Music Q3

• The Islamic Community in the Philippines consist of ethno-linguistic groups.
• Representative Selection of Mindanao

  Chants - Lyrical rendition of different improvised text.

  Lullaby - chant-style or chant formula use in rocking a baby to sleep.
• Chants

  • Lugu - chants that are used in reading Qur'an and other books used in their Islam region.
• Chants

  • Kalangan - songs that are used for serenading their loved ones.
• Chants

  Sa-il/Lunsey - an important chant to be sung by the wife-to-be during the ceremony that talks about married life.
• Maranaos have an extensive vocal repertoire such as:

  1. Dikker -sacred songs highlighted by quotations from the Qur'ann
  2. Bayok -semi-generic term for a lyrical rendition of different improvised text.
• 1. Ya-ya - is a song of the Yakans to put the baby to sleep, sung in a relax/slow manner, soft and soothing while rocking the baby
  2. Bayok - is also a Maranao term for lullaby.
• Strained Voice -refers to controlled vocal capacity.
• Nasal Enunciation -A type of speaking voice characterized by speech with a "nasal" quality
• Nasal speech can be divided into hypo-nasal and hyper-nasal
• a.Kaluntang Ensemble - Gong-based ensemble used by the Maguindanao and Maranao of Western Mindanao, the Tausug, the Yakan, and the Sama-Bajao of the Sulu Archipelago. They have varied functions but are mostly used for celebrations/rituals and are mainly divided into two types:

  Kulintangan Ensemble and BlowonSemagi-suspended gong ensembles
• Gongs are common in Southeast Asia. Its early version, the ancient kettle gong, dates back to around 300 BCE. Gongs are of different sizes and shapes, either flat or with a center boss or knob. The bossed gong varies in diameter, shape, and depth of their rims, and the ways which they are being sounded. They can be found in Palawan, Mindanao, and Sulu archipelagos.
• GONG MUSIC OF MINDANAO

  The bossed gongs of Southern Philippines has three types:

  Agung

  Gandingan

  Kulintang
• THE AGUNG

  Is a large bossed gong with deep, slightly tuned-in rims, hung on wooden frames or from rafters, or if small enough, it is held in one hand.

  It is played individually, in groups, or as a part of a larger ensemble. Traditionally, this

  instrument is played by male performers.

  Sometimes, two agungs of different pitches, suspended side-by-side facing each other are played in the palabunibunyan.
• THE GANDINGAN

  Has narrower, very slightly turned-in rims, and their bosses are not as prominent as the agung's. They are hung and played individually or in ensemble. The instrument is

  sounded using a pair of sticks with a thick rubber padding at the ends. Traditionally, this instrument is played by a woman.
• THE KULINTANG

  Is a gong-chime, graduated bossed gongs laid in a row on a

  wooden frame or mat. It plays an important soloistic role in gong ensembles. The instrument is traditionally played by a woman. It is thought that a good-looking player should be able to play without looking at the gongs as she strikes them.
• 1. Melisma singing - a single syllable of text while moving between several different notes in succession. It's more applicable to actual singing and makes the notes easier.
• Song Phrases - a unit of musical meter that has a complete musical sense of its own, built from figures, motifs, and cells, and combining to form melodies, periods and larger sections.
• Narrow Singing - sing with narrow vowels because it will keep you from yelling
• 1. Fluid Singing- continuity of slow of singing
• 1. Tremolo - the rapid reiteration of a musical tone or of alternating tones to produce a tremulous effect.
• The palabunibunyan refers to the Maguindanaon gong ensembles consisting of five instruments: kulintang, agung, gandingan, debakan, and babendil
• Musical pieces played in the palabunibunyan fall under four categories: binalig (also called sirong), sinulog, tidtu, and tagunggo
• Tagunggo category is exclusively for ritual and is usually accompanied by a ritual dance called sagayan
• Main structure of kulintang pieces includes: introduction, repeated section, ascending and descending transitions, and conclusion
• The length of the pieces usually depends on the player as they may choose to repeat some sections several times
• THE DEBAKAN

  Is a goblet-shaped wooden drum covered with goat, lizard, or snakeskin. Like the kulintang frame, it is about a couple of inches taller than the seat of a regular dining chair. Traditionally, the instrument is played by a woman who sits on a chair as she plays. This is played by striking it with two thin bamboo sticks about a feet and a half in length and about half an inch in width.
• THE BABENDIL

  Also called babendir, is about 20 centimeters in diameter and has narrow, very slightly turned-in rims. It makes a thin sound when struck on the rim with a bamboo stick. Traditionally, this instrument may be

  played by both male and female. In some parts of Maguindanao is

  considered as the main instrument of the palabunibunyan.
• LUTE MUSIC OF

  * MINDANAO

  Lute is perhaps the most common stringed instrument in the world. It consists of a resonating chamber and a neck with strings that run the full length of the instrument. The strings may be plucked with fingers or with the use of a plectrum (pick).

  Kudyapi
• BAMBOO MUSIC OF THE MINDANAO

  Gabbang

  Gabbang is a bamboo xylophone that is found among groups in the southernmost portion of the Philippines.
• BAMBOO MUSIC OF THE MINDANAO

  Kubing

  A type of Jew's harp made of bamboo, kubing is found among the Maguindanaoan and other Muslim and non-Muslim tribes.
• BAMBOO MUSIC OF THE MINDANAO

  Suling

  The Maguindanaon suling is the smallest bamboo flute of the Maguindanaon and the only one classified as a ring-flute (the other two bamboo flutes of the Maguindanaon, the tumpong and the palendag are both lip-valley flutes).