This document provides information on the diverse music cultures of Mindanao, Philippines. It discusses the various Islamic and non-Islamic ethnic groups of Mindanao and gives examples of their vocal and instrumental music traditions. Specific genres of music are mentioned for occasions like lullabies, weddings, and funerals. Musical instruments used by different groups are also described, including string instruments like the kudlung, wind instruments like the suling bamboo flute, and percussion instruments like the kulintang gong chimes and gandingan suspended gongs.
This document provides information on the music of Mindanao, the second largest island of the Philippines. It discusses the ethnic groups of Mindanao and their characteristics. It then describes various types of traditional musical instruments used in Mindanao, grouping them into chordophones (string instruments), aerophones (wind instruments), idiophones (percussion instruments), and membranophones (drum instruments). Specific examples are given for each group with descriptions of their construction and cultural significance. The document aims to convey the musical diversity and traditions that have developed among the different peoples of Mindanao.
The document provides information on traditional music styles from several regions in the Philippines, including the Cordillera, Mindoro, Palawan, and the Visayas. It describes various vocal and instrumental musical genres and highlights some distinguishing characteristics. Vocal styles often involve epics, lullabies, courtship songs, and are sometimes performed with instrumental accompaniment. Instruments include gongs, lutes, bamboo flutes, zithers, and ensembles like the Rondalla and Tultugan bamboo drums. Overall, the music reflects local cultures and is used in rituals, celebrations, and other important community events.
The document summarizes the music of Palawan province in the Philippines. It describes the socio-historical context and geography of Palawan and its indigenous peoples, including the Batak, Palaweños, Palawano, and Tagbanwa. It outlines various vocal music genres practiced in Palawan, such as bagit, kulial, tultul (epic chant), and ulit (shamanic chant). Musical instruments used include the suling (flute), babarak (ring flute), basal (gong), aruding (jew's harp), kusyapi (lute), and pagang (bamboo zither). The document concludes that Palaw
The folk songs of the Luzon lowlands in the Philippines were traditionally passed down orally and accompanied daily activities. They were performed in native languages like Ilocano, Pangasinense, and Tagalog. Characteristics include being passed down orally, learned through repetition, sung in dialect, having simple melodies and lyrics based on nature or work. Examples of folk songs mentioned are "Pamulinawen" and "Magtanim ay 'Di Biro." Religious music was also influenced by Spanish colonization, incorporating indigenous forms into Christian rituals like Salubong and Flores de Mayo. Secular music includes harana serenades, kumintang love songs, and pandanggo court
The document provides information on traditional music from the Philippine islands of Mindoro and Palawan. For Mindoro, it describes various vocal and instrumental genres including the igway spirit song, gitgit 3-string violin, and kalutang percussion. It also notes the lantoy transverse flute and agung gong ensemble. For Palawan, it discusses the beautiful landscape and important indigenous groups that preserve their culture and music. It outlines vocal love songs and instrumental genres like the suling bamboo flute, pagang harp, agung gongs, and kusyapig lute.
This document provides an overview of instrumental music from Mindanao, Philippines. It discusses the kulintang ensemble, which uses gong instruments and is important for celebrations and rituals. Key gong instruments include the kulintang, agung, and others. It also describes bamboo ensembles that use instruments like the gabbang xylophone and seronggagandi bamboo guitar. Solo instruments like the kudyapi lute and suling bamboo flute are also highlighted. The document emphasizes that different ethnic groups of Mindanao share similar instrument types but with varied functions and playing styles.
ARTS AND CRAFTS OF MIMAROPA MAPEH 7 ART LESSONakosi Ma'am
ARTS AND CRAFTS OF MIMAROPA MAPEH 7 ART LESSON
2ND QUARTER LESSON 1 MAPEH 7 LESSON IN ART
DISCLAIMER: NO COPYRIGHT INFRINGEMENT.
#JHSMAPEHTeacherandArt teacher
This document provides information about the traditional music of Mindoro province in the Philippines. It discusses the geographical and cultural background of Mindoro and its division into Occidental and Oriental Mindoro. It then focuses on the preservation of Mangyan culture and the marginalization of their traditions. The document describes several genres of Mangyan vocal and instrumental music used for rituals, celebrations, courtship and work. It provides examples of traditional Mangyan instruments like the kudlong lute, gitgit, kalutang and others. The agung ensemble consisting of gongs is also mentioned.
This document provides information on the music of Mindanao, the second largest island of the Philippines. It discusses the ethnic groups of Mindanao and their characteristics. It then describes various types of traditional musical instruments used in Mindanao, grouping them into chordophones (string instruments), aerophones (wind instruments), idiophones (percussion instruments), and membranophones (drum instruments). Specific examples are given for each group with descriptions of their construction and cultural significance. The document aims to convey the musical diversity and traditions that have developed among the different peoples of Mindanao.
The document provides information on traditional music styles from several regions in the Philippines, including the Cordillera, Mindoro, Palawan, and the Visayas. It describes various vocal and instrumental musical genres and highlights some distinguishing characteristics. Vocal styles often involve epics, lullabies, courtship songs, and are sometimes performed with instrumental accompaniment. Instruments include gongs, lutes, bamboo flutes, zithers, and ensembles like the Rondalla and Tultugan bamboo drums. Overall, the music reflects local cultures and is used in rituals, celebrations, and other important community events.
The document summarizes the music of Palawan province in the Philippines. It describes the socio-historical context and geography of Palawan and its indigenous peoples, including the Batak, Palaweños, Palawano, and Tagbanwa. It outlines various vocal music genres practiced in Palawan, such as bagit, kulial, tultul (epic chant), and ulit (shamanic chant). Musical instruments used include the suling (flute), babarak (ring flute), basal (gong), aruding (jew's harp), kusyapi (lute), and pagang (bamboo zither). The document concludes that Palaw
The folk songs of the Luzon lowlands in the Philippines were traditionally passed down orally and accompanied daily activities. They were performed in native languages like Ilocano, Pangasinense, and Tagalog. Characteristics include being passed down orally, learned through repetition, sung in dialect, having simple melodies and lyrics based on nature or work. Examples of folk songs mentioned are "Pamulinawen" and "Magtanim ay 'Di Biro." Religious music was also influenced by Spanish colonization, incorporating indigenous forms into Christian rituals like Salubong and Flores de Mayo. Secular music includes harana serenades, kumintang love songs, and pandanggo court
The document provides information on traditional music from the Philippine islands of Mindoro and Palawan. For Mindoro, it describes various vocal and instrumental genres including the igway spirit song, gitgit 3-string violin, and kalutang percussion. It also notes the lantoy transverse flute and agung gong ensemble. For Palawan, it discusses the beautiful landscape and important indigenous groups that preserve their culture and music. It outlines vocal love songs and instrumental genres like the suling bamboo flute, pagang harp, agung gongs, and kusyapig lute.
This document provides an overview of instrumental music from Mindanao, Philippines. It discusses the kulintang ensemble, which uses gong instruments and is important for celebrations and rituals. Key gong instruments include the kulintang, agung, and others. It also describes bamboo ensembles that use instruments like the gabbang xylophone and seronggagandi bamboo guitar. Solo instruments like the kudyapi lute and suling bamboo flute are also highlighted. The document emphasizes that different ethnic groups of Mindanao share similar instrument types but with varied functions and playing styles.
ARTS AND CRAFTS OF MIMAROPA MAPEH 7 ART LESSONakosi Ma'am
ARTS AND CRAFTS OF MIMAROPA MAPEH 7 ART LESSON
2ND QUARTER LESSON 1 MAPEH 7 LESSON IN ART
DISCLAIMER: NO COPYRIGHT INFRINGEMENT.
#JHSMAPEHTeacherandArt teacher
This document provides information about the traditional music of Mindoro province in the Philippines. It discusses the geographical and cultural background of Mindoro and its division into Occidental and Oriental Mindoro. It then focuses on the preservation of Mangyan culture and the marginalization of their traditions. The document describes several genres of Mangyan vocal and instrumental music used for rituals, celebrations, courtship and work. It provides examples of traditional Mangyan instruments like the kudlong lute, gitgit, kalutang and others. The agung ensemble consisting of gongs is also mentioned.
The document provides an overview of the diverse ethnic groups and cultures found in Mindanao, the southernmost major island of the Philippines. It discusses the traditional attire, textiles, crafts, architecture, and sculptures of several Mindanao groups including the B'laan, Bagobo, T'boli, Maranao, and Yakan. Some key aspects summarized include the ikat dyeing process used to create intricate patterns on abaca fabrics, importance of the malong skirt to Maranao culture, and wood carving and metalworking traditions of groups like the T'boli and Maranao that feature motifs inspired by local wildlife.
This document provides an overview of the music of the lowlands of Luzon in the Philippines. It discusses the key musical elements of melody, rhythm, texture, harmony, and expressive qualities. It also presents examples of folk songs from the region, including their lyrics and musical notation. The document explains that folk songs provide insights into a culture. It then covers liturgical and devotional music used in Catholic masses and religious festivals in the Philippines, identifying their Latin and Filipino names and purposes. The document concludes with proposed group activities focused on the "Palestrina of the Philippines" and the unique bamboo organ of Las Piñas.
The document summarizes information about the MIMAROPA region of the Philippines, which consists of Mindoro, Marinduque, Romblon, and Palawan provinces. It provides details about the native groups and cultures of each province, including the Hanunuo-Mangyan and Iraya-Mangyan peoples of Mindoro, the Moriones Festival celebrated in Marinduque, Romblon's fine marble handicrafts, and cultural items originating from Palawan like the Tingkop basket and Manunggul Jar.
Music of Cordillera Grade-7 1st Quarter.Elmer Llames
The document summarizes key information about music in the Cordillera Administrative Region of the Philippines. It describes the communal and participatory nature of Cordillera music, which is performed at important life events and transmitted orally. It also lists and describes several important indigenous musical instruments from the region, including the gangsa gong, nose flute, bamboo percussion instruments, and bamboo pipes. The hudhud epic chant of the Ifugao people is also summarized, noting it can take days to recite and includes stories of heroism, love, and revenge.
This document discusses the traditional musical instruments and practices of the Cordillera people of the Philippines. It describes various types of bamboo instruments like the gangsa, baliing, bungkaka, and buzzer. It also mentions instruments like the sulibaw and ulibaw. The document notes that Cordillera music is typically performed in groups and associated with important life events and rituals. Songs are usually unison or pentatonic melodies. It provides examples of specific Cordillera musical genres and the roles of instruments in wedding celebrations and peace pacts.
Music of Myanmar - MAPEH 8 (Music 1st Quarter)Carlo Luna
MUSIC 8 - Southeast Asian Music (1st Quarter)
MUSIC OF MYANMAR
A. Cultural Background
B. Vocal Music
C. Instrumental Music
D. Musical Ensemble (Hsaing Waing)
This document provides information on the diverse music cultures of Mindanao, Philippines. It discusses the various Islamic and non-Islamic ethnic groups of Mindanao and gives examples of their vocal and instrumental music traditions. Specific genres of music are mentioned for occasions like lullabies, weddings, and funerals. Musical instruments used by different groups are also described, including string, wind, and percussion instruments like the kulintang, suling, gabbang, and agung.
The document provides information about the Hanunuo-Mangyans ethnic group that lives on Mindoro Island in the Philippines and their musical traditions. It describes that Mangyan is the name for indigenous groups on Mindoro, while Hanunuo refers to those who have maintained their customs. It then discusses the poetic form of "ambahan" used by Hanunuo-Mangyans to invoke spirits, and provides an example ambahan poem about childhood memories. Finally, it lists several traditional musical instruments of the Mindoro region, including string, wind, and percussion instruments.
This document discusses the music of the Cordillera region in the Philippines. It covers three main types of music: vocal music, instrumental music, and vocal ensembles accompanied by instruments. Vocal genres include Ibaloi Badiw songs, lullabies, and Hudhud chants. Instrumental music features metal gangsa gongs and various bamboo instruments like bilbil buzzers and tongali nose flutes. Vocal ensembles sometimes include stringed instruments like the kuglong lute during courtship songs or debates. The music is closely tied to rituals, life events, and agricultural cycles in Cordillera culture.
This document provides an overview of the traditional arts and crafts of various regions in Luzon, Philippines. It describes the textiles, architecture, pottery, basketry, woodcarving, metalworking and other crafts of areas like Ilocos, Cordillera, Cagayan Valley, Central Luzon, Calabarzon and Bicol. Specific examples highlighted include the Vigan architecture in Ilocos, Kalinga textiles, Ifugao sculptures, Abra textiles, Bulacan pastillas wrappers and Laguna woodcarving. The document aims to teach students about the diverse cultural expressions and traditions found across Luzon.
The Cordilleras region of the Philippines has a rich traditional music culture. Music is an integral part of daily life and important community and religious activities. Each ethnic group has its own distinctive vocal and instrumental styles. Songs are commonly performed in groups and feature pentatonic melodies. Important genres include narrative chants, folk songs, and music to accompany rituals, festivities, and life events. Traditional instruments are made of bamboo and metal and include gangsa gongs, bamboo flutes, nose flutes, xylophones, and drums. Ensemble music features interlocking rhythmic patterns played on differently pitched instruments. Traditional music is an important part of cultural heritage passed down through oral tradition.
This document discusses the secular music of the lowlands of Luzon, Philippines. It describes six main musical genres: harana, kumintang, pandanggo, polka, balitaw, and kundiman. For each genre, it provides background on origins, style, and examples. It then discusses kundiman in more depth, describing it as a courtship song usually in triple meter that can be about love or patriotism. Famous kundiman performers and examples from the early 1900s are listed. The document serves to educate students on the colonially influenced secular music traditions of Luzon.
The document discusses several theatrical forms and festivals in Asia. It describes the Yi Peng Lantern Festival in Thailand where lanterns are released to make Buddhist merit. It also discusses the Kodo Taiko Drum Festival in Japan where performers convey rhythm through drumming. Several Philippine festivals are listed including Dinagyang in Iloilo and Pahiyas in Quezon. The main Japanese theater forms of Noh, Kabuki, and Bunrako are outlined along with details on masks, costumes, and puppetry. Indonesian wayang kulit shadow puppetry and its religious stories are described. Chinese Peking Opera is discussed along with costumes and facial painting techniques. Finally, some Philippine theater forms are mentioned like senak
The document summarizes some of the traditional arts and crafts of the Ilocos Region, Cordillera Administrative Region (CAR), and surrounding areas of Luzon in the Philippines. In the Ilocos Region, important arts include the Spanish colonial architecture in Vigan, Inabel weaving techniques using traditional looms, and Burnay pottery jars. The Kalinga are known for their textiles featuring various cultural patterns, basket weaving, wood carving, and tattooing traditions. The Ifugao are renowned for their bul'ul rice granary sculptures and lingling-o amulets. Mountain Province is known for burial cloths and various indigenous textile traditions among different ethnic groups.
The document discusses the arts and crafts of various ethnolinguistic groups in Mindanao, Philippines, focusing on their textiles, attire, and weaving traditions. It describes the clothing, materials, and designs of five groups: the B'laan people known for beadwork and brass ornaments; the Bagobos who make t'nalak textiles; the T'boli renowned for dream-inspired beadwork; the Maranaos and their versatile malong skirts; and the Yakans skilled in hand-loomed geometric patterns. These groups have developed unique artistic traditions that blend indigenous beliefs with influences from Muslim and other traders.
The philippine festivals and theatrical formsMakoy nejana
This document discusses Philippine festivals and theatrical forms. It provides an overview of the content standards and essential understandings, which focus on appreciating and gaining insight into Philippine cultures through exposure to their arts and celebrations. The document then lists and describes several prominent religious and non-religious festivals celebrated throughout the year in different regions of the Philippines, highlighting their artistic elements. It also identifies some common Philippine theatrical forms traditionally performed during religious holidays.
The musical styles of the Visayans include balitaw, a song-and-dance debate between a man and woman about love and marriage. Vocal music includes love songs, courting songs, drinking songs, children's songs, and lullabies. Instrumental music features the rondalla ensemble of string instruments played with a plectrum, including the bandurria, laud, octavina, guitar, and bajo de unas. Bamboo instruments like the tultogan are also used.
Unit ii music of the cordillera, mindoro, palawan and the visayas maryjune Jardeleza
This document provides an overview of the traditional music of several regions in the Philippines, including the Cordillera, Mindoro, Palawan, and the Visayas. It describes the vocal and instrumental music traditions of each region, highlighting specific genres, instruments, and functions of the music. The music varies between the regions but commonly includes genres for rituals, celebrations, courtship, and work. Instruments include gongs, lutes, zithers, flutes, and ensembles that incorporate bamboo and metals. Spanish influence is also noted in the development of music traditions in the Visayas.
Music of Indonesia - MAPEH 8 (Music 1st Quarter)Carlo Luna
MUSIC 8 - Southeast Asian Music (1st Quarter)
MUSIC OF INDONESIA
A. Cultural Background
B. Vocal Music
C. Instrumental Music
D. Musical Ensemble (Gamelan)
The document describes several traditional musical instruments used among various ethnic groups in the southern Philippines:
- Kulintang is a row of small horizontal gongs that function melodically and are accompanied by larger suspended gongs and drums. It is commonly played at social gatherings and ceremonies.
- Dabakan is a single-headed drum used to keep tempo in kulintang ensembles.
- Gabbang is a bamboo xylophone.
- Kudyapi is a two-stringed, fretted boat-lute, the only stringed instrument among some groups.
- Kubing is a bamboo jew's harp played by both men and women of some
This document provides an overview of a lesson on the vocal music of Mindanao. The lesson includes the following elements:
- Learning goals about analyzing and appreciating Mindanao folk music through its musical elements, singing representative songs, and evaluating music performances.
- An introduction to Mindanao's culture and maps to help students explore the region.
- Listening exercises and analysis of musical elements like timbre, dynamics, and rhythm in sample songs.
- Concept mapping to help students understand the musical forms, contexts, techniques, and cultural identities of Mindanao folk music.
- Group activities where students practice and perform selected Mindanao songs while learning about their functions and performances
The document provides an overview of the diverse ethnic groups and cultures found in Mindanao, the southernmost major island of the Philippines. It discusses the traditional attire, textiles, crafts, architecture, and sculptures of several Mindanao groups including the B'laan, Bagobo, T'boli, Maranao, and Yakan. Some key aspects summarized include the ikat dyeing process used to create intricate patterns on abaca fabrics, importance of the malong skirt to Maranao culture, and wood carving and metalworking traditions of groups like the T'boli and Maranao that feature motifs inspired by local wildlife.
This document provides an overview of the music of the lowlands of Luzon in the Philippines. It discusses the key musical elements of melody, rhythm, texture, harmony, and expressive qualities. It also presents examples of folk songs from the region, including their lyrics and musical notation. The document explains that folk songs provide insights into a culture. It then covers liturgical and devotional music used in Catholic masses and religious festivals in the Philippines, identifying their Latin and Filipino names and purposes. The document concludes with proposed group activities focused on the "Palestrina of the Philippines" and the unique bamboo organ of Las Piñas.
The document summarizes information about the MIMAROPA region of the Philippines, which consists of Mindoro, Marinduque, Romblon, and Palawan provinces. It provides details about the native groups and cultures of each province, including the Hanunuo-Mangyan and Iraya-Mangyan peoples of Mindoro, the Moriones Festival celebrated in Marinduque, Romblon's fine marble handicrafts, and cultural items originating from Palawan like the Tingkop basket and Manunggul Jar.
Music of Cordillera Grade-7 1st Quarter.Elmer Llames
The document summarizes key information about music in the Cordillera Administrative Region of the Philippines. It describes the communal and participatory nature of Cordillera music, which is performed at important life events and transmitted orally. It also lists and describes several important indigenous musical instruments from the region, including the gangsa gong, nose flute, bamboo percussion instruments, and bamboo pipes. The hudhud epic chant of the Ifugao people is also summarized, noting it can take days to recite and includes stories of heroism, love, and revenge.
This document discusses the traditional musical instruments and practices of the Cordillera people of the Philippines. It describes various types of bamboo instruments like the gangsa, baliing, bungkaka, and buzzer. It also mentions instruments like the sulibaw and ulibaw. The document notes that Cordillera music is typically performed in groups and associated with important life events and rituals. Songs are usually unison or pentatonic melodies. It provides examples of specific Cordillera musical genres and the roles of instruments in wedding celebrations and peace pacts.
Music of Myanmar - MAPEH 8 (Music 1st Quarter)Carlo Luna
MUSIC 8 - Southeast Asian Music (1st Quarter)
MUSIC OF MYANMAR
A. Cultural Background
B. Vocal Music
C. Instrumental Music
D. Musical Ensemble (Hsaing Waing)
This document provides information on the diverse music cultures of Mindanao, Philippines. It discusses the various Islamic and non-Islamic ethnic groups of Mindanao and gives examples of their vocal and instrumental music traditions. Specific genres of music are mentioned for occasions like lullabies, weddings, and funerals. Musical instruments used by different groups are also described, including string, wind, and percussion instruments like the kulintang, suling, gabbang, and agung.
The document provides information about the Hanunuo-Mangyans ethnic group that lives on Mindoro Island in the Philippines and their musical traditions. It describes that Mangyan is the name for indigenous groups on Mindoro, while Hanunuo refers to those who have maintained their customs. It then discusses the poetic form of "ambahan" used by Hanunuo-Mangyans to invoke spirits, and provides an example ambahan poem about childhood memories. Finally, it lists several traditional musical instruments of the Mindoro region, including string, wind, and percussion instruments.
This document discusses the music of the Cordillera region in the Philippines. It covers three main types of music: vocal music, instrumental music, and vocal ensembles accompanied by instruments. Vocal genres include Ibaloi Badiw songs, lullabies, and Hudhud chants. Instrumental music features metal gangsa gongs and various bamboo instruments like bilbil buzzers and tongali nose flutes. Vocal ensembles sometimes include stringed instruments like the kuglong lute during courtship songs or debates. The music is closely tied to rituals, life events, and agricultural cycles in Cordillera culture.
This document provides an overview of the traditional arts and crafts of various regions in Luzon, Philippines. It describes the textiles, architecture, pottery, basketry, woodcarving, metalworking and other crafts of areas like Ilocos, Cordillera, Cagayan Valley, Central Luzon, Calabarzon and Bicol. Specific examples highlighted include the Vigan architecture in Ilocos, Kalinga textiles, Ifugao sculptures, Abra textiles, Bulacan pastillas wrappers and Laguna woodcarving. The document aims to teach students about the diverse cultural expressions and traditions found across Luzon.
The Cordilleras region of the Philippines has a rich traditional music culture. Music is an integral part of daily life and important community and religious activities. Each ethnic group has its own distinctive vocal and instrumental styles. Songs are commonly performed in groups and feature pentatonic melodies. Important genres include narrative chants, folk songs, and music to accompany rituals, festivities, and life events. Traditional instruments are made of bamboo and metal and include gangsa gongs, bamboo flutes, nose flutes, xylophones, and drums. Ensemble music features interlocking rhythmic patterns played on differently pitched instruments. Traditional music is an important part of cultural heritage passed down through oral tradition.
This document discusses the secular music of the lowlands of Luzon, Philippines. It describes six main musical genres: harana, kumintang, pandanggo, polka, balitaw, and kundiman. For each genre, it provides background on origins, style, and examples. It then discusses kundiman in more depth, describing it as a courtship song usually in triple meter that can be about love or patriotism. Famous kundiman performers and examples from the early 1900s are listed. The document serves to educate students on the colonially influenced secular music traditions of Luzon.
The document discusses several theatrical forms and festivals in Asia. It describes the Yi Peng Lantern Festival in Thailand where lanterns are released to make Buddhist merit. It also discusses the Kodo Taiko Drum Festival in Japan where performers convey rhythm through drumming. Several Philippine festivals are listed including Dinagyang in Iloilo and Pahiyas in Quezon. The main Japanese theater forms of Noh, Kabuki, and Bunrako are outlined along with details on masks, costumes, and puppetry. Indonesian wayang kulit shadow puppetry and its religious stories are described. Chinese Peking Opera is discussed along with costumes and facial painting techniques. Finally, some Philippine theater forms are mentioned like senak
The document summarizes some of the traditional arts and crafts of the Ilocos Region, Cordillera Administrative Region (CAR), and surrounding areas of Luzon in the Philippines. In the Ilocos Region, important arts include the Spanish colonial architecture in Vigan, Inabel weaving techniques using traditional looms, and Burnay pottery jars. The Kalinga are known for their textiles featuring various cultural patterns, basket weaving, wood carving, and tattooing traditions. The Ifugao are renowned for their bul'ul rice granary sculptures and lingling-o amulets. Mountain Province is known for burial cloths and various indigenous textile traditions among different ethnic groups.
The document discusses the arts and crafts of various ethnolinguistic groups in Mindanao, Philippines, focusing on their textiles, attire, and weaving traditions. It describes the clothing, materials, and designs of five groups: the B'laan people known for beadwork and brass ornaments; the Bagobos who make t'nalak textiles; the T'boli renowned for dream-inspired beadwork; the Maranaos and their versatile malong skirts; and the Yakans skilled in hand-loomed geometric patterns. These groups have developed unique artistic traditions that blend indigenous beliefs with influences from Muslim and other traders.
The philippine festivals and theatrical formsMakoy nejana
This document discusses Philippine festivals and theatrical forms. It provides an overview of the content standards and essential understandings, which focus on appreciating and gaining insight into Philippine cultures through exposure to their arts and celebrations. The document then lists and describes several prominent religious and non-religious festivals celebrated throughout the year in different regions of the Philippines, highlighting their artistic elements. It also identifies some common Philippine theatrical forms traditionally performed during religious holidays.
The musical styles of the Visayans include balitaw, a song-and-dance debate between a man and woman about love and marriage. Vocal music includes love songs, courting songs, drinking songs, children's songs, and lullabies. Instrumental music features the rondalla ensemble of string instruments played with a plectrum, including the bandurria, laud, octavina, guitar, and bajo de unas. Bamboo instruments like the tultogan are also used.
Unit ii music of the cordillera, mindoro, palawan and the visayas maryjune Jardeleza
This document provides an overview of the traditional music of several regions in the Philippines, including the Cordillera, Mindoro, Palawan, and the Visayas. It describes the vocal and instrumental music traditions of each region, highlighting specific genres, instruments, and functions of the music. The music varies between the regions but commonly includes genres for rituals, celebrations, courtship, and work. Instruments include gongs, lutes, zithers, flutes, and ensembles that incorporate bamboo and metals. Spanish influence is also noted in the development of music traditions in the Visayas.
Music of Indonesia - MAPEH 8 (Music 1st Quarter)Carlo Luna
MUSIC 8 - Southeast Asian Music (1st Quarter)
MUSIC OF INDONESIA
A. Cultural Background
B. Vocal Music
C. Instrumental Music
D. Musical Ensemble (Gamelan)
The document describes several traditional musical instruments used among various ethnic groups in the southern Philippines:
- Kulintang is a row of small horizontal gongs that function melodically and are accompanied by larger suspended gongs and drums. It is commonly played at social gatherings and ceremonies.
- Dabakan is a single-headed drum used to keep tempo in kulintang ensembles.
- Gabbang is a bamboo xylophone.
- Kudyapi is a two-stringed, fretted boat-lute, the only stringed instrument among some groups.
- Kubing is a bamboo jew's harp played by both men and women of some
This document provides an overview of a lesson on the vocal music of Mindanao. The lesson includes the following elements:
- Learning goals about analyzing and appreciating Mindanao folk music through its musical elements, singing representative songs, and evaluating music performances.
- An introduction to Mindanao's culture and maps to help students explore the region.
- Listening exercises and analysis of musical elements like timbre, dynamics, and rhythm in sample songs.
- Concept mapping to help students understand the musical forms, contexts, techniques, and cultural identities of Mindanao folk music.
- Group activities where students practice and perform selected Mindanao songs while learning about their functions and performances
The ethnic groups of Mindanao, Philippines each have their own distinctive artistic traditions. The T'boli people are known for their colorful handwoven fabrics decorated with natural dyes. The Mandaya excel at backstrap weaving intricate patterns depicting flora and fauna. Maranao crafts and artwork, especially the Sarinamanok figural representation, demonstrate their skill and emphasize bravery. Musical instruments unique to Mindanao's cultures include the kulintang gong ensemble, flutes like the suling and palendag, and the kagul bamboo scraper.
The document provides information about the geographical regions of Mindanao island in the Philippines. It discusses the key provinces and cities in each region, including Zamboanga Peninsula, Northern Mindanao, Davao Region, SOCCSKSARGEN Region, Caraga Region, and ARMM Region. For each area, it summarizes the political divisions, history, culture, festivals, and important facts. It also provides background on the indigenous groups like the Subanon people and details on major cities like Zamboanga City, Cagayan de Oro, and Davao City.
Butuan, located in northern Mindanao, was an early trading partner with Vietnam by the 10th century and was where the first Catholic mass was held in the Philippines. It and the surrounding Agusan Valley area were historically referred to as Butuan. Significant artifacts found throughout Butuan and Agusan demonstrate the intricate artistry of ancient Filipinos, such as the Agusan terracotta jars and okir patterns representing their appreciation for the environment. The Manobo people, known for their rich culture, predominantly occupy Agusan as well as nearby provinces.
K TO 12 GRADE 7 LEARNING MODULE IN MUSIC (Q3-Q4)LiGhT ArOhL
This document provides teaching materials for a lesson on Philippine vocal music. The lesson introduces students to two genres: nationalistic songs and love songs. It discusses four compositions as examples: "Marangal na Dalit ng Katagalugan" by Julio Nakpil, "Lupang Hinirang" by Julian Felipe, "Nasaan Ka Irog?" by Nicanor Abelardo, and "Gaano Ko Ikaw Kamahal" by Ernani Cuenco. Students will analyze the musical elements, cultural context, and social functions of the songs. They will also perform one of the songs as a group, incorporating singing and dance. The lesson aims to help students understand how these musical
The document outlines a music learning module that focuses on selected vocal music from Mindanao. It includes an overview, objectives, content on different vocal music genres, activities like guided listening and group performances, assessment rubrics, and resources. The module aims to teach students to analyze Mindanao vocal music and understand its sociocultural influences through activities like musical mapping and applying appropriate singing style.
This document summarizes various traditional musical instruments from the Philippines. It describes aerophones like bamboo flutes, chordophones like two-stringed lutes, and idiophones like jaw harps and xylophones. Specific instruments mentioned include the bansiq flute from Mindoro, the kudlung lute from Southeast Mindanao, and the gabbang xylophone from Jolo in the Muslim south. Details are provided on the construction, playing technique, and cultural context of these important elements of Philippine folk music traditions.
This document provides an overview of various arts and crafts originating from the Mindanao region of the Philippines. It describes traditional boats like the balangay and vinta. It also discusses woven fabrics like the malong and t'nalak cloth. Unique artforms mentioned include brasswares from Cotabato City, okir designs, and the panolong wing-like structures on Maranao homes. Cultural items specific to ethnic groups are also outlined, such as the torogan residence of Sultans, mythical sarimanok bird, and face painting of the Yakan tribe. A variety of handicrafts reflect the diverse cultures and rich heritage of Mindanao.
The Manobo people inhabit areas of Mindanao and play various musical instruments. Their gong ensembles include the Ahong which has 10 gongs played at festive occasions. The Ahong has different roles - the Kaantuhan carries the melody, the Gandingan provides an ostinato, and the Bandil sets the tempo. Other instruments include the sagagong gong ensemble, sauray bamboo zither, tugo bamboo zither, kuglong lute, faglong lute, lantoy bamboo flute, and pundag/flandag bamboo flutes. Manobo also enjoy vocal music like epics, lullabies, and songs about nature.
This document discusses the traditional music and instruments of Mindanao in the Philippines. It describes several indigenous instruments used in Mindanao like the kulintang, gabbang, kudyapi, kubing, suling, and agung. It also mentions traditional Mindanao songs and dances like the Tausug kissa and Maranao kandidiagao. Finally, it discusses some popular Filipino artists and composers who have popularized Mindanao's indigenous music like Joey Ayala, Popong Landerero, Grace Nono, Bayang Barrios, and Waway Saway.
This document provides biographical information on five prominent Filipino composers:
1. Dr. Rodolfo S. Cornejo, the first Filipino to earn two doctoral degrees in music, known for his improvisational skills.
2. Dr. Ramon P. Santos, who earned degrees from UP, Indiana University, and SUNY and composed many works while teaching at UP and Ateneo.
3. Manuel Maramba, a Benedictine monk who earned degrees from UST, Peabody, and Yale and is renowned for his sacred compositions.
4. Josefino "Chino" Toledo, who taught at UP and UST after studying at Laperal Music Academy and UP
K TO 12 GRADE 7 LEARNING MODULE IN HEALTH (Q3-Q4)LiGhT ArOhL
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2. Communicable diseases are caused by pathogens that can be transmitted between people. Examples include common colds, influenza, and tuberculosis. Non-communicable diseases like heart disease and cancer are not transmitted between people.
3. Health and disease exist on a continuum. Optimal health is at the top, with progressive illness and death at the bottom. A person's health fluctuates along this continuum based on lifestyle choices and environmental factors. Maintaining good health requires efforts to stay at the higher end of the continuum.
Abstractionism developed alongside Expressionism in the early 20th century. It emphasized logical and rational concepts like space, time, and relativity over emotional expression. Artists abstracted scenes into geometric shapes, patterns, and colors. Cubism derived from cubes and depicted subjects from multiple perspectives by analyzing and reassembling geometric forms. Futurism celebrated the modern industrial world through mechanized, high-speed depictions of machines. Piet Mondrian's nonobjective works used only primary colors and black and white lines and shapes without recognizable objects.
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The document provides instructions for performing the Tinikling dance, a traditional Philippine folk dance that involves dancers jumping in and out of two bamboo poles clapped together in rhythm. It outlines the equipment needed which are two poles and one dancer, and the goal which is for the dancer to move their feet in and out of the poles according to a sequence of counts. The counts and corresponding foot movements are listed, with the dance culminating in the dancer doing a cartwheel through the poles. A video is also provided for demonstration purposes.
The document provides information on the Western Visayas region of the Philippines. It discusses the provinces of Aklan, Antique, Capiz, Guimaras, Iloilo, and Negros Occidental. It notes some of the major festivals celebrated in these provinces, including the Ati-Atihan festival in Aklan, the Binirayan festival in Antique, and the Dinagyang festival in Iloilo. It also provides details on the languages, ethnic groups, and arts and crafts of some of these provinces. The document then shifts to discussing the Central Visayas region, listing the provinces of Bohol, Cebu, Negros Oriental, and Siquijor, as well
The document outlines an advanced Microsoft Excel training agenda covering anchoring cells, functions for summarizing data, sorting and filtering, text and time functions, pivot tables, and macros. Key topics include using dollar signs to anchor cells for copying formulas, COUNTIF, SUMIF, VLOOKUP, INDEX/MATCH functions, sorting and filtering data, text functions like LEFT, RIGHT, MID, TRIM and FIND, time functions like NOW and DATE, creating pivot tables, and recording macros. Class exercises are included to practice these skills on sample name and data sets.
This document discusses the history and types of alcohol. It traces the origins of alcohol production back to biblical times when Noah drank wine. It then outlines the production of beer, wine and spirits by various ancient civilizations. The document defines different types of alcohols such as ethyl alcohol and methanol. It also lists common uses of alcohol including in beverages, solvents, and disinfectants. Finally, it discusses social uses of alcohol and some negative consequences of excessive alcohol consumption.
Music Gr 7 Learner's Module. For the MAPEH teachers/ students who can't download the file uploaded by "borris", try this it's fully downloadable this file should not be made private... not for sale also
The document provides information on the music of Mindanao, the second largest island of the Philippines. It discusses the ethnic groups of Mindanao and their indigenous musical instruments, which include chordophones, aerophones, idiophones and membranophones. It also describes important musical ensembles from different Mindanao cultures like the Kulintang ensemble of the Maguindanaon people.
The document provides information on the music of Mindanao, the second largest island of the Philippines. It discusses the ethnic groups of Mindanao and their distinctive musical instruments and traditions, including gong ensembles, flutes, lutes, xylophones, drums, and more. The instruments vary between Islamic and non-Islamic cultural groups, and are used in religious, life cycle, occupational, and other ceremonies. Examples given include the kulintang gong chimes, kudyapi lute, suling flute, and dabakan goblet drum.
This document provides information on the music and instruments of various ethnic groups in Mindanao, Philippines. It discusses the different types of instruments used which are categorized as chordophones (string instruments), aerophones (wind instruments), idiophones (percussion instruments), and membranophones (drums). Examples of instruments described include the kudlong and kutyapi string instruments, bamboo flutes like the suling and palendag, gong and xylophone percussion like the kulintang and gandingan, and drums such as the dabakan and gandang. The document also shares details on the ethnic groups and tribes in Mindanao and the types of music they perform, such
The document provides information on the types of traditional musical instruments found across different ethnic groups in Mindanao, Philippines. It discusses wind instruments like bamboo flutes, string instruments like two-stringed lutes, percussion instruments like gong ensembles, and describes characteristics of each instrument like material, playing technique, and cultural significance. Key instruments mentioned include kulintang gong chimes, gandingan suspended gongs, and various bamboo flutes.
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Indigenous music in the Philippines prior to colonial influence was largely functional and integrated with the daily lives and rituals of native peoples. Each region developed unique musical traditions using a variety of indigenous instruments, including bamboo flutes, jew's harps, zithers, lutes, gongs, and drums. Vocal music also took diverse forms across language groups and often featured improvisation, ornamentation, and leader-chorus or solo styles. Overall, pre-colonial Philippine music collectively expressed the experiences and consciousness of indigenous communities through both instrumental and vocal traditions.
This document provides an overview of traditional musical instruments from Mindanao, Philippines. It describes the palabunibunyan ensemble which features large gong instruments like the kulintang, dabakan, babandil, agung, and gadingan. Bamboo and wood instruments are also discussed, including the kubing jew's harp, kagul bamboo scraper, luntang xylophone, gabbang bamboo xylophone, gandang cylindrical drum, suling bamboo flute, and sahunay bamboo pipe. The document aims to teach students about the diverse musical traditions of Mindanao.
This document describes several traditional musical instruments from the Mindanao region in the Philippines. It discusses the kudyapi, a two-stringed guitar made of wood and played like a cello; the karaga, a guitar made from bamboo with strings cut from the bamboo; and the sahunay, a 50cm bamboo flute with six finger holes and a coconut leaf trumpet used by the Tausugs people in Sulu. It also mentions the kulintang, a set of eight wooden gongs played while squatting; the bunkaka or bilbil, a two-pronged struck bamboo instrument; and several other small gongs and drums.
Musical instrument in mindoro palawan and visayasLucille Ballares
This document provides descriptions of various traditional musical instruments from the Philippines. It describes instruments including the kinaban (jaw harp), agung ensemble (gongs), babandil (small metal gong), aruding (bamboo flute), kalutang (percussion bars), bunkaka or bilbil (bamboo instrument), suling (bamboo flute), pagang (bamboo zither), basal (gongs), kusyapi (representative instrument), tuganang (bamboo tongues), kudyapi (lute), korlong (fiddle), guimbal and tugo (drums), buktot (lutes), and litguit (violins). Each
This document summarizes traditional Filipino musical instruments categorized into chordophones (string instruments), aerophones (wind instruments), membranophones (instruments with skin heads), idiophones (instruments producing sound from their material), and electrophones. Some instruments described include the kudyapi (two-stringed boat-shaped instrument), sahunay (bamboo flute), lantoy (clarinet made from bamboo), diwdiw-as (pan pipes), bansik (flute made from bamboo), sulibaw (wooden drum played in the lap), kalutang (two wooden sticks struck together), gabbang (xylophone made of wood and metal), gansa
This document discusses indigenous music in the Philippines before colonial influence. It describes how music was an integral part of daily life and ceremonies from birth to death. It summarizes some of the main types of traditional musical instruments used, including bamboo flutes, nose flutes, panpipes, zithers, lutes, fiddles, jew's harps, and gongs. The document also notes some regional differences in instruments between northern and southern indigenous groups in the Philippines.
This document provides information on the music of Mindanao, particularly among Islamic communities. It discusses various vocal music styles like chants used for reading scripture or serenading among groups like the Yakan and Maranao. Musical instruments featured include the kulintang ensemble which uses gongs and drums, as well as bamboo-based instruments like the gabbang xylophone and serongagandi guitar. The kulintang in particular holds cultural and economic significance as valuable heirlooms and status symbols.
This document provides information about vocal and instrumental music from Mindanao. It discusses various chants used in different ethnic groups' religious ceremonies and languages. Lullabies are also mentioned. The main instrumental ensembles highlighted are the kulintang ensemble, which uses gongs, and bamboo ensembles. Specific bamboo instruments described include the gabbang, seronggandai, and kudyapi. The document concludes with learning tasks involving classifying the different musical elements.
This document discusses various types of bamboo instruments used in the Philippines. It begins by describing aerophones, which are instruments that produce sound through the vibration of air blown through them. Several types of bamboo flutes used in the Philippines are then discussed in detail, including nose flutes, lip-valley flutes, fipple flutes, ring flutes, and panpipes. Nose flutes are played by blowing air through one nostril and producing notes by covering finger holes. Lip-valley flutes have an open mouthpiece curved to fit the lower lip. Different regions have various names for the instruments. The melodies played are often improvised.
This document discusses traditional musical instruments used by the Bukidnon people of Mindanao in the Philippines. It describes several instruments including lutes, spike fiddles, and tube zithers made from bamboo and other natural materials. The lutes come in different shapes and sizes depending on the region, and are often designed to represent animals. Spike fiddles have a coconut shell body and bamboo neck. Tube zithers have strings made from bamboo that are plucked and beaten to produce notes. These instruments are used both individually and to accompany social gatherings and dances. The musical traditions show similarities to neighboring ethnic groups but also regional variations reflecting cultural influences.
This document provides information about traditional Philippine music and musical instruments. It discusses the origins and characteristics of traditional Filipino music forms like kumintang, as well as the religious influences and evolution of contemporary Philippine music. Various traditional musical instruments are also described, including those made from bamboo in musikong bumbong ensembles. The rondalla musical group and its typical instruments like the banduria, laud, and guitar are explained.
The document describes various traditional musical instruments from the Philippines. It is organized by instrument type: aerophones (wind instruments like nose flutes and bamboo flutes), chordophones (string instruments like boat lutes and zithers), idiophones (instruments like jaw harps and xylophones that make sound through vibration), and membranophones (drums). For each instrument, it provides details on the ethnic group that uses it, its geographic location, classification, description, and dimensions. The document focuses on the diversity of instruments across different regions of the Philippines.
This document discusses the musical group Pangkat Kawayan from the lowlands of Luzon, Philippines. Pangkat Kawayan is an orchestra that uses various traditional bamboo instruments, including angklung bamboo-rattle tubes, bumbong bamboo tubes, kalatok bamboo knockers, and talunggating bamboo marimba. The document describes each bamboo instrument, how it is constructed, and how it is played. It provides examples of the different instrument types, including wind, percussion, and melodic instruments, that make up the unique sound of Pangkat Kawayan's traditional music from Luzon.
The document discusses the music of the Cordillera region of the Philippines. It describes various vocal and instrumental music styles of different ethnic groups in Cordillera. It provides details on indigenous instruments commonly used in the region such as gongs, bamboo flutes, nose flutes, jaw harps and bamboo tubes. It also lists different song genres associated with life events like infancy, marriage and entertainment.
Similar a Music of MIndanao (Islam and non-Islam).ppt 1 k-12 (20)
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This document contains a rating sheet for a Grade 7 student's MAPEH (Music, Arts, Physical Education, Health) subject scores for the first quarter. It lists the subject teacher, adviser, and scoring breakdown for weekly performance, practical works, and tests in each subject area. Scores of 0 indicate no grade while 60 is the highest attainable grade. The sheet tracks the student's grades across 15 weeks for music, arts, physical education, and health subjects.
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Ang Kiukok was a Filipino painter named a National Artist in 2001. He was born in 1931 in Davao City to Chinese immigrant parents and was the only son with five sisters. Ang Kiukok studied under Vicente Manansala and painted in an expressionist style fused with Cubist, Surrealist, and Expressionist aspects. He died of prostate cancer in 2005 at the age of 74, survived by his wife and four children.
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Music of MIndanao (Islam and non-Islam).ppt 1 k-12
1. Music of Mindanao
Music of Islamic Filipino
Islamic Cultural Groups
Badjao- Sulu
Ilanun – Sulu, Tawi Tawi
Jama Mapun- Sulu
Maguindanao- Maguindanao, Cotabato, SK
Maranao –Lanao, Bukidnon
Samal- Sulu
Tausug-Sulu
Yakan- Basilan
2. Characteristics of Islamic Music
Melisma singing
Song Phrases
Narrow singing
Fluid singing
Tremolo
Strained Voice
Nasal Enunciation
3. Vocal Music
Life Cycle
Langan Bata Bata- Lullabye of
Tausug.
Tarasul- Tausug song of advice
to wedded couple.
Dekir- death song of Maranao.
Dekil- Maguindanao dirge in vigil.
4. Religious Chants
Salathul Juma- Friday prayer chant
Tarawe- chant during the
Ramadan
Folk Epic
Rajah Indarapatra- Maguindanao
Darangen- Maranao
5. Music of Non-Islam Filipino
Non-Islam Cultural Groups
Bagobo- Davao Gulf and Davao Region
Bilaan – Davao Gulf
Kalagan – Davao Gulf
Mandaya – Davao Region
Mansaka – Davao Region
Manobo – Bukidnon, Agusan Del Sur, Cotabato
Matigsalug- Bukidnon
Subanon- Zamboanga peninsula
Tiruray- SOCCSARGEN Region,
T’boli – South Cotabato
6. Vocal Music
Life Cycle
Bua - Lullabye of Subanon.
Uyug- Uyug – Lullabye of
Mansaka.
Yadadang- Lullabye of Bilaan
Manambay- Chant on
circumscision ritual of Subanon
Kambong- love incantation of
Manobo
7. Life Cycle
Sinda-ay- Weddingchant sung
before inviting the groom’s party to
enter the bride’s house.
Balow– song for a dead husband of
Matigsalug.
Iring Iring- Manobo song sung on
wakes
Ulag Ing- lament song of Manobo
8. Occupational Song
Gago Napu- song for either hunting
or fishing of Subanon
Balatuking– Manobo harvest song
Ritual Song
Diwata- for curing ceremony of
Subanon
Pamasag- for victory celebration of
Manobo
Pangan Do- for thanksgiving of
Manobo
9.
10. 1-6 Islamic Cultural Groups
B___
I___
J___ M___
M_____
M____
S____
T_____
Y_____
11. 7-14 Non-Islam Cultural Groups
B___
B____
K____
M____
M____
M____
M____
S___
T___
T___
12. Rearranged the scrambled
letters to find the answer
15. nganla taba taba- Lullabye
of Tausug.
16. rasulta- Tausug song of
advice to wedded couple.
17.kired- death song of
Maranao.
18.kdeil- Maguindanao dirge in
vigil.
13. 19. lasathul muja- Friday
prayer chant
20.ratawe- chant during
the Ramadan
21.jahra daintrapa-
Maguindanao
22.randagen- Maranao
14. 23.abu- Lullabye of Subanon.
24.yugu- yugu – Lullabye of
Mansaka.
25.dadayang- Lullabye of
Bilaan
26.nambamay- Chant on
circumscision ritual of
Subanon
15. 27. nidsa-ya- Wedding
chant sung before inviting
the groom’s party to enter
the bride’s house.
28.lobaw– song for a dead
husband of Matigsalug.
16. 29.aggo puna- song for
either hunting or fishing
of Subanon
30..watadi- ritual song of
Subanon for curing
ceremony.
20. Kudyapi - is a guitar with two strings. It is about 1 1/2
m long and made of wood. It has a stick to support in its lower
end and is played in the same position as cello.
23. side view
Kudlung, top view
Kudlung, the head with the handle for fine
tuning
Ethnic group: B'laan
Location: SE Mindanao
(christian / animist part)
Classification
Chordophone, two stringed
boat lute
24. Saluroy- is a bamboo
polychordal tube zither of Bagobo .It
is called as kolitong in Cordillera
region.
25. Aduwag-ay -one -stringed fiddle
instrument of Bilaans also called Kugot
(Agusan-Manobo) and Duwagey (T'boli)
26. AEROPHONES
(WIND INSTRUMENTS)
is any musical instrument which
produces sound primarily by causing a
body of air to vibratewithout the use of
strings or membranesand without the
vibration of the instrument itself adding
considerably to the sound.
27. Sahunay - is a bamboo flute, leaving
six holes for the fingers and trumpet made of
coconut leaf.
It is about 50
cm long and 3 cm
in diameter. This
is a bamboo flute
of the Tausugs in
Sulu.
28. Palendag- 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.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.
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).
Other names:
Bunabon- Mandaya
Hlandag- T’boli
Palundag- Bilaan
Tanggab and Tulali- Subanon
Pulalu – Manobo and Mansaka
Palandag- Bagobo
Pulala- Bukidnon
29. Suling- ring flute of Bilaan and Tiruray,
Maguindanao, Samal, Tausug and Yakan
-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).
Other names for the suling include:
Lantey (Ata),
Kinsi (Bukidnon),
Dagoyong (Higanon)
Babarak (Palawan)
30. IDIOPHONES
(PERCUSSION INSTRUMENTS)
An idiophone is any musical instrument
which creates sound primarily by way of
the instrument's vibrating, without the
use of strings or membranes
Most percussion instruments which are
not drums are idiophones.
31. Kulintang is a term with various meanings, all
related to the melody-playing gong row. Technically,
the term kulintang is the Maguindanao word for
eight gong kettles which are laid horizontally upon a
rack creating an entire kulintang set called
apasangan. This idiophone functions as a
lead/central melodic instrument for the entire
ensemble.
Other names:
Kulintang - Bilaan, Subanon,
Maguindanao, Maranao, Samal,
and Jama
Klintang- T’boli
Kwintangan- Yakan
32. Kulintang- is a set of eight knobbed gongs in
graduated sizes from largest to smallest mounted in a
wooden frame, about a meter long. Muslim carvings
decorated the frame. The kulintang is played by striking
the gongs with two pieces of wood, about 12 inches long
while the player squats on the floor. The instruments is
popular in Sulu.
33. Gabbang - is similar to a xylophone. It is
made of wooden box with one end wider than
the other, and with an open top. Across top,
wooden bars of different lengths are placed to
fit the shape of the box, about 1 cm from each
other. It is
played by
striking the
wooden bars
with a wooden
hammer. This
instruments is
popular in Sulu.
34. Front view
Top view
The two beaters
Gabbang
Description
Xylophone with 17
keys made of bamboo,
separated by metal
nails. The resonating
case is dcorated with
floral motives. At the
sides are two mirrors.
The beaters are made
of wood with a piece of
tube rubber
Dimensions: length:
102 cm., width: 51 cm.
height: 37 cm.
35. The Gabbang can be played as a solo
instrument. Sometimes a duo is formed with a
'biula', a local violin.
A Taosug woman plays the gabbang.
The resonating case, decorated with floral
motives
36. Gandingan a Kayo (translated means,
“wooden gandingan,” or “gandingan made of
wood”) is a Philippine xylophone and
considered the wooden version of the
real gandingan. This instrument is a relatively
new instrument coming of age due to the
increasing popularity
of the “wooden
kulintang ensemble,”
38. Kulintang a Kayo (literally, “wooden kulintang”) is a
Philippine xylophone of the Maguindanaon people with eight
tuned slabs arranged horizontally atop a wooden antangan
(rack). Made of soft wood such as bayug, the kulintang a kayo
is a common found among Maguindanaon households with a
musical background. Traditionally, it was used for self-
entertainment purpose inside the house, so beginners could
practice kulintang pieces before performing them on the real
kulintang and only recently
have they been performed
as part of a “wooden
kulintang ensemble.”
39. Agung – is a set a two wide rimmed bossed-
gongs hangs from horizontal pole or wooden frame.
It is used by the Maguindanao, Maranao, Samal-
Bajau and Tausug people of the Philippines
40. The larger, lower pitched gong of the two is called
the pangandungan by the Maguindanao and
the p'nanggisa-an by the Maranao. Played on the
musician's right, it provides the main part, which it
predominantly played on the accents of the rhythmic
structure.
The smaller, higher
pitched gong, the thicker
of the two, is called the
panentekan by the
Maguindanao and
the p'malsan or
pumalsan by the
Maranao.
41. The agung is usually performed while standing beside
the instrument, holding
the upper edge of its
flange between the
thumb and other fingers
with the left hand while
striking the knob with the
right hand. The mallets,
called balu, are made
from short sticks about
half a foot in length and
padded with soft but
tough material such as
rubber at one end.
42. Gandingan - is a set of four small narrow- rimmed
and suspended gongs. They hang in pairs with the knobs of
the lower pitched gongs facing each
other. The same with the two
higher pitched gongs. The pair
of lower pitched gongs is
positioned on the player's left
side while the pair of the higher
pitched gongs is on the right.
The player usually a woman who
stands between the two pair
of gongs. Her body touches
slightly the gong in the middle
to prevent from swinging. She
uses two padded mallets
43. Gandingan
When integrated into the ensemble, it functions as a
secondary melodic instrument after the main melodic
instrument, the kulintang. When played solo, the
gandingan allows fellow Maguindanao
to communicate with each other,
allowing them to send messages or
warnings via long distances.
This abilityto imitate tones of the
Maguindanaolanguage using this
instrument has given the gandingan
connotation: the “talking gongs.
44. Babandil- is a single, narrow-
rimmed Philippine gong used primarily as the
“timekeeper” of the Maguindanao kulintang ensemble.
Also called:
Babendir- (Maguindanao)
Babandir - (Maranao),
Babandir - (Tagbanwa, Batak,
Palaw’an),
Banendir and Tungtung,-
(Tausug),
Salimbal - (Samal)
Mapindil - (Yakan
Bubundi- Mansaka
45. Babandil
It is struck with thin bamboo sticks to
produce a metallic sound.
There are three ways to play the babendil.
1. by striking the rim of the suspended
gong with a pair of sticks on the left hand.
2. by striking the gong's rim with the right
hand using one stick while the left hand
grasps the rim.
3. by laying the instruments upside and
striking the gong's rim with the two sticks.
46. Kagul is a type of Philippine bamboo scraper gong/slit
drum of the Maguindanaon and Visayans with a jagged edge
on one side, played with two beaters, one scarping the
jagged edge and the other one making a beat.
The Maguindanaon and the Banuwaen use it in the rice
paddies to guard against voracious birds, using the sound it
produces to scare them away.The Maguindanaon and
theBukidnon also use it
for simple dance rhythms
during social occasions.
It is also called:
Garakot ( Maranao)
Tagutok (Yakan)
Bantula or Tagungtung
–(Bukidnon)
48. Kulintang a Tiniok is a type
of Philippine metallophone with eight tuned knobbed
metal plates strung together via string atop a wooden
antangan (rack). Kulintang a tiniok is
a Maguindanaon term meaning “kulintang with string”
but they also could call them kulintang a putao,
meaning “kulintang of
metal.” The Maranao
refer to this instrument
as a sarunay
(or salunay, salonay,
saronay, saronai,
sarunai), terminology
which has become
popular for this
instrument in America.
49. Kubing –it is a bamboo jaw harp of Tiruray. These
have become one of the most popular jaw harps
internationally due to their highly responsive sound and
ornate designs. In the hands of a good player the kubing is
capable of a vast number of sounds and timbres. This
kubing was collected in Manila in 1987.
Other names:
Kumbing –Bagobo
Lideng- Bilaan
Kobing- Maranao and Samal
Kulaing – Tausug and Yakan
50. Kubing
Ethnic group: Atta
Location: SE Mindanao
Classification: Idiophone, jaw harp
Description
Made of bamboo; Made of
bamboo; the instrument is held
horizontally with the bamboo
tongue in front of the opened
mouth. The left end is hit by the
thumb of the right hand. This
makes the bamboo tongue vibrate
which causes a sound. The mouth
serves as a resonator and by
changing the shape and size of the
mouth opening, the overtones can
be changed, thus creating a
melody. By strongly breathing in
or out the volume can be changed
as well.
Dimensions: length: 20,8 cm.,
width: 1 cm.
Quintik Ofong plays the kubing (T'boli)
52. Dabakan - is a goblet -shaped drum of
Maguindanao and Maranao, which has
a single head covered
with goat, lizard or
snakeskin. It is struck
withtwo thin bamboo
sticks about
18 inches in length.
53. Dadabuan
Ethnic group: Maranao
Location: West central Mindanao (muslim
south)
Classification
Membranophone, hour glass shaped drum
Description
Hour glass shaped drum
made of wood; the
membrane is made of
carabao skin. Decorated with
carvings and painted. The
drum is part of the
Kulintang ensemble.
Dimensions: height: 59 cm.
diameter (membrane): 19
cm.
54. Gandang - is a two-headed cylindrical drum of
Tausug, Samal, Badjao, Maranao and Maguindanao.
Called as Kendang in other South East Asian
countries. It is one of the primary instruments
used in the
Gamelan
ensembles
ofJava, Bali
and Terengganu.
62. 1. anggand - is a two-headed
cylindrical drum of Tausug, Samal,
Badjao, Maranao and Maguindanao.
63. 2. atutgok- is a type
of Philippine bamboo scraper or bamboo slit
drum
64. 3.dabanbil- is a single, narrow-
rimmed Philippine gong used primarily as the
“timekeeper” of the Maguindanao kulintang ensemble.
65. 4. nadgingan - is a set of four
small narrow- rimmed and suspended gongs
usually
played by a
woman.
66. 5.ganug – is a set a two wide
rimmed bossed-gongs hangs from
horizontal pole or wooden frame.
67. 6. lintakngu a yoka (literally,
“wooden kulintang”) is a
Philippine xylophone of the
Maguindanaon people with eight tuned
slabs arranged horizontally atop a
wooden rack
68. 7. ndinagdan a yoka
(translated means, “wooden
gandingan,” or “gandingan made of
wood”) is a Philippine xylophone and
considered the wooden version of the
real gandingan.