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Kulintang-like instruments are played by the Maguindanaon; the Maranao, Iranun, Kalagan, Kalibugan, Tboli, Blaan, Subanon, and other Lumad tribes of Mindanao, the Tausug, Sama-Bajau, Yakan and the Sangir/Sangil of the Sulu archipelago; the Ambon, Banda, Seram, Ternate, Tidore, and Kei of Maluku; and the Bajau, Suluk, Murut, [24] Kadazan-Dusun ...
As a sign of the times, the dabakan in Mindanao have now been replaced by more modern equipment such as a speakerphone [5] but the practice still continues in places like Sulawesi, where a mesigit, equivalent to the dabakan, would be used for the same purpose.
"Philippine Music Instruments". National Commission for Culture and the Arts. Archived from the original on December 1, 2008; Manuel, E. Arsenio (1978). "Towards an Inventory of Philippine Musical Instruments: A Checklist of the Heritage from Twenty-three Ethnolinguistic Groups" (PDF). Asian Studies.
A palendag, a Philippine bamboo flute of the Maguindanaon people. The palendag, also called Pulalu (Manobo [1] and Mansaka), Palandag (), [2] Pulala and Lumundeg 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). [3]
The hegelung is a wooden two-stringed lute played by the Tboli, an animist ethnolinguistic group of southern Mindanao in the Philippines. The instrument is tall and slender, with nine frets. One string is used as a drone, and the other for melodic ornamentation. The performer playing the hegelung usually plays while dancing or with body ...
The Maguindanao kulintang ensemble, called basalen or palabunibuniyan is the traditional gong chime ensemble of the Maguindanao.Other forms of the kulintang ensembles are played in parts of Southeast Asia especially in the eastern parts of Maritime Southeast Asia — southern Philippines, eastern Indonesia, eastern Malaysia, Brunei and Timor. [1]
The gandingan is a Philippine set of four large, hanging gongs used by the Maguindanao as part of their kulintang ensemble.When integrated into the ensemble, it functions as a secondary melodic instrument after the main melodic instrument, the kulintang.
The babendil. The babendil traditionally could be played by either genders. [5] In wooden kulintang ensembles, the kagul is usually substituted for the babendil part. [2] Among the Tausug, the Samal and the Yakan, their babendil-type instrument generally has gone into disuse (Instead, tempo is kept in check using the highest gong on the kulintangan .