music and a later form of India/Muslim music coexist. Unaccompanied singing and the use of bamboo ideocords and bamboo flutes are indicative of practices common in Malaysia. The chanting of long, melismatic melodies are reminiscent of Indian and Islamic music; while gong playing with basses evokes practices similarly observed in Indonesia, Laos, Thailand, and Burma |
Vera-Reyes Inc., 1978 |
| Two distinct types of song are popular among the Maguindanaos: 1) religious chants sung during the Friday noon service, the celebration of the Molud or Mawlid, the puwasa or Ramadan, and the periodic commemoration of the dead; and 2) the less formal secular songs, such as love songs, legend chants, and lullabies. Similarly, among the Tausogs, song traditions fall into either the lugu, unaccompanied songs associated with traditional rites; or the paggabbang, songs rendered solely for entertainment.
(Source: Pobre, C.P., et al, 1978. Tuladan, The Philippine South. Manila: The Executive Committee; 160pp.) |
KOLINTANG The popular kolintang
(gong melody) is played in different instrumental combinations, but the Maguindanao ensemble is said to have the most developed melodic permutation |
Mindanao State University, 1980 |
The ensemble is composed of a set of eight gongs of graduated sizes arranged in a row (kolintang), a suspended gong with a thin sound (babendir), a drum (debakan), one or two suspended gongs (agong), and a pair of gongs with narrow rims (gandingan).The kolintang is a counterpart of the Malaysian or Indonesian gamelan, except that it is an ensemble strictly of percussion instruments. No wind or string instrument is played to accompany it. The principal eight-gong series (kolintang) is used to play a variety of meaningful compositions; the other gongs and the drum follow its beat.In
KOLINTANG
TAGONGKO and KAPANIRONG Asian musical cultures come together in the Southern Philippines. On these islands old Malay music and a later form of India/Muslim music coexist. Unaccompanied singing and the use of bamboo ideocords and bamboo flutes are indicative of practices common in Malaysia. The chanting of long, melismatic melodies are reminiscent of Indian and Islamic music; while gong playing with basses evokes practices similarly observed in Indonesia, Laos, Thailand, and Burma |
Vera-Reyes Inc., 1978 |
| Two distinct types of song are popular among the Maguindanaos: 1) religious chants sung during the Friday noon service, the celebration of the Molud or Mawlid, the puwasa or Ramadan, and the periodic commemoration of the dead; and 2) the less formal secular songs, such as love songs, legend chants, and lullabies. Similarly, among the Tausogs, song traditions fall into either the lugu, unaccompanied songs associated with traditional rites; or the paggabbang, songs rendered solely for entertainment.
(Source: Pobre, C.P., et al, 1978. Tuladan, The Philippine South. Manila: The Executive Committee; 160pp.) |
KOLINTANG The popular kolintang
(gong melody) is played in different instrumental combinations, but the Maguindanao ensemble is said to have the most developed melodic permutation |
Mindanao State University, 1980 |
The ensemble is composed of a set of eight gongs of graduated sizes arranged in a row (kolintang), a suspended gong with a thin sound (babendir), a drum (debakan), one or two suspended gongs (agong), and a pair of gongs with narrow rims (gandingan).The kolintang is a counterpart of the Malaysian or Indonesian gamelan, except that it is an ensemble strictly of percussion instruments. No wind or string instrument is played to accompany it. The principal eight-gong series (kolintang) is used to play a variety of meaningful compositions; the other gongs and the drum follow its beat.In