This is the Grade 7 Music Self-Learning Module (SLM) for Quarter 3, Module 2: The Kulintang Ensemble of Mindanao. It is for Grade 7 learners studying at home, and for the teachers and parents who guide them. After this module, learners should be able to name the instruments of the kulintang ensemble, explain how culture and history shaped its music, and play simple rhythms on a homemade kulintang.
On this page 7 sections
What learners will learn
The module lists these learning competencies. The learner:
- identifies the musical characteristics of representative music selections from Mindanao after listening (MU7MN-IIIa-g1)
- analyzes the musical elements of some Mindanao vocal and instrumental music (MU7MN-IIIa-g2)
- explains the distinguishing characteristics of representative music selections of Mindanao in relation to its culture and geography (MU7MN-IIIa-g3)
- explores ways of producing sounds on a variety of sources similar to the instruments being studied (MU7MN-IIIb-h4)
- evaluates music selections and music performances by applying knowledge of musical elements and style (MU7LV-IIIb-h10)
Its learning objectives are to:
- identify the instruments and characteristics of the kulintang ensemble
- distinguish the musical elements of the kulintang ensemble in relation to its cultural and geographical influences
- make an improvised kulintang and perform rhythmic accompaniments to selected music from Mindanao
Where the kulintang came from
The module explains that the kulintang belongs to the family of “gongs in a row” found across Southeast Asia. Long before the Spaniards arrived, traders from Borneo and Indonesia did business with the people of Sulu and other southern islands. The region has three major gong-and-chime ensembles: the Piphat of Thailand, the Gamelan of Indonesia, and the Kulintang of Borneo.
Islam reached the Philippines through these same traders, and local people adopted their musical traditions. That is why the kulintang is mostly played in Muslim communities. The module stresses, however, that the kulintang itself has nothing to do with Islam. Historians say the Spaniards linked it to Islam to stop it from spreading to other parts of the country.
Other basic facts from the module:
- Kulintang melodies are said to come from ancient chants that ancestors used to communicate, so the music sounds as if it is talking.
- Many groups play it, including the Maguindanao, Maranao, Tausug, Sama, T’boli, Blaan, Manobo, and Bagobo. Some ensembles have three or four gongs; others have eight or nine.
- Players are traditionally women, because the graceful, slow, relaxed movements of a woman are linked to the way it is played.
The instruments of the kulintang ensemble
| Instrument | What it is | Role in the music |
|---|---|---|
| Kulintang | Usually 8 small embossed brass gongs in a wooden frame, played with light wooden beaters (Kolintang to the Maranao, Kulintangan to the Tausug) | Plays the melody |
| Dabakan | Goblet-shaped drum carved from one tree trunk, usually with a goatskin head, played with thin rattan sticks (Dbakan to the Maranao) | Plays the steady beat; the only non-gong instrument |
| Agung | The biggest gong, with a low pitch | Like the bass of a band; a drone or foundation |
| Gandingan | Four hanging slim bossed gongs, arranged low to high from the player’s left, in pairs facing each other | Called “talking gongs” because they were used to send messages |
| Babandir | A single gong | The timekeeper, acting as the conductor |
Ensembles of three groups
| Group | Instruments (number of players) |
|---|---|
| Tausug | Kulintang of 8 to 11 gongs (1), gandang drums (2), tungallan large gong (1), duwahan paired gongs (1) |
| Maranao | Kulintang of 8 gongs (1), gandang cylindrical drum (1), agung (1), dadabuan conical drum (1) |
| Maguindanao | Kulintang of 7 to 9 gongs (1), dabakan (1), agung pair (1 or 2), gandingan |
The Maranao ensemble is known for its Sarimanok-shaped wooden stand for the eight gongs.
How kulintang music is played
Kulintang music is an oral tradition. It has no written notation, so players learn as children by watching and listening to their mothers, memorizing patterns until they can improvise. The music is a complex, interlocking flow of rhythm: the agung gives the foundation, the drums keep the steady beat, and the kulintang carries the melody.
Each gong symbolizes a person. The center gives a clear tone and stands for a person who has gained wisdom; the rim gives a harsh sound and stands for one who lacks knowledge. That is why gongs are always struck at the center. In traditional performances, players do not smile, tap their feet, or twist their bodies, so they can fully focus on the music.
Number notation and rhythmic modes
Today, kulintang music is sometimes written with a number system. The bottom row counts the beats in a cycle (8 in the module’s example), and the numbers above show which gong each hand strikes. There is no set tempo. Learners without a kulintang can use bottles or tap their hands on a table.
The Maguindanao kulintang uses six rhythmic modes:
- Sirong and Sinulog a Minuna: steady tempo and refined melodies, preferred by elders
- Binalig, Sinulog a Bagu, and Tidtu: fast tempo, preferred by the young
- Tagunggo: used for rituals
The first five are for entertainment.
How to use this module
The module follows the usual SLM parts. Answer the 15-item pretest (What I Know) first, then work through the lesson and its activities: listening to an audio sample and drawing the instruments, a “rhythmic equation” review of note values (whole note = 4 beats, half = 2, quarter = 1, eighth = 1/2), a tone color activity, and “The Kulintang Detective,” which analyzes rhythm, tempo, harmony, tone color, dynamics, and melody in Tausug, Maranao, and Maguindanao performances. Several activities use online audio and video links printed in the module.
- Learners: Write all answers in your activity notebook, not on the module. For the performance task, fill 8 bottles with different water levels, arrange them by pitch, and make a rhythmic accompaniment for the song “Itadyak” by Maan Chua. A rubric scores your rhythmic pattern and improvisation skills.
- Parents: Help your child find bottles, water, and wooden beaters, and a device to record the final composition.
- Teachers: Schedule the online performances. The Additional Activities ask learners to compose a short piece for six gongs, record it, and send it through Messenger, email, social media, or a flash drive. The answer key covers the pretest and the post-test, which use the same 15 questions.
Frequently asked questions
What grade and quarter is this kulintang module for?
It is Grade 7 Music, Quarter 3, Module 2, titled The Kulintang Ensemble of Mindanao.
What instruments make up the kulintang ensemble?
The module describes the kulintang (melody gongs), the dabakan (goblet-shaped drum), the agung (biggest, low-pitched gong), the gandingan (four slim talking gongs), and the babandir (the timekeeping gong).
Why is the gandingan called the talking gongs?
According to the module, the gandingan was traditionally used to tell or send messages, so it is called talking gongs.
Does the module have an answer key?
Yes. It includes an answer key for the 15-item pretest and post-test, which share the same questions.
What performance task does the module ask for?
Learners make an improvised kulintang from 8 bottles filled with different amounts of water and play a rhythmic accompaniment to the song Itadyak by Maan Chua, scored with a rubric.
Full text of the module
The text below is a transcription of the PDF above, as printed.
Music
Quarter 3 – Module 2: The Kulintang Ensemble of Mindanao
7
CO_Q3_Music 7_ Module 2
[illustration: students studying under a tree, a teacher helping students at a desk, and a student with a globe and lamp]
Copyright and Development Team
Music – Grade 7 Alternative Delivery Mode Quarter 3 – Module 2: The Kulintang Ensemble of Mindanao First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this book are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them.
Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio
| Development Team of the Module | |
|---|---|
| Author: | Howard Bong M. Abao |
| Content Editor: | Emmanuel C. Alveyra |
| Language Editors: | Cherrie Rose L. Desaliza, Gladys F. Cantos |
| Reviewer: | Emmanuel C. Alveyra |
| Illustrator: | Reymark L. Miraples, Louie J. Cortez, Richard Amores, Pablo M. Nizal, Jr., Jan Christian D. Cabarrubias |
| Layout Artist: | Reymark L. Miraples |
| Management Team: | Benjamin D. Paragas, Mariflor B. Musa, Freddie Rey R. Ramirez, Danilo C. Padilla, Annabelle M. Marmol, Florina L. Madrid, Norman F. Magsino, Dennis A. Bermoy, Emmanuel C. Alveyra |
Printed in the Philippines by ________________________
Department of Education – MIMAROPA REGION Office Address : Meralco Avenue, Cor. St. Paul Road, Pasig City, Metro Manila Telephone : (02)863 – 14070 E-mail Address: : clmd.depedro4b@gmail.com
7
Music
Quarter 3 – Module 2: The Kulintang Ensemble of Mindanao
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our dear learners, can continue your studies and learn while at home. Activities, questions, directions, exercises, and discussions are carefully stated for you to understand each lesson.
Each SLM is composed of different parts. Each part shall guide you step-by-step as you discover and understand the lesson prepared for you.
Pre-tests are provided to measure your prior knowledge on lessons in each SLM. This will tell you if you need to proceed on completing this module or if you need to ask your facilitator or your teacher’s assistance for better understanding of the lesson. At the end of each module, you need to answer the post-test to self-check your learning. Answer keys are provided for each activity and test. We trust that you will be honest in using these.
In addition to the material in the main text, Notes to the Teacher are also provided to our facilitators and parents for strategies and reminders on how they can best help you on your home-based learning.
Please use this module with care. Do not put unnecessary marks on any part of this SLM. Use a separate sheet of paper in answering the exercises and tests. And read the instructions carefully before performing each task.
If you have any questions in using this SLM or any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator.
Thank you.
What I Need to Know
Learning Competencies
The learner:
- identifies the musical characteristics of representative music selections from Mindanao after listening; MU7MN-IIIa-g1
- analyzes the musical elements of some Mindanao vocal and instrumental music; MU7MN-IIIa-g2
- explains the distinguishing characteristics of representative music selections of Mindanao in relation to its culture and geography; MU7MN-IIIa-g3
- explores ways of producing sounds on a variety of sources that is similar to the instruments being studied; MU7MN-IIIb-h4
- evaluates music selections and music performances applying knowledge of musical elements and style. MU7LV-IIIb-h10
Mindanao is home to abundant culture and tradition. It is an inter- cultural trade between the people of Mindanao and other foreign neighbors. The use of bamboo flutes and singing in acapella were influenced by Malaysian people. Melismatic and long chants was originated from India while the used of brass gongs and basses in music are ways brought by Indonesia, Thailand and Burma. From its religion Islam came various art forms which you can only find in this place. The world famous singkil, the rich vocal music, and of course the majestic sound of the Kulintang are just a few among this famous works of art. After digging through the Mindanao Islamic vocal music, we will now proceed to a more familiar sight and sound of Mindanao – its Kulintang Ensemble. Maybe you’ll be talking to yourself right now: “I’m already familiar with that instrument and I know what it sounds like or looks like;” or maybe “I know how to play that instrument;” or a boastful “we have that kind of instrument in our house!” whatever the case maybe, let us together explore the beauty and soul of the Mindanao Kulintang Ensemble.
Learning Objectives
After working on this module, you should be able to:
- Identify the different musical instruments and characteristics of the Kulintang Ensemble
- Distinguish the different musical elements of kulintang ensemble in relation to its cultural and geographical influences
- Make an improvised kulintang instrument and perform rhythmic accompaniments to selected music from Mindanao
What I Know
Hello, how are you doing? I know you are excited to learn from this module. Don’t worry because several activities were prepared for you to understand what this lesson is all about.
Before you proceed to the content, try to answer the following questions below to determine how much you already know.
Directions: Read and analyze the questions carefully and write the letter of the best answer on your activity notebook.
What kind of percussion instrument is the kulintang?
- A. Drum
- B. hanged gong
- C. gongs in a row
- D. large gong
What kind of instrument is gandang?
- A. drum
- B. flute
- C. gong
- D. hegalong
What is the other term for agung of the Tausug people?
- A. bebendir
- B. kudyapi
- C. tungallan
- D. gandingan
Which of the following refers to a pair of four slim gongs?
- A. bebendir
- B. kudyapi
- C. tungallan
- D. gandingan
Who among the following groups of people uses a sarimanok-shaped kulintang stand?
- A. Tausug
- B. Maranao
- C. Maguindanaoan
- D. Indonesian
Why do Islam communities have kulintang instrument even if they have nothing to do with Islam?
- A. Because this instrument is a product of adaptation of different cultures.
- B. Because Muslim traders used this instrument to get access to the tribes in Sulu.
- C. Because the Sulu people bought this instrument from traders.
- D. Because this is a beautiful instrument which suits the house of a Datu.
Which of the following is the main role of the Kulintang ensemble?
- A. It provides rhythm for the music.
- B. It provides tempo for the music.
- C. It provides melody for the music.
- D. It provides color for the music.
Which of the following does the term “talking gongs” mean?
- A. The instruments can be understood by humans.
- B. The instrument’s sound is like a radio.
- C. The instrument’s rhythmic pattern mimics the chant of our ancestors.
- D. The instrument can actually talk.
What mode of playing kulintang will you use in a wedding ceremony?
- A. tagunggo
- B. tidtu
- C. binalig
- D. sirong
Which of the following is more appealing for the youth?
- A. binalig
- B. tagunggo
- C. sirong
- D. sinulog a minuna
Why do women traditionally play the kulintang?
- A. Because the women can dance while playing the instrument.
- B. Because the sound is associated with some of the characteristics of a woman.
- C. Because there are more women in the community
- D. Because the kulintang beaters are fragile that only a woman can hold it better.
How did the Kulintang arrive in the Philippines?
- A. The Muslim traders brought it to our ancestors.
- B. It is a product of a barter system.
- C. It is a gift from the prophet Mohammad.
- D. Our ancestors bought it.
Why does the kulintang can only be seen in Mindanao?
- A. The Spaniards associated the instrument to Islam.
- B. Mindanao is rich with brass and copper.
- C. There are more women players in Mindanao.
- D. This instrument is heavy and difficult to transport.
Why do Mindanao gongs differ from the gongs of Cordillera?
- A. Because the material is a mixture of different metals.
- B. Because the beaters have beautiful designs.
- C. Because it is embossed while the Cordillera’s gongs are flat.
- D. Because it is cheaper in price.
Which of the following statement is TRUE about the Kulintang ensemble?
- A. Only Muslims can play the Kulintang.
- B. The Spaniards introduced this instrument to us.
- C. Muslim traders brought this instrument to the natives of Mindanao.
- D. The manner of playing this instrument today is very different from the old manner of playing.
Lesson 1: The Kulintang Ensemble of Mindanao
What’s New
Before you go on with the lesson, assess yourself how familiar you are with this ensemble. Try to activate your stock knowledge regarding Kulintang.
So, for this activity, you are going to listen to a music sample about the instruments of Mindanao.
Activity 1: YOUR SOUND LOOKS FAMILIAR
Directions: On your notebook, draw and name the instruments which you think are used in the given audio material. Then, respond to the following questions below. Access the music through the given link below. Use your activity notebook in accomplishing this task.
- How many instruments have you heard in the music?
- What are the musical elements present in the music?
Well, it seems that you have some ideas about Kulintang. This is exciting because activities were provided for you to learn easily.
So, ready yourself and start discovering what’s really inside this learning module.
What is It
This module talks about the representative music selections of Mindanao. Surely, you will get amazed how the ensemble of Mindanao becomes popular and how it contributes to the preservation of Mindanao’s culture and tradition.
Origin
When we hear the distinct ringing sound of the Kulintang, we immediately think of Mindanao, Muslims to be exact. But where does the kulintang come from? Is it an original Filipino instrument? Is it related to Islam? Historians say that this instrument is connected to the other types of “gongs in a row” in other parts of southeast Asia. Long before the arrival of the Spaniards in the Philippines, traders from neighboring countries in the south like Borneo and Indonesia were actively engaged in various commercial and cultural activities with the natives of Sulu and other islands in the southern part of the archipelago.
The map below shows the general picture of Gong and Chime culture in southeast Asia. We can see that there are three major ensemble types that emerged in the region long time ago. The Piphat ensemble of Thailand, the Gamelan ensemble of Indonesia, and the Kulintang ensemble of Borneo. It is obvious that the term Kulintang is also used by our neighboring countries.
[chart: map; GONG AND CHIME CULTURE in Southeast Asia. Labels printed on the map: MYANMAR, THAILAND, CAMBODIA, PIPHAT, PHILIPPINES, Mindanao, MALAYSIA, KULINTANG, SUMATERA, BORNEO, SULAWESI, MALUKU, GAMELAN, JAVA, TIMOR. Dashed lines enclose the Piphat, Gamelan, and Kulintang culture areas.]
During those times, Islam was slowly getting into the Philippine soil through these merchants and traders. With this process of Islamization, the locals adapted the general musical traditions brought by their new found friends. That is why, the kulintang is generally played in communities where Muslim traditions prevail. But take note, the kulintang has nothing to do with Islam. Historians say that like the term Moro, it is the Spaniards’ tactic to associate the instrument to Islam to hamper the spread of the instrument to other parts of the country.
Basic Facts
Like the Banduria of the lowlands of the country, the Kulintang gradually became a Filipino musical instrument, adapting its culture to its manner of playing. The melodies from the kulintang are said to be based on ancient chants that our ancestors used to communicate. We hear its sound as if it is talking to us.
The kulintang is not exclusive to one tribe only. In fact, tribes like Maguindanao, Maranao, Tausug, Sama, T’boli, Blaan, Manobo and Bagobo, are only some of those groups of people who play the kulintang. However, they differ on the number of instruments included in the ensemble. Some may only have three or four pieces of gongs while others can have eight or nine.
Traditionally, kulintang ensembles are composed mainly of women players. The graceful, slow and relaxed movements of a female is associated with its manner of playing.
Before you continue with this lesson, try to review first one of the important elements of music that is very much needed in kulintang music – the rhythm.
Activity 1. Rhythmic Equation
Just like Mathematics, music also deals with numbers. Every note has its own duration. With or without sound, their values must be precisely computed in order to perform the right interpretation of the rhythmic pattern of a certain musical composition. The most common notes that you always encounter are the whole note, the half note, the quarter note, and the eighth note. Basically, a whole note (𝅝) has 4 beats, half note (𝅗𝅥) has 2 beats, a quarter note (♩) has one beat, and eight note (♪) has 1/2 beat. The larger the value of the note, the longer the sound or duration.
The following activities that you will accomplish are based on the above explanation about the duration of notes. Analyze the total beat values of each group of notes. Write the sign < if the group of notes on the left has a lesser total beat value than the preceding group of notes and > if it has a greater value. Meanwhile, write = if the total beat value of the two group of notes are equal. Copy and answer the equations on your notebook.
- ♩ + 𝅗𝅥 ____ ♩ + ♩ + ♩ + ♩ + ♩
- ♩ + ♩ + ♩ + 𝅗𝅥 ____ ♪ + ♪ + 𝅗𝅥 + ♪ + ♪ + ♩
- 𝅗𝅥 + 𝅗𝅥 + 𝅗𝅥 + ♩ + ♩ + 𝅗𝅥 ____ 𝅝 + ♩ + ♩ + ♪ + ♪ + ♪ + ♪
- ♩ + 𝅝 ____ ♩ + ♩ + ♩ + ♩ + ♪ + ♪
- 𝅝 + ♩ + 𝅗𝅥 ____ 𝅗𝅥 + 𝅗𝅥 + ♩ + ♩
Very good! Now that you have refreshed your knowledge about rhythm, I think you are now ready to explore the richness of the kulintang music.
The Instruments of the Kulintang Ensemble
Kulintang
The kulintang plays the melody of the piece. It is usually composed of 8 small embossed graduated gongs laid into a wooden frame. The gongs are made of brass and the beaters are made of lightweight wood for ease of playing fast and complicated pieces. The Maranaos call this instrument Kolintang while the Tausugs name it Kulintangan. This instrument has no defined pitch because what matters is the player’s ability to follow the rhythm and to make improvisations.
[illustration: row of eight kulintang gongs in a wooden frame, seen from the audience]
Kulintang (audience perspective)
Dabakan
The Dabakan (Maguindanaon term) is a goblet-shaped drum. It is carved from a single trunk of wood. This intricately – designed drum is the only non-gong instrument of the Kulintang ensemble. Thin and long rattan sticks are used as beaters to play the steady beat of the piece. Usually its drum head is made of goatskin. The Maranaos call this “Dbakan”.
[illustration: goblet-shaped drum with geometric patterns]
Dabakan
Agung
Agung is the biggest gong in the ensemble. If we compare the timbre between agung and kulintang, agung has a low pitch sound while kulintang has a high pitch quality of sound due to its small size. The agung may be compared to the bass section of the orchestra or a band.
[illustration: two hanging large gongs]
Agung
Gandingan
The gandingan is also called “talking gongs” because traditionally they are used to tell messages. It is composed of four hanging slim bossed gongs arranged from low to high pitch starting from the player’s left hand. Each pair of gongs are hanged facing each other.
[illustration: four hanging slim gongs on a frame]
Gandingan
Babandir
This gong is the time keeper or the ensemble. It acts as the conductor of the music.
[illustration: single hanging gong]
Babandir
From the lesson presented in the previous sections, prove yourself that you are capable of understanding the lesson by accomplishing this challenging activity.
Directions: Write the name of the instrument in one space of the circle and its tone color on the other space. Tone colors may be warm, dark, bright, deep. Afterwards, respond to the following questions below. Accomplish this activity on your notebook.
[illustration: six empty circles of different sizes, each divided by a line into two spaces, for writing the instrument name and its tone color]
- Did the instruments become audible with their distinct tone colors? Why yes or why not?
- How does tone color affect the whole piece?
How to Play
[illustration: dancer in traditional attire with kulintang players in the background]
Like the vocal music of Mindanao, kulintang music is learned by generations long ago through an oral tradition. Unlike the music of the western world, it doesn’t have any written musical notation or music system to guide its musicians. Kulintang players, to be exact, need to have a sharp ear and memory to be able to memorize the melodic movement of the piece. Usually, kulintang players learn to play their instrument at a very young age. They observe and listen as their mothers play the instrument. Through this process, they were able to memorize kulintang rhythmic patterns and melody thereby enabling them to easily improvise.
When we listen to kulintang music, we hear a complex interlocking flow of rhythm with a very rich sound from each instrument caused by striking the individual gongs alternately. The agung serves as a drone or the foundation of the music. The steady rhythm is provided by the drums. And the kulintang, of course, deserves to be the main instrument of the ensemble because it plays the melody.
In the ensemble, the gongs, regardless of their sizes, symbolize human beings. The embossed part produces a clear tone in contrast to the sides which produces a harsh sound. For this reason, the gong is always struck at the center-symbolizing a human being who attained wisdom while the rim or side part symbolizes a person who lacks knowledge.
Traditional kulintang performances require the players to be fully immersed in the music. They should not smile, tap their feet or twist their bodies to be able to fully focus and surrender themselves on the music they are playing. In that manner, they become the music itself.
Notational System
Because of the lack of musical notations to preserve and transfer the pieces, various ways of transcribing its music were developed. One of the more famous way of writing its music is through the number system of notation.
[transcriber’s note: the table has no printed header row; its top row is used as the header, and the R and L labels are placed in the first column]
| | 5 6 7 | 7 | 6 7 | | 4 | | 6 | | — | — | — | — | — | — | — | — | — | | R | 4 | | | | 4 | | 5 | | | L | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
In this system the lowest row represents the number of beats per cycle. In this case there are 8 beats per cycle. The number in the two upper rows represent each gong in the kulintang. In this case there are 8 gongs but take note, only the gongs 4, 5, 6 and 7 are to be played. The numbers in the middle row are assigned to the left hand of the player and the heights row for the right hand. There is no required tempo so it is in the player’s ability and interpretation of the piece that will dictate how it will be played.
Try playing this pattern at your own phase. But since you do not have a kulintang, you may substitute the gongs with other materials available in your place (bottles perhaps) or if nothing is available, you may just resort to just tapping your left hand (middle row) and right hand (upper row) on the table. You may start very slowly to master the 8 – beat cycle of this simple part. As you go along with your practice, try to increase the phase of your playing until you reach the speed you think is right for the melody.
You have just finished the topic. Think about how you can apply or your understanding of the concepts presented in the previous section. How did you find the lesson? Was it interesting?
Now, it seems that you are ready to learn more. Here are another questions that will help you review the lessons presented in this module. After mastering the pattern, try to answer these questions on your activity notebook.
- What did you feel while learning the rhythmic pattern?
- What differences have you observed between the kulintang rhythm and the western-type of rhythm?
For your basis on the next set of questions, please refer to the YouTube link provided Kulintang ensemble (for tone color activity)
- What are the different tones that you heard in the performance?
Here are some important ideas about the famous kulintang of Mindanao. Through the given links below, listen and understand their rhythmic modes.
The music of the Maguindanao Kulintang ensemble is based on the following rhythmic modes: These five modes are used for entertainment
- The Sirong and the Sinulog a Minuna are modes preferred by elderly people because of their steady tempo and refined melodies.
https://www.youtube.com/watch?v=n20LDXxtHg0 - The Binalig, Sinulog a Bagu, and Tidtu are preferred by younger generations because of its fast tempo.
https://www.youtube.com/watch?v=TJC72ytyiPg (Binalig)
https://www.youtube.com/watch?v=UOd2AKv_O14 (Sinulog a Bagu)
https://www.youtube.com/watch?v=pLd4i2kMGUE (Tidtu)
The above-cited modes are used for entertainment.
- Meanwhile, the sixth mode, the Tagunggo, is used for rituals.
https://www.youtube.com/watch?v=UxQJwFvPsq8
- The Sirong and the Sinulog a Minuna are modes preferred by elderly people because of their steady tempo and refined melodies.
Kulintang Music is an oral tradition passed down to our ancestors from the early Muslim traders of Borneo and Indonesia. And from our ancestors, this musical culture is passed down in that same manner to our generation without any musical notation in contrast with western type of music.
The table below shows the differences and similarities of the three ensembles.
PROVIDE ILLUSTRATIONS FOR THESE INSTRUMENTS
| TAUSUG https://youtu.be/2cQmKlteQJ8 | NUMBER OF PLAYERS | MARANAO https://youtu.be/HQtahPW4OwI | NUMBER OF PLAYERS | MAGUINDANAO https://youtu.be/TJC72ytyiPg | NUMBER OF PLAYERS |
|---|---|---|---|---|---|
| Kulintang ( 8 – 11 small graduated gongs | 1 | Kulintang ( 8 small graduated gongs) | 1 | Kulintang (7 to 9 gongs) | 1 |
| Gandang (drums) | 2 | Gandang (cylindrical drum) | 1 | Dabakan (goblet-shaped drum) | 1 |
| Tungallan (large gong) | 1 | Agung (large gong) | 1 | Agung (pair of large hanged gongs) | 1 or 2 |
| Duwahan (set of two paired gongs) | 1 | Gandingan (pair of four slim gongs) | |||
| Dadabuan (conical drum) | 1 |
Based on the table presented, answer the following question in your activity notebook.
- With regard to the name of the instruments used, what are the commonalities and differences of the three ensembles? Explain.
One distinct feature of the Maranao Ensemble is the Sarimanok-shaped wooden stand for the eight gongs. These gongs, like the other ensembles, differ in pitch and the tones are not fixed and may vary from one set to another.
What’s More
Now that you have understood the richness of Mindanao’s Kulintang Music, try to go deeper and look for traces of musical elements in kulintang performances in each of the three Muslim groups in Mindanao.
Activity 1: The Kulintang Detective
Directions: You are a detective whose assignment is to look for evidences about the richness of Kulintang music. Because of the pandemic, you cannot go to the actual place for investigation. Your only source of evidence is the you tube channel. Based on the youtube links provided in the previous table, how are the elements of music used in each performance? You are going to copy the table in your notebook and accomplish the activity.
| MUSICAL ELEMENT | TAUSUG KULINTANG ENSEMBLE https://youtu.be/2cQmKlteQJ8 | MARANAO KULINTANG ENSEMBLE https://youtu.be/HQtahPW4Ow | MAGUINDANAO KULINTANG ENSEMBLE https://youtu.be/TJC72ytyiPg |
|---|---|---|---|
| RHYTHM | |||
| TEMPO | |||
| HARMONY | |||
| TONE COLOR | |||
| DYNAMICS | |||
| MELODY |
Thank you for accomplishing the activity. Now, I have a challenging question for you to answer. You have to ponder and explain your insights based on what you have learned from this learning modules and other sources. Answer the question on your activity notebook.
- How does each element reflects the cultural and geographical background of kulintang music? Kindly explain your answer by citing examples.
What I Have Learned
Congratulations for making it this far! You have proven that you can really answer all the challenging activities that this module has provided. This time, try to express what you have learned from the entire module. Write your reflection on your activity notebook.
My Reflections
That’s a great reflection indeed! Your realization has brought you to the top. This means that you really grasped all the important ideas and concepts from this learning module. A commendation for you!
Now, as you reach the end of the module, focus yourself on the important points that this learning module has taught you.
What I Can Do
Tracking of the progress you completed in accomplishing a number of activities you had in the previous sections of this module is very substantial as it determines whether or not the very purpose of this module is achieved. This time, let us apply more the learnings you have grasped from this module.
Activity: MY OWN VERSION OF KULINTANG
Directions: Below are the instructions in making kulintang. Using the materials listed, craft your own version of kulintang through following the instructions.
Materials needed:
- 8 empty bottles
- Water
- Pieces of wood as beaters
Directions:
- Make your own kulintang from the bottles.
- Fill the bottles with water and with levels enough to make it sound different from each other.
- Arrange the bottles according to pitch (highest to lowest)
- Using the song “ITADYAK” by Maan Chua (https://youtu.be/ET2md07sGrA) as the base song for your performance, make appropriate rhythmic pattern for kulintang that will enhance the arrangement of the song.
- Applying the proper way of playing the kulintang, play your improvised instrument as if you are in a kulintang ensemble.
Take note: Your teacher /facilitator will give your schedule for online performance.
The rubrics below will guide you in your preparation and performance.
| CRITERIA | 4 | 3 | 2 | 1 |
|---|---|---|---|---|
| Rhythmic pattern | Sixteenth and eight notes dominated the rhythmic pattern. | The use of eighth note was evident but still the pattern used mostly quarter notes. | Only combination of quarter and half notes were used to create a rhythmic pattern | Combinations of different note values were used but did not match the required rhythm of the base song. |
<!– transcriber’s note: table continued from the previous page –>
| CRITERIA | 4 | 3 | 2 | 1 |
|---|---|---|---|---|
| Improvisation skills | Seven to eight gongs were used by the player in executing the performance. The use of complicated rhythmic patterns were very evident. | Five to six gongs were used to play the piece. The player sometimes used complicated rhythmic pattern. | Four pieces of improvised gongs were used but the rhythm is still very simple. | The player only played three out of eight pieces of improvised gongs in the performance and used very simply rhythmic patterns using only half and quarter notes. |
Assessment
Hello, how are you doing? I know you are excited to learn from this module. Don’t worry because several activities were prepared for you to understand what this lesson is all about.
Before you proceed to the content, try to answer the following questions below to determine how much you already know.
Directions: Read and analyze the questions carefully and write the letter of the best answer on your activity notebook.
What kind of percussion instrument is the kulintang?
- A. Drum
- B. hanged gong
- C. gongs in a row
- D. large gong
What kind of instrument is gandang?
- A. drum
- B. flute
- C. gong
- D. hegalong
What is the other term for agung of the Tausug people?
- A. bebendir
- B. kudyapi
- C. tungallan
- D. gandingan
Which of the following refers to a pair of four slim gongs?
- A. bebendir
- B. kudyapi
- C. tungallan
- D. gandingan
Who among the following groups of people uses a sarimanok-shaped kulintang stand?
- A. Tausug
- B. Maranao
- C. Maguindanaoan
- D. Indonesian
Why do Islam communities have kulintang instrument even if they have nothing to do with Islam?
- A. Because this instrument is a product of adaptation of different cultures.
- B. Because Muslim traders used this instrument to get access to the tribes in Sulu.
- C. Because the Sulu people bought this instrument from traders.
- D. Because this is a beautiful instrument which suits the house of a Datu.
Which of the following is the main role of the Kulintang ensemble?
- A. It provides rhythm for the music.
- B. It provides tempo for the music.
- C. It provides melody for the music.
- D. It provides color for the music.
Which of the following does the term “talking gongs” mean?
- A. The instruments can be understood by humans.
- B. The instrument’s sound is like a radio.
- C. The instrument’s rhythmic pattern mimics the chant of our ancestors.
- D. The instrument can actually talk.
What mode of playing kulintang will you use in a wedding ceremony?
- A. tagunggo
- B. tidtu
- C. binalig
- D. sirong
Which of the following is more appealing for the youth?
- A. binalig
- B. tagunggo
- C. sirong
- D. sinulog a minuna
Why do women traditionally play the kulintang?
- A. Because the women can dance while playing the instrument.
- B. Because the sound is associated with some of the characteristics of a woman.
- C. Because there are more women in the community
- D. Because the kulintang beaters are fragile that only a woman can hold it better.
How did the Kulintang arrive in the Philippines?
- A. The Muslim traders brought it to our ancestors.
- B. It is a product of a barter system.
- C. It is a gift from the prophet Mohammad.
- D. Our ancestors bought it.
Why does the kulintang can only be seen in Mindanao?
- A. The Spaniards associated the instrument to Islam.
- B. Mindanao is rich with brass and copper.
- C. There are more women players in Mindanao.
- D. This instrument is heavy and difficult to transport.
Why do Mindanao gongs differ from the gongs of Cordillera?
- A. Because the material is a mixture of different metals.
- B. Because the beaters have beautiful designs.
- C. Because it is embossed while the Cordillera’s gongs are flat.
- D. Because it is cheaper in price.
Which of the following statement is TRUE about the Kulintang ensemble?
- A. Only Muslims can play the Kulintang.
- B. The Spaniards introduced this instrument to us.
- C. Muslim traders brought this instrument to the natives of Mindanao.
- D. The manner of playing this instrument today is very different from the old manner of playing.
Additional Activities
Let us enrich your knowledge and understanding by accomplishing the last activity that will surely complete your learning endeavor about the lesson. Apply the lesson you have learned on how to play kulintang.
Directions: Copy the table below and fill it with your own simple kulintang music composition. Imagine that only six gongs are available for the performance. Record your performance on your mobile devices and submit it to your teacher through messenger, email or any social media platforms. You may also use flash drive if necessary.
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
Answer Key
[illustration: key icon in a circle]
What I Know/ Assessment
<!– transcriber’s note: the answer key box is printed upside down; the entries are transcribed in reading order as shown –>
C 1.
A 2.
C 3.
D 4.
B 5.
B 6.
C 7.
C 8.
A 9.
A 10.
B 11.
A 12.
A 13.
C 14.
C 15.
References
“Kulintang Ensemble.” KIPAS.NL, 2013. date accessed: May 29, 2020 https://www.kipas.nl/Instruments/Kulintangensemble.htm.
Catungan, Larry Oliver. “Maguindanao Kulintang.” Philippine Generations, August 31, 2009. date accessed: june 2, 2020 http://www.philippinegenerations.org/2009/08/maguindanao-kulintang.html.
Neff, Lydia. “7 Basic Things to Know about Kulintang Music.” Inquirer.net, November 2017. date accessed june 2, 2020 https://usa.inquirer.net/8190/7-basic-things-know-kulintang-music.
Alesna, AJ. “Music of Mindanao (Instrumental Music).” slideshare, February 17, 2019. date accessed June 2, 2020 https://www.slideshare.net/AjAlesna/music-of-mindanao-instrumental-music.
Jimenez, Isaac Donoso. “Historiography of the Moro Kulintang.” Trans. Sociedad De Etnomusicol;ogia, 2008. date accessed June 3, 2020 http://www.sibetrans.com/trans/articulo/102/historiography-of-the-moro-kulintang.
“Mindano Music KOLINTANG TAGONGKO and KAPANIRONG.” seasite, n.d. date accessed June 3, 2020 http://www.seasite.niu.edu/Tagalog/Mindanao_Culture/mindanao_music.htm.
Ecla, Czarina Lynne S. “Tausug Culture.” Slideshare.net, January 12, 2012. date accessed: June 2, 2020 https://www.slideshare.net/Shimi092811/tausug-culture?next_slideshow=1.
Gowing, Peter. “Heritage of Philippine Muslims.” Muslim In Mindanao. New Day Publishers, 2011.date accessed: june 2, 2020 http://www.muslimmindanao.ph/muslim_arts.html.
Abdullah, Samsudin N. “History, Development and Influence of Kulintang Music to the Cultural Heritage (Adat-Betad) of Maguindanaon.” History, development and influence of kulintang music to the cultural heritage (adat-betad) of Maguindanaon 10, no. 3 (May 2020): 58–83. Academia.edu.Adate Accessed June 3, 2020 https://doi.org/date
For inquiries or feedback, please write or call:
Department of Education – Bureau of Learning Resources (DepEd-BLR)
Ground Floor, Bonifacio Bldg., DepEd Complex Meralco Avenue, Pasig City, Philippines 1600
Telefax: (632) 8634-1072; 8634-1054; 8631-4985
Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph
Leave a Reply