mindanao instruments
source:museomusiko.wordpress.com
The mouth piece of this “bulungudyong” has been wrapped around with plastic tape to prevent the plastic straw wrapped around the chip from further deteriorating.
Name: Bulungudyong
Classification: Chip-on-edge flute with open end and finger holes.
Description: Bamboo flute with a chip on the mouth hole wrapped with plastic straw. There are three holes on top of the flute and one hole underneath.
Material: bamboo (flute), plastic (wrapping around the chip)
Ethnolinguistic Group: Pinatubo Ayta
Date Collected: 1997
Classification: Chip-on-edge flute with open end and finger holes.
Description: Bamboo flute with a chip on the mouth hole wrapped with plastic straw. There are three holes on top of the flute and one hole underneath.
Material: bamboo (flute), plastic (wrapping around the chip)
Ethnolinguistic Group: Pinatubo Ayta
Date Collected: 1997
source:wikipedia.org
Palendag
The palendag, also called Pulalu (Manobo[1] and Mansaka), Palandag (Bagobo),[2] Pulala (Bukidnon) and Lumundeg (Banuwaen) is a type of Philippine bamboo flute, the largest one used by the Maguindanaon, a smaller type of this instrument is called the Hulakteb (Bukidnon).[3] A lip-valley flute, it is considered the toughest of the three bamboo flutes (the others being the tumpong and the suling) to use because of the way one must shape one's lips against its tip to make a sound.[4] The construction of the mouthpiece is such that the lower end is cut diagonally to accommodate the lower lip and the second diagonal cut is make for the blowing edge. Among the Bukidnon, a similar instrument with the same construction except that it is three-fourths the length of the palendag, is called the hulakteb [3]
For the Maguindanaon, the palendag was used for intimate gatherings for families in the evening.[4]
The palendag, also called Pulalu (Manobo[1] and Mansaka), Palandag (Bagobo),[2] Pulala (Bukidnon) and Lumundeg (Banuwaen) is a type of Philippine bamboo flute, the largest one used by the Maguindanaon, a smaller type of this instrument is called the Hulakteb (Bukidnon).[3] A lip-valley flute, it is considered the toughest of the three bamboo flutes (the others being the tumpong and the suling) to use because of the way one must shape one's lips against its tip to make a sound.[4] The construction of the mouthpiece is such that the lower end is cut diagonally to accommodate the lower lip and the second diagonal cut is make for the blowing edge. Among the Bukidnon, a similar instrument with the same construction except that it is three-fourths the length of the palendag, is called the hulakteb [3]
For the Maguindanaon, the palendag was used for intimate gatherings for families in the evening.[4]
source:instrumundo.blogspot.com
Kutiyapi
The kutiyapi, or kudyapi, is a Philippine two-stringed, fretted boat-lute. It is the only stringed instrument among the Maguindanao people, and one of several among other groups such as the Maranao and Manobo. It is four to six feet long with nine frets made of hardened beeswax. The instrument is carved out of solid soft wood such as that from the jackfruit tree.
Common to all kudyapi instruments, a constant drone is played with one string while the other, an octave above the drone, plays the melody with a kebit or rattan pluck (commonly made from plastic nowadays). This feature, which is also common to other related Southeast Asian "boat lutes", which were influenced by varying degrees by Indian concepts of melody and scale via Maritime Southeast Asia. (See Indosphere for more information on historic Indian cultural influence in Southeast Asia.)
The kutiyapi, or kudyapi, is a Philippine two-stringed, fretted boat-lute. It is the only stringed instrument among the Maguindanao people, and one of several among other groups such as the Maranao and Manobo. It is four to six feet long with nine frets made of hardened beeswax. The instrument is carved out of solid soft wood such as that from the jackfruit tree.
Common to all kudyapi instruments, a constant drone is played with one string while the other, an octave above the drone, plays the melody with a kebit or rattan pluck (commonly made from plastic nowadays). This feature, which is also common to other related Southeast Asian "boat lutes", which were influenced by varying degrees by Indian concepts of melody and scale via Maritime Southeast Asia. (See Indosphere for more information on historic Indian cultural influence in Southeast Asia.)
source:pnoyandthecity.blogspot.com
Agung
This article is about the musical instrument. For other uses, see Agung (disambiguation). Agung Classification Related instruments gong ageng, tetawak, goong ageung, mamabla, pong The agung is a set of two wide-rimmed, vertically suspended gongs used by the Maguindanao, Maranao, Sama-Bajau and Tausug people of the Philippines as a supportive instrument in kulintang ensembles. The agung is also ubiquitous among other groups found in Palawan, Panay, Mindoro, Mindanao, Sabah, Sulawesi, Sarawak and Kalimantan as an integral part of the agung orchestra.[1]
This article is about the musical instrument. For other uses, see Agung (disambiguation). Agung Classification Related instruments gong ageng, tetawak, goong ageung, mamabla, pong The agung is a set of two wide-rimmed, vertically suspended gongs used by the Maguindanao, Maranao, Sama-Bajau and Tausug people of the Philippines as a supportive instrument in kulintang ensembles. The agung is also ubiquitous among other groups found in Palawan, Panay, Mindoro, Mindanao, Sabah, Sulawesi, Sarawak and Kalimantan as an integral part of the agung orchestra.[1]
source:instrument2013.blogspot.com
Kulintang
Kulintang Other names Kolintang, Kulintangan, Totobuang Classification Playing range Pelog and Slendro scales Related instruments bonang,[1] kenong, canang, keromong,[2] kromong, kethuk,[3] trompong/terompong, rejong, talempong,[4] chalempung, caklempong/caklempung,[2] khong wong yai/khong wong lek, khong toch/ khong thom, khong vong, krewaing/krewong[5] More articles gamelan and piphat Kulintang ensemble Stylistic origins Music of Southeast Asia Typical instruments Kulintang • Agung • Gandingan • Babendil • Dabakan Kulintang 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 Malay Archipelago—the Southern Philippines, Eastern Indonesia, Eastern Malaysia, Brunei and Timor,[6] although this article has a focus on the Philippine Kulintang traditions of the Maranao and Maguindanao peoples in particular. Kulintang evolved from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sunda.[5] Its importance stems from its association with the indigenous cultures that inhabited these islands prior to the influences of Hinduism, Buddhism, Islam, Christianity or the West, making Kulintang the most developed tradition of Southeast Asian archaic gong-chime ensembles.
Technically, kulintang is the Maguindanao, Ternate and Timor term for the idiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set.[7] 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 kulintang is also called kolintang by the Maranao and those in Sulawesi, kulintangan, gulintangan by those in Sabah and the Sulu Archipelago and totobuang by those in central Maluku.[8]
By the twentieth century, the term kulintang had also come to denote an entire Maguindanao ensemble of five to six instruments.[9] Traditionally the Maguindanao term for the entire ensemble is basalen or palabunibunyan, the latter term meaning “an ensemble of loud instruments” or “music-making” or in this case “music-making using a kulintang.”[10]
Kulintang Other names Kolintang, Kulintangan, Totobuang Classification Playing range Pelog and Slendro scales Related instruments bonang,[1] kenong, canang, keromong,[2] kromong, kethuk,[3] trompong/terompong, rejong, talempong,[4] chalempung, caklempong/caklempung,[2] khong wong yai/khong wong lek, khong toch/ khong thom, khong vong, krewaing/krewong[5] More articles gamelan and piphat Kulintang ensemble Stylistic origins Music of Southeast Asia Typical instruments Kulintang • Agung • Gandingan • Babendil • Dabakan Kulintang 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 Malay Archipelago—the Southern Philippines, Eastern Indonesia, Eastern Malaysia, Brunei and Timor,[6] although this article has a focus on the Philippine Kulintang traditions of the Maranao and Maguindanao peoples in particular. Kulintang evolved from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sunda.[5] Its importance stems from its association with the indigenous cultures that inhabited these islands prior to the influences of Hinduism, Buddhism, Islam, Christianity or the West, making Kulintang the most developed tradition of Southeast Asian archaic gong-chime ensembles.
Technically, kulintang is the Maguindanao, Ternate and Timor term for the idiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set.[7] 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 kulintang is also called kolintang by the Maranao and those in Sulawesi, kulintangan, gulintangan by those in Sabah and the Sulu Archipelago and totobuang by those in central Maluku.[8]
By the twentieth century, the term kulintang had also come to denote an entire Maguindanao ensemble of five to six instruments.[9] Traditionally the Maguindanao term for the entire ensemble is basalen or palabunibunyan, the latter term meaning “an ensemble of loud instruments” or “music-making” or in this case “music-making using a kulintang.”[10]