Kulintang

Kulintang
Kulintang

Other names

Kolintang, Kulintangan, Totobuang

Classification

Percussion instrument
Idiophone
Gong

Playing range
Pelog and Slendro scales
Related instruments
[1]
[2]
bonang, kenong, canang, keromong, kromong, kethuk, trompong/terompong, rejong, talempong, chalempung, caklempong/caklempung,
[3]
khong wong yai/khong wong lek, khong toch/ khong thom, khong vong, krewaing/krewong
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 Archipelagothe Southern Philippines, Eastern Indonesia, Eastern Malaysia, Brunei and
Timor, 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. 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.[4] 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.[5]
By the twentieth century, the term kulintang had also come to denote an entire Maguindanao ensemble of five to six
instruments.[6] Traditionally the Maguindanao term for the entire ensemble is basalen or palabunibunyan, the latter

Kulintang
term meaning an ensemble of loud instruments or music-making or in this case music-making using a
kulintang.

Geographic extent
Kulintang belongs to the larger unit/stratum of
knobbed gong-chime culture prevalent in
Southeast Asia. It is considered one of the
regions three major gong ensembles, alongside
the gamelan of western Indonesia and piphat of
Thailand, Burma, Cambodia and Laos, which use
gongs and not wind or string instruments to carry
the melodic part of the ensemble. Like the other
two, kulintang music is primarily orchestral with
several rhythmic parts orderly stacked one upon
another. It is also based upon the pentatonic scale.
However, kulintang music differs in many aspects
from gamelan 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
Map of kulintang music in Southeast Asia.
kulintang music is more flexible and time
intervals are nonexistent, allowing for such things as improvisations to be more prevalent.
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,[7] kwintangan, klintang, gong sembilan, gong duablas, momo, totobuang, nekara,[8] engkromong,
kromong/enkromong and recently kakula/kakula nuada. Kulintang-like instruments are played by the Maguindanao,
Maranao, Iranun, Kalagan, Kalibugan and more recently the Tboli, Blaan and Subanao of Mindanao, the Tausug,
Samal, Sama/Badjao, Yakan and the Sangir/Sangil of the Sulu, the Ambon, Banda, Seram, Ternate, Tidore, and Kei
of Maluku, the Bajau, Suluk, Murut, Kadazan-Dusun, Kadayah and Paitanic Peoples of Sabah, the Malays of Brunei,
the Bidayuh and Iban/Sea Dayak of Sarawak, the Bolaang Mongondow and Kailinese/Toli-Toli of Sulawesi and
other groups in Banjarmasin and Tanjung in Kalimantan and Timor.

Kulintang

Instrument
Description

Kulintang.

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 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.

The gongs could weigh roughly from two pounds to three and 1/8
pounds and have dimensions from 610inches for their diameters and
35inches for their height. Traditionally they are made from bronze
but due to the shortage of bronze after World War II, and the
subsequent use of scrap metal, brass gongs with shorter decaying tones
have become commonplace.
The kulintang frame known as an antangan by the Maguindanao
(means to arrange) and langkonga by the Maranao could have
designs that could be particularly crude made from only
bamboo/wooden poles or highly decorated, rich with artistic designs
like the traditional okil/okir motifs or arabesque designs. It is
considered taboo to step or cross over the antangan while the kulintang
gongs are placed on it.

The different sized brass kulintang gongs.

The light beaters used to strike the gong bosses.

Kulintang

Technique
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.[9] Modern techniques
include twirling the beaters, juggling 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 players grace and virtuosity.

Casting

Individual names for each kulintang gong

Those in the Sulu Archipelago play the kulintang

on the floor.

Kulintang gongs are made using the cire perdue method, a

lost-wax process used for casting the individual gongs.[10] The
first phase is the creation of wax molds of the gongs. In the past,
before the availability of standardized wax sheets made
specifically for foundry use, the molds were made out of either
beeswax (talo) or candle wax (kandila). The wax mold is covered
with a special mixture of finely-powdered coal/mud, which is
applied on the wax surface using a brush. 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 molds mouth cavity, cooled to a
certain degree, then the coal/mud is broken apart, revealing a new
gong. The gong is then refined, cleaned, and properly identified by
the panday (blacksmith). Finally, the finished product is refined
using the tongkol process, tuning the gongs 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.

Kulintang

Tuning
Unlike westernized instrumentation, there is no set tuning for kulintang
sets throughout the Philippines.[11] 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.[12] Though the
tuning varies 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.[13] 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 Pelog and Slendro scales of Java were found to be most
satisfactory to their own varying pentatonic/heptatonic scales.

Tongkol process using a hammer to tune the

gongs.

Notation system
Because this music was catered for by acephalous societies, kulintang
repertory was unfettered by an indigenous notation system.
Example of kulintang cipher notation.
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 cipher notation, 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.

Feminine instrument
The kulintang is traditionally considered a womens instrument by many groups: the Maguindanao, Maranao,
Tausug/Suluk, Samal, Badjao/Sama, Iranun, Kadazan, Murut, Bidayuh and Iban.[14] Traditionally, the playing of the
kulintang was associated with graceful, slow, frail and relaxed movements that showed elegance and decorum
common among females. Nowadays, with both women and men playing all five instruments, the kulintang seen
strictly as a womans instrument has waned, and in fact today, the most well known players of the kulintang happen
to be men.[15]

Kulintang

Performance
The main purpose for kulintang music in the
community is to function as social
entertainment at a nonprofessional, 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 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
A kulintang ensemble performance in Daly City, California.
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.
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 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 saronay and inubab. Ensembles didnt necessary have to have five
instruments like formal performances: they could be composed of only four instruments (three gandingan gongs, a
kulintang, an agung, and a dabakan), three instruments (a kulintang, a dabakan, and either an agung or three
gandingan gongs) or simply just one instrument (kulintang solo).

Social functions
Kulintang music generally could be
found as the social entertainment at a
host of different occasions. It is used
during large feasts, festive/harvest
gatherings, for entertainment of
visiting friends and relatives, and at
parades.
Kulintang
music
also
accompanies ceremonies marking
A kulintang ensemble being used for purpose of entertainment.
significant life events, such as
weddings and returnees from the Hajj. Kulintang music also plays a significant role during state functions, used
during official celebrations, entertaining of foreign dignitaries and important visitors of distant lands, court
ceremonies of either the sultanate or village chieftains, enthroning/coronations of a new leader and the transferral of
a sultanate from one family to another.

Kulintang

7
Kulintang music is prohibited from being played inside mosques and
during Islamic rites/observances/holidays, such as the fasting month
(Ramadhan), where playing is only allowed at night during the time
when people are allowed to eat. It is also prohibited during the
mourning period of the death of important person, during funerals, and
during the peak times of the planting and harvest season.[]

A kulintang ensemble accompanying a healing

ritual dance.

Other uses
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 non-Islamic nature, some areas in Mindanao, Sabah
and Maluku still practice this ancient tradition.
Kulintang music can be used for communicating long distance
messages from one village or longhouse to another. Called apad, these
renditions mimic the normal speaking tones of the Maguindanao
language, creating a specific message or, through the use of double
entendre, a social commentary understood by nearly any adult native
Maguindanao speaker. However, apad is falling into disuse because
times have changed, and the necessity of its use for long-distance
communication purposes has faded away. Anun 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.

The gandingan is normally chosen for playing

apad renditions

Kulintang

8
Kulintang music was also crucial in relation to courtships[16] 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-limit to visitors
and suitors. It was only when she was allowed to play during kulintang
performances that suitors were allowed to view her. Because of this,
kulintang music was rare socially approved vehicles for interaction
among the sexes.

An agung contestant performing on the agung

using two balus.

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 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.

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

Improvisation
The kulintang players 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, 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 anytime, speeding up or slowing down, accord to her personal taste
and the composition she plays.[17]
This emphasis on improvisation was essential due traditional role of the music as entertainment for the entire
community.[18] 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 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.[19] This also explains why set performance pieces for musical productions are different in
some respectyoung men/women would be practicing before an event, therefore rarely relying on improvisations.

Kulintang

Maguindanao and Maranao compositions

"Sinulog a Kamamatuan Ver. 1"
This is an example of kamamatuan style of the Maguindanao.
"Taggungo Ver. 1"
This sample of Taggungo is used only to accompany healing rituals with trance dancers performing the dance Sagayan.
Problems playing these files? See media help.

Though allowing such a variety of rhythms would lead to an innumerable amount of 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, 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 Tagonggo. The Maranao on the other hand have
only three typical genresKapromayas/Romayas, Kapagonor/Onor, and Katitik Pandai/Kapaginandang.
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 differentiated by what is considered traditional or old,
and more contemporary or new.
Old styles are considered slow, well-pronounced and dignified like the Maguindanaos kamamatuan and the
Maranaos 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 always played first, to give due
respect to the older generation.
New styles such as the Maguindanaos kagungudan and the Maranaos 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 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 ones individualism. Generally played after all kamamatuan pieces have been
played to give younger musicians the opportunity to participate. Tagunggo not 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 sagayan. During the playing of these pieces, a ritual specialist would dance in rhythm with the
music calling on the help of ancestral spirits (tunong).

Sulu-type kulintangan compositions

Sulu-type compositions on the kulintangan are found among the Tausug, Samal, Yakan, Sama/Badjao, Iranun and
Kadazan-Dusun. 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 compositionsKuriri, Sinug, and Lubak-Lubakthe Yakan have twoTini-id and Kuririand the
Dusun have threeAyas, 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.

Kulintang

10

Composition titles
The kulintang repertoire has no fixed labels because the music itself is not considered a fixed entity. Due to the fact
it is orally transmitted, the repertoire itself is considered something always in a state of flux due to two primary
reasons. First, standardized titles werent 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.
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 designating a new style.[20]
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.

History
Kulintang music is considered an ancient tradition that
predates the influences of Islam, Christianity, and the
West. In the Philippines, it represents the highest form
of gong music attained by Filipinos and in North
Maluku, it is said to have existed for centuries.

Kulintang

As ancient as this music is, there has never been

substantial data recorded regarding the kulintangs
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 instruments used in
passing.[21][22][23]

Because of limited data concerning gong music prior to European exploration, theories abound as to when the
prototypes of what is now the present day kulintang came to be. One theory suggest that the bronze gong had an
ancient history in Southeast Asia, arriving in the Malay archipelago two or even three thousand years ago, making its
way to the Philippines from China in the 3rd century AD.[24] Another theory lays doubt to the former claim,
suggesting the kulintang could not have existed prior to 15th century due to the belief Javanese gong tradition, which
is what the kulintang was believed to be derived from, developed only by the 15th century.[25]
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. Its likely the earliest gongs used among the indigenous populace had no
recreational value but were simply used for making signals and sending messages.
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 Ifugao of Luzon or Tiruray of Mindanao), developing
into a multi-gong, multiplayer ensemble with the incorporation of concepts originating from Sunda and finally
transforming into the present day kulintang ensemble, with the addition of the dbakan, babndir and musical concepts

Kulintang
of Islam via Islam traders.

Origin of the gong

The kulintang gong itself is believed to be have
been one of those foreign musical elements
incorporated into kulintang music, derived from
the Sundanese 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 bonang and
non-tapered Laotian khong vong gongs). Even the
word kulintang is believed to be just an altered
form of the Sundanese word kolenang.[26]
It was these similarities that lead theorists to
conclude that the kulintang was originally
imported to the Philippines during the migration
Two proposed routes for the migration of the kulintang gong to Mindanao
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, through Banjermasin, Brunei and the Sulu
Archipelago, a route where the word kulintangan is commonly used for the horizontal row of gongs; The other
from Sunda, thru, Timor, Sulawesi, Moluccas and Mindanao where the word kolintang/kulintang is commonly seen.

Future
The tradition of kulintang music has been waning throughout the Eastern Malay Archipelago, and has become
extinct in many places where it once played a greater role. The extent of kulintang tradition in the Philippines,
particularly in the Northern and Central islands of the Luzon and Visayas, will never be fully known due to the harsh
realities of three hundred years of Spanish colonization.[27] Sets of five bronze gong-chimes and a gong making up
the totobuang ensembles of Buru island in Central Maluku have also come to disuse. Kolintang sets of bossed kettle
gongs were once played in Gorontalo, North Sulawesi long ago but that has all but disappeared, replaced by what
locals are presently familiar witha slab-key instrument known as a kolintang. The fact that there were still areas
that were able to keep kulintang tradition alive during European colonization has made some aptly termed this
music, the music of resistance.
Today, the existence of kulintang music is threatened by the influence of globalization, 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.
However, due to the work of master musicians such as Master Danongan Kalanduyan and Usopay Cadar, kulintang
music has had a revival of sorts. They are responsible for bringing kulintang music to the shores of the United States
during the late 20th century in an attempt to use the music to help connect contemporary Filipino American culture
with ancient tribal traditions. They were impressed by the fact those who were not of Maguindanao or Maranao
background and some who were not even Filipino were enthusiastic in picking up an alien tradition from a foreign
land. When either of them brought their own students, from universities such as University of Washington or San
Francisco State University, to Mindanao to play the kulintang in front of their own people, a renaissance of sorts
occurs. Many of the younger generation of Maguindanao and Maranao were encouraged to play their traditional

11

Kulintang

12

music by the sight of outsiders playing the kulintang. Such appreciation on the part of the Filipino Americans of a
music that exist halfway around the world is now giving a jolt of life to a dying tradition and had become a symbol
of pan-Filipino unity.

Composition of various ensembles

The makeup of kulintang ensembles throughout the region can vary wildly from group to group. 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.[28][29]
Group and their ensemble name

Horizontal
gongs

Suspended
gongs

Drums

Other gong or
drum

Other gong or
drum

Babendil (gong)

Gandingan (gong)

[]

Maguindanao

Kulintang Ensemble

Kulintang

Agung

Dabakan

Maranao

Kolintang Ensemble

Kolintang

Agong

Dbakan, Gandang
(*archaic)

Tausug/Suluk

Kulintangan Ensemble

Kulintangan

Tunggalan

Gandang (two),
Libbit

Pulakan(Duahan)
(gong)

Buahan(Duahan
(gong)

Samal

Kulintangan Ensemble

Kulintangan

Tamuk

Tambul, Gandang

Pulakan(Duahan)
(gong)

Bua(Duahan (gong)

Sama/Badjao

Batitik Ensemble

Kulintangan

Gong Besar

Gandang

Yakan

Kwintangan Ensemble

Kwintangan

Agung

Minahasa

Kolintang Ensemble

Kolintang

Banding

Double-headed
drums

Malays

Kulintangan Ensemble

Kulintangan

Agong

Gendang

Lotud

Mojumbak Ensemble

Kulintangan

Tawag-Tawag

Gendang

Iban/Sea
Dayaks

Engkromong ensemble

Engkromong

Tetawak

Dumbak

Ternate

Kulintang/Remoi
Sahi-Sahi ensemble

Momo

Saragi

Baka-Baka

Podo (drum)

Dabi-Dabi/Cik
(cymbals)

Tidore

Jalanpong ensemble

Momo

Saragi

Baka-Baka

Podo (drum)

Dabi-Dabi/Cik
(cymbals)

Ambon

Totobuang ensemble

Totobuang

Tifus

Drums

[]

Babndir (gong)

Bandil (gong)
slit drum

Tawak-Tawak
(gong)

Bandai(gong)

Kulintang

References
[1] Frame, Edward M.. "The Musical Instruments of Sabah, Malaysia." Ethnomusicology 26(1982):
[2] Maceda, Jose. Gongs and Bamboo: A Panorama of Philippine Music Instruments. Quezon City: University of the Philippines Press, 1998.
[3] Cadar, Usopay Hamdag (1971). The Maranao Kolintang Music: An Analysis of the Instruments, Musical Organization, Ethmologies, and
Historical Documents. Seattle, WA: University of Washington.
[4] Benitez, Kristina. The Maguindanaon Kulintang: Musical Innovation, Transformation and the Concept of Binalig. Ann Harbor, MI:
University of Michigan, 2005.
[5] Cadar, Usopay H.. "The Role of Kolintang Music in Maranao Society." Asian Music Vol. 27, No. 2. (Spring - Summer, 1996), pp. 80-103.
[6] Cadar, Usopay Hamdag. "Maranao Kolintang Music and Its Journey in America." Asian Music 27(1996): 131-146.
[7] Sutton, R. Anderson. "Reviewed Work: Sama de Sitangkai by Alan Martenot and Jose Maceda." Ethnomusicology 27(1983):
[8] 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.
[9] An Introduction to the Traditional Musical Instruments of Sabah. Kota Kinabalu: Sabah State Muzium, 1992.
[10] 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.
[11] Schramm, Adelaida Reyes. "Music from the Tausug of Sulu: Moslems of the Southern Philippines." Asian Music 2(1971):
[12] Maceda, Jose M.. The Music of Maguindanao in the Philippines. Ann Arbor: University Microfilms, 1963.
[13] Kiefer, Thomas M.. Music from the Tausug of Sulu: Moslem of the Southern Philippines. New York: Anthology Record and Tape
Corporation, 1970.
[14] Evans, Ivor H.. Among Primitive Peoples in Borneo. London: Seeley, Service & Co., 1922.
[15] Gaerlan, Barbara. Philippine Muslim Kulintang: Music of Modernization. 1991.
[16] Goddio, Franck. Lost at Sea: The strange route of the Lena Shoal junk. London: Periplus, 2002.
[17] Terada, Yoshitaka. "Variational and Improvisational Techniques of Gandingan Playing in the Maguindanaon Kulintang Ensemble." Asian
Music XXVII.2 (1996): 53-79.
[18] Posner, Karen L. "A Preliminary Analysis of Style in Maguindanoan Kulintang Music." Asian Music XXVII.2 (1996): 1932.
[19] Scholz, Scott. "The Supportive Instruments of the Maguindanaon Kulintang Music." Asian Music XXVII.2 (1996): 3352.
[20] Combes, Francisco. Historia de las Isles de Mindanao in the Philippine Islands. Clevaland: Clark, 1903.
[21] Blair, Emma, and James Robertson. The Philippine Islands. Cleveland: The Arthur K. Clark Co, 1903.
[22] Forrest, Thomas. A Voyage to New Guinea and the Moluccas: 1774-1776. Kuala Lumpur: Oxford University Press, 1969.
[23] Vives, E.D.. The Rio Grande of Mindanao. 2. Cagayan de Oro: Xavier University, 1995.
[24] Sachs, Curt. The History of Musical Instruments. New York: W.W. Norton & Co., Inc, 1940.
[25] Skog, Inge. "North Borneo Gongs and the Javanese Gamelan." Ethnomusicology Research Digest 4(1993): 55-102.
[26] Kunst, Jaap. Music in Java. 2. Netherlands: The Hague, 1949.
[27] Mercurio, Philip Dominguez. Expedition into ETHS 545: Music of the Southern Philippines." Manila Bulletin USA: Kababayan Ed. [South
San Francisco] 13 OCT 2005, natl. ed.: 8.
[28] The Maranao Man. Mindanao Art and Culture. 4. Marawi City: University Research Center, Mindanao State University, 1980.
[29] Oellana, Dionisio, and Efren Endriga. Maranao Traditional Brasscasting. 2. Iligan City: MSU - Iligan Institute of Technology, 1984.

External links

What is Kulintang? (http://www.kulintang.com/kulintang.html)

Kulintang Music of the Philippines (http://www.madnomad.com/gregg/kulintang/)
Audio of Maguindanao Kulintang (http://seamusic.org.uk/listen.html#kulintangrec)
Music of Indonesia series, presented by Smithsonian Folkways and the Society of Indonesian Performing Arts
(http://www.folkways.si.edu/projects_initiatives/indonesian/series.html)

13

Article Sources and Contributors

Article Sources and Contributors

Kulintang Source: http://en.wikipedia.org/w/index.php?oldid=540859990 Contributors: 23prootie, Ahoerstemeier, Alan Liefting, Anak 1, AnkhMorpork, Arctic Kangaroo, Ashary, Badagnani,
Bearcat, Benstown, Berserkerz Crit, Betacommand, Ceoil, Charles Matthews, Christopher Sundita, Davehi1, Deebeedee, DocWatson42, Drakl0r, Earth, Egard89, Emil.santos, Firsfron,
Flyingbird, Freederick, Gaius Cornelius, Harryboyles, Heliomance, Hemanshu, Hiei-Touya-icedemon, Hyacinth, Indon, Iridescent, JaGa, Jingleheimer Smith, John of Reading, Jondel, Jose
Ramos, Kiewii, Koavf, Lampman, LeeHunter, Lenticel, LilHelpa, Manilaskies, Michael Devore, MikeWazowski, Mogism, Mosarip, Mschel, Naval Scene, Niceguyedc, Noformation, Opus88888,
Owen, Panser Born, PhilipDM, R'n'B, Rettetast, Rich Farmbrough, Rigadoun, Rjwilmsi, SJP, SandyGeorgia, SaxTeacher, Scania32dett, Scott Martin, Spidermelonglovestranchlope, Tgeairn,
Titania, Tobias Conradi, Utcursch, Varinasi, Vicki Rosenzweig, Will Beback, Woohookitty, 61 anonymous edits

Image Sources, Licenses and Contributors

File:Kulintang_08.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kulintang_08.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Clusternote, PhilipDM,
Skipjack, 1 anonymous edits
Image:Gong and Chime Culture Map.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Gong_and_Chime_Culture_Map.jpg License: Creative Commons Attribution-Sharealike 2.5
Contributors: Clusternote, Humboldt, PhilipDM, Skipjack, Trelio
Image:Kulintang 03.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kulintang_03.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: PhilipDM, Skipjack, 1
anonymous edits
Image:Kulintang 04.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kulintang_04.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: PhilipDM, Skipjack
Image:Kulintang 10.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kulintang_10.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Lobo, PhilipDM,
Skipjack
Image:Diagram of the individual kulintang gongs.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Diagram_of_the_individual_kulintang_gongs.jpg License: Creative Commons
Attribution-Sharealike 2.5 Contributors: Skipjack
Image:Kulintang 05.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kulintang_05.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: PhilipDM, Skipjack
Image:Kulintang 02.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kulintang_02.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: PhilipDM, Skipjack
Image:Kuilintang notation.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kuilintang_notation.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: PhilipDM
Image:Kulintang 06.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kulintang_06.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: PhilipDM, Skipjack
Image:Kulintang 09.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kulintang_09.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: PhilipDM, Skipjack
Image:Kulintang 07.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kulintang_07.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: PhilipDM, Skipjack
Image:Gandingan 06.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Gandingan_06.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Clusternote,
PhilipDM, Skipjack
Image:Agung 11.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Agung_11.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Juiced lemon, Kakofonous,
PhilipDM, Skipjack
Image:Gnome-mime-sound-openclipart.svg Source: http://en.wikipedia.org/w/index.php?title=File:Gnome-mime-sound-openclipart.svg License: unknown Contributors: User:Eubulides
Image:Kulintang 11.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kulintang_11.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: PhilipDM, Skipjack
Image:Map of migration of the kulintang gong.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Map_of_migration_of_the_kulintang_gong.jpg License: Creative Commons
Attribution-Sharealike 2.5 Contributors: Humboldt, Mdd, PhilipDM, Skipjack
Image:Kulintang 08.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kulintang_08.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Clusternote, PhilipDM,
Skipjack, 1 anonymous edits
Image:Agung 10.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Agung_10.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Juiced lemon, Kakofonous,
PhilipDM, Skipjack
Image:Dabakan 2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Dabakan_2.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Lobo, Ludger1961,
Mercurywoodrose, PhilipDM, Zhuyifei1999, 4 anonymous edits
Image:Gandingan 01.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Gandingan_01.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Clusternote,
Conscious, PhilipDM, Skipjack

License
Creative Commons Attribution-Share Alike 3.0
//creativecommons.org/licenses/by-sa/3.0/

14