3. MORO/ISLAMIC MUSIC
The Islamic community in the Philippines consists of ethno-
linguistic groups:
- the Maguindanao of Cotabato
- the Maranao of Lanao and Cotabato
- the Samai and Jama Mapun of the Suku Islands of Sibutu and
Cagayan De Sulu
- the Tausug of the Sulu Islands of Jolo, Siasi, and Tawi-Tawi
- the Yakan of Basilan and Zamboanga
4. MORO/ISLAMIC MUSIC
The uniqueness of the cultures and their 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, aesthetics, and repertoires differ from
culture to culture, and even village to village
belonging to one language group.
The most prestigious local form of vocal expression is reading the
Qur’an, heard during the Friday noon service, before and after
Ramadan, during Maulud, and in commemorating the anniversaries of
deaths.
5. MORO/ISLAMIC MUSIC
1. CHANTS – a lyrical rendition of different improvised text
Yakans do their chants through solo or group singing. Their three
famous everyday style chants are:
a. Lugu – chants that they use in reading the Qur’an and other
Ismalic books
b. Kalangan – songs that they use for serenading their loved ones
c. Sail/Lunsey – an important chant sung by the wife-to-be
during the ceremony that talks about married life
7. MORO/ISLAMIC MUSIC
Maranaos have an extensive vocal 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
9. MORO/ISLAMIC MUSIC
2. LULLABIES – a chant-style or chant formula used in rocking a
baby to sleep
a. Ya-ya – a song of the Yakans to put a baby to sleep, sung in a
relax/slow, soft, and soothing manner
b. Bayok – also a Maranao term for lullaby
13. MORO/ISLAMIC MUSIC
1. Kulingtang Ensemble – Gong-based ensemble used by the
Maguindanao and Maranao of western Mindanao, the Tausug, the
Yakan, and the Sama-Bajao of the Sulu Archipelago. They have varied
functions but are mostly used for celebrations/rituals and are mainly
divided into two types:
14. MORO/ISLAMIC MUSIC
a. Kulintang (Manobo Cotabato)/Kwintangan – ensembles of
6-8 hanging melody gongs in a row, hung on ropes in
pyramidal order, with the smaller and higher-pitched gongs
near the top
b. 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
