VOCAL MUSIC OF MINDANAO

1. CHANTS- A LYRICAL RENDITION OF DIFFERENT IMPROVISED

TEXT.

YAKANS DO THEIR CHANTINGS THROUGH SOLO AND COUNTER

SINGING
GROUP SINGING. THEIR THREE FAMOUS EVERYDAY STYLE
CHANTS ARE:
• LUGU- CHANTS USED IN READING THEIR QUR’AN AND
BOOKS THEY USE
ARE IN THEIR ISLAM RELIGION
• KALANGAN- SONGS ISED FOR SERENADING LOVED ONES
• SA-IL/LUNSEY- A CHANT TO BE SUNG BY THE WIFE-TO-
BE DURING THE CEREMONY

MARANAO’S VOCAL REPERTOIRE

A. DIKKER- SACRED SONG HIGHLIGHTED BY QUOTATIONS

FROM THE QUR’AN
B. BAYOK- SEMI-GENERIC TERM FOR A LYRICAL
RENDITION OF DIFFERENT IMPROVISED TEXT

2.LULLABY- A CHANT-STYLE OR CHANT FORMULA USED FOR

ROCKING A BABY TO SLEEP

INTRUMENTAL MUSIC OF MINDANAO

1. KULINTANG ENSEMBLE
2. GONG-BASED ENSEMBLE USED BY THE
MAGUINDANAO AND
 3. MARANAO OF WESTERN MINDANAO, THE
TAUSUG, THE YAKAN,
4. AND THE SAMA-BAJAO OF THE SULU
ARCHIPELAGO

2 TYPES OF KULINTANG ENSEMBLES

A.KULINTANGA/KWINTANGAN- GONGS IN A
ROW
B.TAHUNGO, AGUNG, SALMAGI BLOWON
SEMAGI- SUPENDED GONG ENSEMBLES IN
VARIOUS NAMES ACCORDING TO EACH
TRIBE

KULINTANG SET
KULINTANG-

CONSISTS OF 5-9 GRADUATED POT GONGS MADE OF

BRASS. WOODEN
BEATERS ARE USED TO STRIKE THE GONGS.

AGUNG
A LARGE, DEEP-RIMMED GONG, VERTICALLY
SUSPENDED, HANGED
IN WOODEN FRAMES.
2. BAMBOO ENSEMBLE
BAMBOO INSTRUMENTS WERE MADE FOR THE
PURPOSE OF
ENTERTAINMENT AND PERSONAL EXPRESSION OF
THEIR
SPIRITUAL FAITH.
THE DIFFERENT MANNERS IN PLAYING BAMBOO
INSTRUMENTS:
1. BLOWING (AEROPHONES)
2. SHAKING OR HITTING (IDIOPHONES)
3. PLUCKING ( CHORDOPHONES)
 GABBANG (IDIOPHONES) - A NATIVE XYLOPHONE IN
AN INSTRUMENT BAMBOO KEYBOARD ON TOP,
CONSTRUCTED OUT OF WOOD.
SERONGGAGAGANDI (IDIOPHONES)- A GUITAR-LIKE
MADE OF BAMBOO, BUT BEFORE ONE NOD AND
AFTER NEXT.

3. SOLO INSTRUMENT

KUDYAPI- IS A STRING
INSTRUMENT MADE OF WOOD
WHICH RESEMBLES AS
ELONGATED GUITAR USUALLY
HAVING 2 STRINGS. IT VARIES IN
SIZES, BUT ITS NORMALLY ABOUT
ONE AND A HALF METER-LONG.
 SULING- (MAGUINDANAO
AND YAKAN) IS MADE MAINLY
OF “TIAMANG” BAMBOO, A
LONG, THIS-WALLED BAMBOO
TUBE WITH A MOUTHPIECE
CIRCLED WITH A THIN BAND
MADE OF RATTAN NEAR A

NON-ISLAMIC

MIGRANTS/CHRISTIAN- THE PEOPLE WHO MIGRATED

FROM LUZON AND VISAYAS CAME TO MINDANAO
DURING THE PHILIPPINE COMMONWEALTH UNDER
THE AMERICANS AND IN THE 1950’S AND 1960’S.
MORO AND LUMAD MUSIC ARE OFTERN FEATURED IN
MINDANAO CULTURAL PRESENTATIONS, THE PEOPLE
WHO MIGRATED FROM LUZON AND VISAYAS
BROUGHT ALONG THEIR OWN CULTURE.

LUMAD
- A GROUP OF INDIGENOUS PEOPLE OF THE
SOUTHERN PHILIPPINES
A CEBUANO TERM MEANING NATIVE OR INDIGENOUS,
SHORT FOR KATAWHANG LUMAD.
- KNOWN AS NON-MUSLIM AND NON-CHRISTIAN
(T’BOLI, BAGOBO, YAKAN)

MUSIC OF MINDANAO GLOSSARY

ADJACENT- LYING NEAR, CLOSE OR CONTIGUOUS;

NEIGHBORING; JUST BEFORE
ANTROPOLOGIST- A PERSON WHO MAKES SCIENTIFIC
STUDY OF HUMANS, PAST AND PRESENT
AESTHETICS- A BRANCH OF PHILISOPHY DEALING
WITH THE NATURE OF ART, BEAUTY, AND TASTE,
WITH THE CREATION AND APPRECIATION OF BEAUTY
CORD- A SLENDER LENGTH OF FLEXIBLE MATERIALS
USUALLY MADE OF TWISTED STRANDS OR FIBER
USED TO BIND OR CONNECT
ETHNIC- RELATING TO A POPULATION SUBGROUP
WITH A COMMON OR NATIONAL OR CULTURAL
TRADITION
ETHNOLINGUISTIC- THE BRANCH OF LINGUISTIC
CONCERNED WITH THE RELATION BETWEEN
LINGUISTIC OR CULTURAL BEHAVIOR
ENSEMBLE- A GROUP OF MUSICIAN, ACTORS DANCERS
OR PERFORMERS
FUSION- THE PROCESS OR RESULT OF JOINING TWO
OR MORE THINGS TOGETHER TO FORM A SINGLE
ENTITY
FOLKSONG- A SONG THAT IS ORIGINATE IN
TRADITIONAL POPULAR CULTURE
IMPORVISE- CREATE AND PERFORM WITHOUT
PREPARATION; ADLIB OR IMPROMPTU
LITURGY- THE SACRAMENT OF THE EUCHARIST OR
THE MASS
REPERTOIRE- A STOCK OF PLAYS, PERFORMERS THAT
A COMPANY WILL PERFORM
RAMADAN- THE NINTH MONTH OF THE MUSLIM
YEAR. FASTING IS OBSERVED FROM SUNRISE TO
SUNSET.
RATTAN- THE THIN PLIABLE STEMS OF A PALM, USE
TO MAKE FURNITURE
QUR’AN- MEANING “THE RECITATION” THE CENTRAL
RELIGIOUS TEXT OF THE ISLAM.