Islamic Music

MORO/ ISLAMIC MUSIC
A. VOCAL MUSIC OF MINDANAO

A. VOCAL MUSIC OF MINDANAO
The Islamic community in the Philippines consists of ethno - linguistic
groups:
 the Maguindanao of Cotabato
 the Maranao of Lanao and Cotabato
 the Samal and Jama Mapun of thee Sulu Islands of Sibutu and
Cagayan De Sulu
 the Tausug of the Sulu Islands of Jolo, Siasi and Tawi-tawi
 the Yakan of Basilan and Zamboange
The uniqueness of the cultures and his/her
musical practices that make up the larger Islamic
society in Mindanao and Sulu belongs to one
single tradition.
Similarities do exist in some vocal styles within

the large society, but theoretical concepts,
functions, aesthetic and repertoires differ from
culture to culture, and even from village to
village belonging to one language group.
Exploring Music from Mindanao
video
Direction: Reflect on the following questions as you watch
and listen to an example of music from Mindanao.
a. What do you think is the message of the Music?
b. How were the musical instruments used in bringing

about the message?
ethno - linguistic
• An ethnolinguistic group (or ethno-linguistic group) is a group that is unified
by both a common ethnicity and language. Most ethnic groups have
their own language. Despite this, the term is often used to emphasize when
language is a major basis for the ethnic group, especially with regards to its
neighbors.
• A central concept in the linguistic study of ethnolinguistic groups is
ethnolinguistic vitality, the ability of the group's language and ethnicity to
sustain. An ethnolinguistic group that lacks such vitality is unlikely to survive
as a distinct entity. Factors that influence the ethnolinguistic vitality are
demographics, institutional control and status (including language planning
factors)
the Maguindanao
the Maranao
the Samal and Jama Mapun
the Tausug
the Yakan
1. CHANTS - a lyrical rendition of different improvised text
Yakan do his/her chantings through solo and
counter or group singing
three famous style chants
1. Lugu – chants that they use in reading his/her
Qur’an and other books they use in his/her Islam religion.
2. Kalangan – songs that they use for serenading
his/her loved ones.
3. Sa-il/Lunsey – an important chant to be sung
by the wife-to-be during the ceremony that talks about
married life.
Maranaos have an extensive repertoire
such as:
a. Dikker - sacred songs 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 of chant formula use
in rocking a baby to sleep
a. Ya-ya – is a song of the Yakans to put the

baby to sleep, sung in a relax/slow manner, soft and
smoothing while rocking the baby
b. Bayok – is also a Maranao term for lullaby

With the help of the video, complete the concept
map by writing what you have understand about
vocal music in the boxes
Socio – historical context Musical Forms
Performance Techniques Musical Context

Direction: This time, watch and listen to the
musical example. Try to focus on the musical
element as you listen to the vocal tone,
melodic lines, and rhythm of the song, texture
and form. Describe how the instruments were
used to achieve the same effect as to how
“functional” music was used during the olden
times in relation to his/her social
gathering/rituals as well as how they described
his/her unique tradition.
1. Vocal tones/melodic line
_____________________________________________________
2. Rhythm
_____________________________________________________
3. Texture
_____________________________________________________
4. Form
_____________________________________________________
5. Instruments and its effect on how they were used
_____________________________________________________
MORO/ ISLAMIC MUSIC
B. INSTRUMENTAL MUSIC
KULINGTANG ENSEBLE
- Gong – based ensemble used by the Maguindanao
and Maranao of western Mindanao, the Tausug, the
Yakan and the Sama-Bajao of the Sulu Archipelago
 Kulintang (Manobo Cotabato)/Kwintangan
- ensemble of 6-0 hanging melody gongs in a row, hung on
ropes in pyramidal order, with the smaller and higher-pitched gongs
near the top
 Tahunggo. Agung, Salmagi, Blowon Semagi
- suspended gong ensembles (9-11 gongs, played a melody
and drone player) in various names according to each tribe;
ensemble maybe completed with 1 or 2 drums

Islamic Music

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MORO/ ISLAMIC MUSIC

A. VOCAL MUSIC OF MINDANAO

Similarities do exist in some vocal styles within

a. What do you think is the message of the Music?

b. How were the musical instruments used in bringing

b. Bayok – semi-generic term for a

a. Ya-ya – is a song of the Yakans to put the

b. Bayok – is also a Maranao term for lullaby

Performance Techniques Musical Context

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