Write an essay comparing Kulintang ensemble of Philippines with Japanese Gagaku emsemble. The similarities and differences in terms of their functions and quality of music they produce.
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Answers
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 Indonesia, Southern Philippines, Eastern Malaysia, Brunei and Timor,[8] Kulintang evolved from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sundanese people in Java Island, Indonesia.[3] 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, is the Ternate, Mollucas, Maguindanao, Lumad and Timor term for the idiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set.[9] 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 is also called by the people of Sulawesi and the Maranao, by those in central Maluku, and by those in Sabah and the Sulu Archipelago.[10]
By the twentieth century, the term had a come to denote an entire Maguindanao ensemble of five to six instruments.[11] Traditionally the Maguindanao term for the entire ensemble is or , the latter term meaning “an ensemble of loud instruments” or “music-making” or in this case “music-making using a kulintang.”[12]
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 Indonesia, Southern Philippines, Eastern Malaysia, Brunei and Timor,[8] Kulintang evolved from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sundanese people in Java Island, Indonesia.[3] 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 Ternate, Mollucas, Maguindanao, Lumad and Timor term for the idiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set.[9] 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 people of Sulawesi and the Maranao, totobuang by those in central Maluku, kulintangan and gulintangan by those in Sabah and the Sulu Archipelago.
By the twentieth century, the term kulintang had a come to denote an entire Maguindanao ensemble of five to six instruments.[11] Traditionally the Maguindanao term for the entire ensemble is basalen or palabunibunyan, the latter term meaning “an ensemble of loud instruments” or “music-making” or in this case “music-making using a kulintang.”