The Kubing.

Photo by donjasonmarco@flickr
1.) The Kubing – The bamboo jaw harp

One of the few well known musical instruments from the Philippines other than the kulintang and
gangsa, the kubing is a type of jaw harp made from a carved bamboo reed that is played on the lips.
This instrument is actually found throughout the Philippines and known by many names: kubing for
the Meranao and other groups in Southern Mindanao, barmbaw for the Tagalogs, kuláing among
the Kapampangans, kinaban with the Hanunoo Mangyans, aroding in Palawan, and koding among
the Ibaloi and Kalinga. According to William Henry Scott in his book Barangay: 16th Century
Philippine Culture and Society the Bisayans also had this instrument which were known to them
as subing.

“Subing was a Jew’s harp–a twanging reed plucked between the lips or teeth with the
open mouth as a variable resonating chamber, and since its sound could be shaped into
a kind of code words understood only by the player and his sweetheart, it was
considered the courting instrument part excellence.” – William Henry Scott, Barangay:
16th Century Philippine Culture and Society pages 108-109

The instrument is also known in other parts of Southeast Asia with it’s own local names and designs.
It is generally used as a form of communication between family and loved ones especially in
courtship. The player puts the kubing toward their mouth in between their lips and plucks the end of
the instrument creating various sound and notes depending on the rhythm and tempo of the fingers
plucking the kubing.
2.) The Kulintang – Gong Ensemble

The Kulintang. Photo by Ligaya taken during the 2014 FANHS Conference in San
Diego, CA.
The Kulintang is one of the other top 3 instruments more primarily known. It is one of the pride and
joys among the Meranao, Tausug, and Maguindanao where this instrument comes from and is
mostly found (however variations of the gong ensemble is also found throughout many parts of
Southeast Asia as its popularity is spread across SEA). The kulintang is composed of different sets
of gongs usually between 5-9. It is aligned horizontally next to each other on a rack and arranged in
order of the pitch with the lowest gong primarily set on the players left, thus completing the
ensemble. Traditionally they were made of bronze however due to the loss of trade routes between
Borneo and Mindanao during World War II, today majority of the gongs are made of brass. The
frame that the gongs lay on top of is called antangan by the Maguindanao and langkonga by the
Meranao. Often times it is made of bamboo or wood and decorated with rich colorful and intricate
designs traditionally known as okir. Once the kulintang set has been placed the player then uses two
wooden sticks to hit the gongs and play. The kulintang is often played for entertainment often during
weddings, festivals, as well as healing ceremonies.

Today the kulintang is the most often played instrument especially in cultural events and dances.
Some musical artists such as the brilliant Ron Quesada of Kulintronica (who I have had the pleasure
of getting to meet during last years 2014 FANHS Conference in San Diego, CA and also seeing him
perform during last years NYC Philippine Independence Parade) has fused together traditional
music with modern such as his love for the kulintang and electronica. To see some of his work click
the video below.

3.) The Kudyapi – The Two Stringed Instrument

The kudyapi or kutiyapi is a two stringed wooden lute approximately 4-6 ft long. It is commonly
played by the Meranao, Maguindanao, T’boli, Manobo, and other Lumad groups. However its
prevalence just like the kubing and other musical instruments which I will talk about momentarily, are
and/or were found in other parts of the Philippines.
 Master Samoan Sulaiman playing the kudyapi .
Here is William Henry Scott’s description of and the names of the particular parts of the instrument
among the Bisayans.

“The kudyapi was a kind of small lute carved out of a single piece of wood with a belly
of a half a coconut shell added for resonance, with two or three wire strings plucked with
a quill plectrum, and three or four frets, often of metal. The body was called sungar-
sungar or burbuwaya; the neck,burubunkun; the strings, dulos; the fretboard, pidya;
and the tuning pegs, birik-birik. The scroll was called apil-apil or sayong, the same as
the hornlike protrusions at the ends of the ridgepole of a house. The kudyapi was only
played by men, mainly to accompany their own love songs. The female equivalent was
the korlong, a kind of zither made of a single node of bamboo with strings cut from the
skin of the bamboo itself, each raised and tuned on two little bridges, and played with
both hands like a harp. A variant form had a row of thinner canes with a string cut from
each one.” – William Henry Scott, Barangay: 16th Century Philippine Culture and
Society pages 108-109

Other names for the instrument are hegelung among the T’boli, fuglung for the B’laan, kudlong for
the Mansaka and Mandaya, and kusyapi in Palawan. Differences in the instrument between the
groups are little however among the Meranao and Maguindanao the frets are located at the body of
the instrument where as among the others it is at the neck. The strings are usually made of horse
hair, abaca fibers, and recently wire. According to the Bukidnon of Mindanao (not to be confused
with the Sulod Bukidnon of Panay in the West Bisayas) their version of the kudyapi is said to
represent the crocodile, or buaya or a big lizard called ibid, if it’s from the river, or palaes if it’s from
the forest.

The most well known player of the kudyapi was Master Samaon Sulaiman who passed away in May
of 2011. Hailing from Maganoy, Maguindanao, Master Samaon Sulaiman was awarded the Gawad
sa Manlilikha ng Bayan (National Living Treasure Award) in 1993. To hear him play the kudyapi at its
finest click the audio below.
This list contains musical instruments of symbolic or cultural importance within
a nation, state, ethnicity, tribe or other group of people.
In some cases, national instruments remain in wide use within the nation (such as the Puerto
Rican cuatro), but in others, their importance is primarily symbolic (such as the Welsh triple harp).
Danish ethnologist Lisbet Torp has concluded that some national instrument traditions, such as
the Finnish kantele, are invented, pointing to the "influence of intellectuals and nationalists in the
nationwide promotion of selected musical instruments as a vehicle
for nationalistic ideas".[1] Governments do not generally officially recognize national instruments; the
only exceptions are the Paraguayan harp,[2] the Japanese koto[3]and the Trinidadian steelpan.[4]
This list compiles instruments that have been alleged to be a national instrument by any of a variety
of sources, and an instrument's presence on the list does not indicate that its status as a national
instrument is indisputable, only that its status has been credibly argued. Each instrument on this list
has a Hornbostel-Sachs number immediately below it. This number indicates the instrument's
classification within the Hornbostel-Sachs system (H-S), which organizes instruments numerically
based on the manner in which they produce sound.[5]
Images and recordings are supplied where available; note that there are often variations within a
national musical tradition, and thus the images and recordings may not be accurate in depicting the
entire spectrum of the given nation's music, and that some images and recordings may be taken
from a region outside the core of the national instrument's home when such distinctions have little
relevance to the information present in the image and recordings. A number of countries have more
than one instrument listed, each having been described as a national instrument, not usually by the
same source; neither the presence of multiple entries for one nation, nor for multiple nations for one
instrument, on this list is reflective of active dispute in any instance. Alternative names and spellings
are given. These mostly come from alternative spellings within English or alternative methods
of transliterating from a foreign language to English, such as the Chinese yangqin, also
transliterated yang ch'in and yang qin. Others reflect regions or subcultures within a given nation,
such as the Australian didgeridoo which is or has been
called didjeridu, yidaki, yiraki, magu, kanbi and ihambilbilg in various Australian Aboriginal
languages. All non-English words are italicized.
Dick Kattenburg

A self portrait found in a manuscript

Dick Kattenburg was extremely talented. It was obvious that he would enjoy a flourishing
career as a violinist for years to come. Even today, some seventy years later, his appealing
music immediately touches the heart. A large part of his oeuvre was created during his
period in hiding. He was murdered at the age of 24. Thanks to his romance with a young
flutist, his manuscripts were preserved and found an audience after all these years.
by Carine Alders

Jazzy melodies by a promising talent

Dick Kattenburg was born in Amsterdam on November 11, 1919, the
second child of Louis and Heleen Kattenburg. He had an older sister
Daisy, and brother Tom was born in 1922. Great grandfather Levie and
his ten sons had laid the foundations for a textile empire that would be
successful for future generations. Dick's father was employed by the
Hollandia-Kattenburg factory owned by his cousin Jacques and he was
supervisor in a second family business. The young affluent family
moved from the big city to Bussum, a town in the countryside. Dick
was an ordinary child; he won a prize for a coloring page, sent a story
about his dog Bobbie to the local newspaper and went to high school in
Bussum. He was an ordinary child with an unusual musical talent.
Composer Hugo Godron, teacher at the music school in Bussum, gave Dick his first violin
lessons, and mentored him in his first steps as a composer. In a child’s handwriting, the Valse
d'amour is clearly one of his earliest works. The first works with an official opus number, the
andante for string quartet and two Hebrew songs, have probably been lost. After high school,
Dick probably enrolled at the Collège Musical Belge, a private music school in Antwerp. At the
age of 17, he obtained his music theory and violin diplomas. Tap Dance, a piece for four-handed
piano and tap dancer, dates from this time.
In love
With a degree and his first compositions completed, the young composer returned to the
Netherlands. His brother Tom's address, Bloemgracht, Amsterdam, is noted in the margin of a
music manuscript. Dick, no doubt, was often in his hometown. He met Ima van Esso, who
studied flute at the Amsterdam Music Lyceum. She also came from a well-to-do Jewish family.
At their home in the southern district of Amsterdam her parents organized house concerts, and
possibly Dick was present, too.

Bicol dances ppt presentation

1. 1. Lapay Bantigue is a mimetic dance that refers to lapay or sea gulls which are bountiful in
Bantigue, a coastal province of Masbate. Similar to the Kalapati (dove) and Itik- itik (ducks), it
copies the movements of the gulls like overly bending back till the head is near the floor.
2. 2. A barn dance is any kind of dance involving traditional or folk music with traditional
dancing, occasionally held in a barn, but, these days, much more likely to be in any suitable
building.
3. 3. The Sinakiki dance originates from Rapu-Rapu, Albay, and is performed during the
island’s lively fiestas. In this fun and flirtatious dance, the couple mimics the actions of a
rooster courting his sweetheart.
4. 4. (Tubog, Oas, Albay) Pastores, meaning shepherd in Spanish, refers to the biblical
shepherds who visited the manger the very first Christmas. The scenic barrio of Tubog is
home to one of the most spectacular pastores versions. Starting in early December until the
Feast of the Three Kings on January 6th, the pastores groups dance to the tune of Pastores
a Belen.
5. 5. Paseo de bicol originates at Oas, Albay. It is commonly known as Paseo de Roxas. Paseo
means walking. It is also known as Aurora Festival in Bicol, it is a festival is when the adults
go to a "capilya" and pray to remove the bad luck in their place, while teenager dancing
around the capilya.
6. 6. The Pantomina, as a traditional Bikol dance is a love dance with its movements mimicking
or patronizing the mating or love making of doves or the “salampati” (bikol term for dove). As
a traditional dance, it is performed as courtship and wedding dance where the coupledances
and each expresses love for each other.
 7. 7. "Pantomina Catanduanes", a colorful street dance competition during the festival period.
Pantomina is a popular dance not just in the province but also to the whole provinces of Bicol
region. Its movements are intended to be reminiscent of a mating dance between a rooster
and hen
8. 8. This dance originated from Nabua, Camarines Sur. It is called Pandanggo
Rinconadabecause it is a favorite dance of the people of the Rinconada district. It is dance
by old and young people during Christmas season. Young boys and girls usually perform this
durngveladas (programs).
9. 9. Chotis was one of the ballroom dances introduced by early European settlers. This dance,
from Camarines Sur, has been adapted by the Bicolano people and is characterized by a
brush-step-hop movement.

NATURE
The Bicol Region, also known simply as Bicol, (Central Bicolano: Rehiyon nin
Bikol/Kabikolan; Rinconada Bicol: Rehiyon ka Bikol; Filipino: Kabikulan; Spanish: Bicolandia) is
a region of the Philippines, designated as Region V. Bicol comprises six provinces, four on the Bicol
Peninsula mainland (the southeastern end of Luzon) – Albay, Camarines Norte, Camarines Sur,
and Sorsogon – and the offshore island provinces of Catanduanes and Masbate.[2]
The regional center and largest city is Legazpi City.[3][4] The region is bounded by the Lamon Bay to
the north, Philippine Sea to the east, and the Sibuyan Seaand Ragay Gulf to the west. The
northernmost provinces, Camarines Norte and Camarines Sur, are bordered to the west by the
province of Quezon.

History
The Bicol region was known as Ibalon, variously interpreted to derive form ibalio, "to bring to the
other side"; ibalon, "people from the other side" or "people who are hospitable and give visitors gifts
to bring home"; or as a corruption of Gibal-ong, a sitio of Magallanes, Sorsogon where the Spaniards
first landed in 1567. The Bicol River was first mentioned in Spanish Documents in 1572. The region
was also called Los Camarines after the huts found by the Spaniards in Camalig, Albay. No
prehistoric animal fossils have been discovered in Bicol and the peopling of the region remains
obscure. The Aeta from Camarines Sur to Sorsogon strongly suggest that aborigines lived there long
ago, but earliest evidence is of middle to late Neolithic life.[6]
A barangay (village) system was in existence by 1569. Records show no sign of Islamic rule nor any
authority surpassing the datu (chieftain). Precolonial leadership was based on strength, courage,
and intelligence. The native seemed apolitical. Thus the datu's influence mattered most during crises
like wars. Otherwise, early Bicol society remained family centered, and the leader was the head of
the family.
The Spanish influence in Bicol resulted mainly from the efforts
of Augustinian and Franciscan Spanish missionaries. The first churches in Bicol, the San Francisco
Church, and the Naga Cathedral, both in Naga, along with the Holy Cross Parish in Nabua,
Camarines Sur, are instituted by the Holy Order of the Franciscans. One of the oldest dioceses in
the Philippines, the Archdiocese of Caceres, was also instituted in the Bicol Region. During this time,
Bicol was dotted by many astilleros (shipyards) which were focused on constructing Manila
Galleons from the local hardwood forests.[7]