Sociología Del Kulintang
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Module 1: Arts and Crafts of Mindanao
Republic of the Philippines Department of Education Regional Office IX, Zamboanga Peninsula 7 Zest for Progress Zeal of Partnership ARTS Quarter 3 - Module 1: Arts and Crafts of Mindanao Name of Learner: ___________________________ Grade & Section: ___________________________ Name of School: ___________________________ WHAT I NEED TO KNOW In this module, you will be learning the different arts and crafts of Mindanao – the salient features of arts of Mindanao by showing the relationship of the elements of arts and processes among the diverse cultural communities in the country. Thus, you will also learn how lines, shapes, forms, value, color, texture and space give more meaning and significance to an artwork. This module will help you explore the arts of people of Mindanao and how animism and the Islamic religion fused together and produced a uniquely Filipino artistic tradition. The arts and crafts of Mindanao include their cultural attire, textiles, tapestries, crafts, accessories and body ornaments which are a combination of designs from indigenous people that resides in the regions and the colorful and rich influence from their indigenous belief system. Most of their crafts are made of materials that are abundant in their areas. Their designs are derived from their surroundings and represent their cultural community. Some are used for religious activities while some have utilitarian functions and even became large industry for them. Even until now, the skills in weaving, sculpting and crafting have been an important part of their community. Thus, these become the people’s way of living and their means of survival. These are passed on from generation to generation. -
Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music Instruments, Mechanisms That Produce Sounds, Have Been Used for Various Purposes
Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music instruments, mechanisms that produce sounds, have been used for various purposes. In earlier times they were also used as an adjunct to dance or to labor. In later civilizations, instrumental music was used for entertainment. Present day musicological studies, following the Hornbostel-Sachs classification, divide instruments into the following categories: idiophones, aerophones, chordophones, and membranophones. Idiophones Instruments that produce sound from the substance of the instrument itself (wood or metal) are classified as idiophones. They are further subdivided into those that are struck, scraped, plucked, shaken, or rubbed. In the Philippines there are metal and wooden (principally bamboo) idiophones. Metal idiophonse are of two categories: flat gongs and bossed gongs. Flat gongs made of bronze, brass, or iron, are found principally in the north among the Isneg, Tingguian, Kalinga, Bontok, Ibaloi, Kankanai, Gaddang, Ifugao, and Ilonggot. They are most commonly referred to as gangsa . The gongs vary in sized, the average are struck with wooden sticks, padded wooden sticks, or slapped with the palm of the hand. Gong playing among the Cordillera highlanders is an integral part of peace pact gatherings, marriages, prestige ceremonies, feasts, or rituals. In southern Philippines, gongs have a central profusion or knot, hence the term bossed gongs. They are three of types: (1) sets of graduated gongs laid in a row called the kulintang ; (2) larger, deep-rimmed gongs with sides that are turned in called agung , and (3) gongs with narrower rims and less prominent bosses called gandingan . These gongs may be played alone but are often combined with other instruments to form various types of ensembles. -
Zakah Execution and Its Influence on the Recipients As Perceived by the Fire Personnel of Lanao Del Sur
Zakah Execution and Its Influence on the Recipients as Perceived by the Fire Personnel of Lanao del Sur Naim S. Noor and Monara M. Maruhom Mindanao State University, Marawi City, Philippines www.msumain.edu.ph Keywords: Zakah, Execution, Fire Personnel. Abstract: This study investigated the extent of execution of Zakah and its contribution onits recipients. (1) The respondents of this study were the 100 Fire Personnel including the 12 Fire Marshals under the Bureau of Fire Protection of Lanao del Sur composed of 15municipalities that have fire departments. Cross-sectional survey design was utilized and qualitative descriptive approach has been used in the interpretation of data. (2) Specifically, the study answered the following questions: 1. what is the profile of the respondents in terms of their personal data, 2. what are their practices in the execution of Zakah as perceived by the respondents in the aspects of its legal rulings, its purpose and recipients? And 3. what are the contributions of Zakah on its recipients as perceived by the respondents in the aspect of improving the life of the recipients and in alleviating poverty? (3) from the data gathered, a typical fire officer in Lanao del Sur belonged to the age range of 29-35 years old, male, married, bachelors’ degree holder, ibtidai graduate, served for less than five years, with FO1 position, and a monthly net income of P29,668.00. It is concluded that the respondents agreed on all the indicators given in the purpose of Zakah, improving the life of the recipients and alleviating poverty. (4) moreover, it was disclosed that respondents agreed that Zakah is compulsory to Muslims who are financially capable. -
UNIVERSITY of CALIFORNIA RIVERSIDE Naming
UNIVERSITY OF CALIFORNIA RIVERSIDE Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Neal D. Matherne June 2014 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. René T.A. Lysloff Dr. Sally Ann Ness Dr. Jonathan Ritter Dr. Christina Schwenkel Copyright by Neal D. Matherne 2014 The Dissertation of Neal D. Matherne is approved: Committee Chairperson University of California, Riverside Acknowledgements This work is the result of four years spent in two countries (the U.S. and the Philippines). A small army of people believed in this project and I am eternally grateful. Thank you to my committee members: Rene Lysloff, Sally Ness, Jonathan Ritter, Christina Schwenkel. It is an honor to receive your expert commentary on my research. And to my mentor and chair, Deborah Wong: although we may see this dissertation as the end of a long journey together, I will forever benefit from your words and your example. You taught me that a scholar is not simply an expert, but a responsible citizen of the university, the community, the nation, and the world. I am truly grateful for your time, patience, and efforts during the application, research, and writing phases of this work. This dissertation would not have been possible without a year-long research grant (2011-2012) from the IIE Graduate Fellowship for International Study with funding from the Andrew W. Mellon Foundation. I was one of eighty fortunate scholars who received this fellowship after the Fulbright-Hays Doctoral Dissertation Research Abroad Program was cancelled by the U.S. -
Post-9/11 Brown and the Politics of Intercultural Improvisation A
UNIVERSITY OF CALIFORNIA RIVERSIDE “Sound Come-Unity”: Post-9/11 Brown and the Politics of Intercultural Improvisation A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Dhirendra Mikhail Panikker September 2019 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. Robin D.G. Kelley Dr. René T.A. Lysloff Dr. Liz Przybylski Copyright by Dhirendra Mikhail Panikker 2019 The Dissertation of Dhirendra Mikhail Panikker is approved: Committee Chairperson University of California, Riverside Acknowledgments Writing can feel like a solitary pursuit. It is a form of intellectual labor that demands individual willpower and sheer mental grit. But like improvisation, it is also a fundamentally social act. Writing this dissertation has been a collaborative process emerging through countless interactions across musical, academic, and familial circles. This work exceeds my role as individual author. It is the creative product of many voices. First and foremost, I want to thank my advisor, Professor Deborah Wong. I can’t possibly express how much she has done for me. Deborah has helped deepen my critical and ethnographic chops through thoughtful guidance and collaborative study. She models the kind of engaged and political work we all should be doing as scholars. But it all of the unseen moments of selfless labor that defines her commitment as a mentor: countless letters of recommendations, conference paper coachings, last minute grant reminders. Deborah’s voice can be found across every page. I am indebted to the musicians without whom my dissertation would not be possible. Priya Gopal, Vijay Iyer, Amir ElSaffar, and Hafez Modirzadeh gave so much of their time and energy to this project. -
K to 12 Curriculum Guide
Republic of the Philippines Department of Education DepEd Complex, Meralco Avenue Pasig City K to 12 Curriculum Guide ART (Grade 1 to Grade 10) May 2016 K to 12 BASIC EDUCATION CURRICULUM CONCEPTUAL FRAMEWORK Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for artistic expression and cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance- based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her own cultural identity and the expansion of his/her vision of the world. As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing, (singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and creating. (See Figure 1 and Figure 2) The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. -
Art of Nation Building
SINING-BAYAN: ART OF NATION BUILDING Social Artistry Fieldbook to Promote Good Citizenship Values for Prosperity and Integrity PHILIPPINE COPYRIGHT 2009 by the United Nations Development Programme Philippines, Makati City, Philippines, UP National College of Public Administration and Governance, Quezon City and Bagong Lumad Artists Foundation, Inc. Edited by Vicente D. Mariano Editorial Assistant: Maricel T. Fernandez Border Design by Alma Quinto Project Director: Alex B. Brillantes Jr. Resident Social Artist: Joey Ayala Project Coordinator: Pauline S. Bautista Siningbayan Pilot Team: Joey Ayala, Pauline Bautista, Jaku Ayala Production Team: Joey Ayala Pauline Bautista Maricel Fernandez Jaku Ayala Ma. Cristina Aguinaldo Mercedita Miranda Vincent Silarde ALL RIGHTS RESERVED Apart from fair dealing for the purpose of research or review, as permitted under the copyright, this book is subject to the condition that it should not, by way of trade or otherwise, be lent, sold, or circulated in any form, without the prior permission in writing of the publisher. The scanning, uploading and distribution of this book via the Internet or via other means without the permission of the publisher is illegal and punishable by applied laws. ALL SONGS COPYRIGHT Joey Ayala PRINTED IN THE PHILIPPINES by JAPI Printzone, Corp. Text Set in Garamond ISBN 978 971 94150 1 5 TABLE OF CONTENTS i MESSAGE Mary Ann Fernandez-Mendoza Commissioner, Civil Service Commission ii FOREWORD Bro. Rolando Dizon, FSC Chair, National Congress on Good Citizenship iv PREFACE: Siningbayan: Art of Nation Building Alex B. Brillantes, Jr. Dean, UP-NCPAG vi ACKNOWLEDGEMENTS vii INTRODUCTION Joey Ayala President, Bagong Lumad Artists Foundation Inc.(BLAFI) 1 Musical Reflection: KUNG KAYA MONG ISIPIN Joey Ayala 2 SININGBAYAN Joey Ayala 5 PART I : PAGSASALOOB (CONTEMPLACY) 9 “BUILDING THE GOOD SOCIETY WE WANT” My Hope as a Teacher in Political and Governance Jose V. -
IP STRUGGLE MANOBO PULANGIHON (TINDOGA of Botong, Quezon, Bukidnon) TINDOGA
NAST Mindanao Regional Scientific Meeting Mallberry Suites & Business Hotel, CDO, March 12-13, 2018 CULTURE & HERITAGE R&D AGENDA TOWARDS A JUST AND LASTING PEACE IN MINDANAO: CONTINUING CHALLENGES Nimfa L. Bracamonte OUTLINE of PRESENTATION • Brief Introduction: Culture & Heritage and Museums • Culture & Heritage Agenda (2017 Davao Outputs) and Others • Prehispanic Period • Photodocumentation of Some Cultural Items from the Field • Consultative Forum Outputs of Lombay ka Marawi Program • Emerging Lumad Issues • Continuing Challenges What is “Culture”? • Contemporary sociological research describes everything from elite artistic activities (Becker 1982) to the values, styles, and ideology of day-today conduct (Swidler 1986). ( • Kroeber & Kluckhohn: “Culture consists of patterns, explicit and implicit, of and for behavior acquired and transmitted by symbols, constituting the distinctive achievement of human groups, including their embodiments in artifacts; the essential core of culture consists of traditional (i.e., historically derived and selected) ideas and especially their attached values; culture systems may, on the one hand, be considered as products of action, on the other as conditioning elements of further action.” (p. 564) Source: Borgatta, E. F., Montgomery, J.V. 2000. Encyclopedia of Sociology. Two basic components of culture: http://people.tamu.edu/~i-choudhury/culture.html : • Ideas and symbols (non-material): values, beliefs, symbols, and language that define a society. • Artifacts (material objects): called material culture, includes all the society’s physical objects, such as its tools and technology. • Every culture is filled with symbols • Cumulative; explicit and implicit, of and for behavior acquired and transmitted by symbols, constituting the distinctive achievement of human groups socially transmitted; behavior through social learning. -
History of the Philippine Islands Vols 1 and 2 by Antonio De Morga
History of the Philippine Islands Vols 1 and 2 by Antonio de Morga History of the Philippine Islands Vols 1 and 2 by Antonio de Morga This eBook was produced by Jeroen Hellingman MORGA'S PHILIPPINE ISLANDS VOLUME I Of this work five hundred copies are issued separately from "The Philippine Islands, 1493-1898," in fifty-five volumes. HISTORY OF THE PHILIPPINE ISLANDS From their discovery by Magellan in 1521 to the beginning of the XVII Century; with descriptions of Japan, China and adjacent countries, by Dr. ANTONIO DE MORGA page 1 / 538 and Counsel for the Holy Office of the Inquisition Completely translated into English, edited and annotated by E. H. BLAIR and J. A. ROBERTSON With Facsimiles [Separate publication from "The Philippine Islands, 1493-1898" in which series this appears as volumes 15 and 16.] VOLUME I Cleveland, Ohio The Arthur H. Clark Company 1907 COPYRIGHT 1907 THE ARTUR H. CLARK COMPANY ALL RIGHTS RESERVED CONTENTS OF VOLUME I [xv of series] Preface page 2 / 538 Sucesos de las Islas Filipinas. Dr. Antonio de Morga; Mexico, 1609 Bibliographical Data Appendix A: Expedition of Thomas Candish Appendix B: Early years of the Dutch in the East Indies ILLUSTRATIONS View of city of Manila; photographic facsimile of engraving in Mallet's Description de l'univers (Paris, 1683), ii, p. 127, from copy in Library of Congress. Title-page of Sucesos de las Islas Filipinas, by Dr. Antonio de Morga (Mexico, 1609); photographic facsimile from copy in Lenox Library. Map showing first landing-place of Legazpi in the Philippines; photographic facsimile of original MS. -
LOK SABHA DEBATES (English Version)
Jr.JcI6 SerIeI. VeL L. No. 42 ,'J.1IarIUr•• , 4, JJ89 V....... 14, UII (Saka) LOK SABHA DEBATES (English Version) Thirteenth Session (Eiahtb Lok Sabha) (Vol. L cOlJtaim NDs. 41 to 49);) PrIu I R.t.6. 00 (o..IGINAL BNGLISH paOCEllDINGS INCLUDBD IN ENOUSH VDSION AND ORIGINAL HlNDl nOCBBDINGS INCLUDBD IN HINDI VeRStON WILL IIIf TRBATED AS AUTHORITATIVE AND NOT TBB TRANlLATIONTHEIlBOP.] CONTENTS [Engltsh Senes, Vol L. Thirteenth Session, 198911911 (SAKA)] No 42, Thursday, May 4 19891Va/sakha 14, 1911 (SAKA) CoLUMNS Oral Answers To Questions 1-75 'Starred Questions Nos 841 to 843 and 845 to 847 Written Answers to Questions 75-342 Starred Questions Nos 844 and 848 to 860 75--88 Unstarred Questions Nos 7964 to 7994 and 70g6 to 8141 88-336 Papers Laid on the Table 343-346 Message from Ralya Sabha 346 Business Advisory Committee 347 Seventy-first Report-Adopted Matters under Rule 377 347-348 (I) Need to take urgent measures to control the spread ot 347-348 'Monkey Disease' In several parts of North and South Canara districts. Karnataka Shn G Devavaya Nark (II) Need to fill up posts In KhurOrl Road DIVISion and other 348-354 Railway stations In Orissa Shnmatl Jayantl Patnalk (III) Need to fiX remunerative pnce for mustard 349 Shn Blrbal * TI 3 Sign t marked above the name of a Member Indicates that the question was actually as«ed on the floor of the House by that Member (ij) CoLUMNS (iv) Need to open a TV centre ;1t Bhanjanagar (Orissa) 349-350 Shri Somnath Rath (v) Need to start 'Light and Sound' programme 350 on the life of Sita in Madhuhani Darbhanga and Sitamarhi in Milhlla region of Bihar Dr. -
Music 316: MUSIC CULTURES of the WORLD - ASIA
Music 316: MUSIC CULTURES OF THE WORLD - ASIA Prof. Ter Ellingson 28D Music 543-7211 [email protected] Class Website: http://faculty.washington.edu/ellingsn/Music_Cultures_of_the_World-Asia Su 2012.html CD 3: SOUTHEAST ASIA Laos 1. Khen "Nam phat khay", "In the Current of the Mekong", performed by Nouthong Phimvilayphone on khen, a free-reed bamboo mouth organ with varying numbers of pipes (16 in this example); melody accompanied by harmony and occasional counterpoint in 2-3 parts. (Laos 1 A: 1) Indonesia 2. Kecak (Bali) Ramayana epic performance by male chorus and soloists in gamelan svara or "vocal gamelan" style: some voices sing "trunk" melody and gong parts to punctuate rhythmic cycle, some sing solo parts of characters in story, while others Khen shout in interlocking rhythmic patterns. Kecak chorus of Teges village, Bali. (E/I Recording) 3. Legong (Bali) Music for dance by young girls depicting story of Prince Lasem and Princess Langkesari, played by Gamelan Legong orchestra consisting of metallophones (xylophones with metal keys instead of wood), flutes, and gong chimes (tuned sets of small kettle-shaped gongs with knobbed central bosses) playing "trunk" melody, faster elaborations, and slower extractions of it; larger gongs which punctuate key points in rhythmic cycle; and rhythmic elaborations by drums and cymbals. Performed by Gamelan orchestra of Teges village. (E/I Recording) Gamelan (Java) Music Cultures 316 - Asia CD 3 Prof. Ellingson 2 4. Udan Mas (Java) "Golden Rain", gamelan piece in Bubaran form (gongan cycle of sixteen beats with gong on beat 16; kenong on beats 4, 8, 12; kempul on 6, 10, 14; and kethuk on 1, 3, 5, 7, 9, 11, 13, 15). -
PERCUSSIONI Storia E Tecnica Esecutiva Nella Musica Classica, Contemporanea, Etnica E D’Avanguardia Indice
GUIDO FACCHIN LE PERCUSSIONI storia e tecnica esecutiva nella musica classica, contemporanea, etnica e d’avanguardia Indice Presentazione di CLAUDIO AMBROSINI ............................ XXI CAMPANELLE A MANO O DA MESSA . 14 Notizie storiche, morfologia ................................. 14 Presentazione di GIACOMO MANZONI ............................. XXIII CAMPANELLE A VENTO CINESI (FENG SHUI). 15 Presentazione di CRISTIANO CHIAROT ............................. XXV Notizie storiche, morfologia ................................. 15 Tecnica di impiego ....................................... 15 Ringraziamenti ............................................ XXVII CAMPANELLE DA ELEFANTE INDIANE TIBETANE . 16 Nota dell’autore all’edizione 2014 ............................... XXIX Notizie storiche, morfologia ................................. 16 CASTAGNETTE DI METALLO, NACCHERE DI METALLO. 17 Classificazione degli strumenti a percussione in base al loro registro e al Notizie storiche.......................................... 17 mezzo di produzione del suono ................................. XXV Morfologia ............................................. 17 CATENE . 18 Notizie, morfologia ....................................... 18 CAVIGLIERE INDIANE GHUNGROO, NASTRO A SONAGLI. 19 1. STRUMENTI A PERCUSSIONE DI METALLO............... 1 Notizie ................................................ 19 Morfologia ............................................. 20 Le danze .............................................. 20 Metalli a suono indeterminato................................