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"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.
Philippine folk instruments (3 C, 5 P) Pages in category "Philippine musical instruments" The following 36 pages are in this category, out of 36 total.
Most of the variations of the Philippine bamboo panpipes can be traced to northern Luzon, where the instrument is known by different names. In Balangaw, the instrument is called dad-ayu. In Bontoc, it is known as diwdiw-as. In Tingguian, dwdew-as. In Kankanai, diwas. [4] In these variations, the number of pipes ranges from five to eight.
Agung Percussion instrument Classification Idiophone Hornbostel–Sachs classification 111.241.2 (Sets of gongs) Developed Indonesia The agung is a set of two wide-rimmed, vertically suspended gongs used by the Maguindanao, Maranao, Sama-Bajau and Tausug people of the Philippines as a supportive instrument in kulintang ensembles. The agung is also ubiquitous among other groups found in Palawan ...
Some of the major reasons for this include the language barrier, small market size, and socio-cultural emphasis away from regionalism in the Philippines. An example would be the Ilokano group The Bukros Singers, [14] who swept through Ilocandia in the 1990s and became a precursor for other Ilokano performers into the 2000s, but rarely broke ...
The criteria for classifying musical instruments vary depending on the point of view, time, and place. The many various approaches examine aspects such as the physical properties of the instrument (shape, construction, material composition, physical state, etc.), the manner in which the instrument is played (plucked, bowed, etc.), the means by which the instrument produces sound, the quality ...
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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 .