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The main use for the dabakan in Maguindanao and Maranao society is as a supportive instrument in the kulintang ensemble, [5] keeping the tempo of the ensemble in check [8] like the babendil. On most rhythmic modes, such as sinulog and duyog, the dabakan enters after babandil but in tidto, where the babendil is absent, the dabakan always starts ...
"Towards an Inventory of Philippine Musical Instruments: A Checklist of the Heritage from Twenty-three Ethnolinguistic Groups" (PDF). Asian Studies. Quezon City, Philippines: University of the Philippines Diliman. OCLC 6593501. Archived from the original (PDF) on September 20, 2023; Dioquino, Corazon (October 22, 2009).
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 .
The Maguindanao kulintang ensemble, called basalen or palabunibuniyan is the traditional gong chime ensemble of the Maguindanao.Other forms of the kulintang ensembles are played in parts of Southeast Asia especially in the eastern parts of Maritime Southeast Asia — southern Philippines, eastern Indonesia, eastern Malaysia, Brunei and Timor. [1]
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This is considered a relatively recent instrument and surprisingly many of them are only made of tin-can. Like the kulintang a kayo, it is used only for self-entertainment purpose in the home, to train beginners on new songs before using the kulintang and in America, master artists have been training students en masse on these instruments. [1]
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