Kulintang is a modern term for an ancient instrumental form of music composed on a row of small, horizontally laid gongs that function melodically, accompanied by larger, suspended gongs and drums. As part of the larger gong-chime culture of Southeast Asiakulintang music ensembles have been playing for many centuries in regions of the Eastern Indonesiathe Southern PhilippinesEastern MalaysiaBrunei and Timor Kulintang Luntang filipina dating from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sunda.
Technically, kulintang is the TernateMollucasMaguindanaoand Timor term for the idiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set. Due to its use across a wide variety groups and languages, the kulintang is also called kolintang by the Sulawesi and those in Maranaototobuang by those in central "Luntang filipina dating"kulintangan and gulintangan by those in Sabah and the Sulu Archipelago.
By the twentieth century, the term kulintang had a come to denote an Luntang filipina dating Maguindanao ensemble of five to six instruments. Like the other two, kulintang music is primarily orchestral with several rhythmic parts orderly stacked one upon another. It is also based upon the pentatonic scale. However, kulintang music differs in many aspects from gamelan music, primarily in the way the latter constructs melodies within a framework of skeletal tones and prescribed time interval of entry for each instruments.
The framework of kulintang music is more flexible and time intervals are nonexistent, allowing for such things as improvisations to be more prevalent. Because kulintang-like ensembles extended over various groups with various languages, the term used for the horizontal set of gongs varied widely. The frame is a necessary
Luntang filipina dating of the instrument, and functions as a resonator. It is considered taboo to step or cross over the antangan while the kulintang "Luntang filipina dating" are placed on it.
The kulintang is played by striking the bosses of the gongs with two wooden beaters. Kulintang gongs are made using the cire perdue methoda lost-wax process used for casting the individual gongs.
Unlike westernized instrumentation, there is no set tuning for kulintang sets throughout the Philippines. Because this music was catered for by acephalous societies, kulintang repertory was unfettered by an indigenous notation system.
The main purpose for kulintang music in the community is to function as social entertainment at a nonprofessional, folk level. Traditionally, when performers play kulintang music, their participation is voluntary. Generally, performances can be classified as either formal ones or informal.
During formal performances adherents follow a traditional Luntang filipina dating of rules that would govern playing and it usually involved from outside the home. Informal performances are quite the opposite. The strict rules that normally govern play are often ignored and the performers are usually between people well acquainted with one another, usually close family members. Kulintang music generally could be found as the social entertainment at a host of different occasions.
Kulintang instrument has uses other than public performances. Though this practice has died out among the Maranao due to its non- Islamic nature, some areas in MindanaoSabah and Maluku still practice this ancient tradition. Kulintang music can be used for communicating long distance messages from one village or longhouse to another. Anun as a music without a message, is used instead to express sentiments and feelings, and has come more and more into use due to its compatibility with the musical elaborations and idiosyncratic styles of the
Luntang filipina dating. Kulintang music was also crucial in relation to courtships  due to the very nature of Luntang filipina dating custom, which did not allow for unmarried men and women to intermingle.
Because of this, kulintang music was one of the rare socially approved vehicles for interaction among the sexes. Musical contest, particularly among the Maguindanao, have become a unique feature of these kulintang performances. Kulintang music has no set compositions due to its concept of rhythmic modes.
This occurs at the discretion of the kulintang player. She determines the length of each rendition and could change the rhythm at any time, speeding up or slowing down, accord to her personal taste and the composition she plays.
This emphasis on improvisation was essential due traditional role of the music as entertainment for entire community. Though allowing such a variety of rhythms would lead to innumerable patterns, generally one could categorize these rhythmic modes on the basis on various criteria such as the number of beats in a recurring musical phrase, differences in the melodic and rhythmic groups with the musical phrase, differences in the rhythmic emphasis, and differences in the opening formulas and cadential patterns.
Though there exist no identifiable rhythmic or melodic differences between patterns with names such as the Maguindanao, each group has their own music compositions. Though these melodies vary even within groups like the Maguindanao and Maranao, one theme which characterizes the Sulu-type is the exchange of short melodic phrases between the kulintangan and the Agungs, where both instruments imitate and Luntang filipina dating each other's rhythms very quickly.
This is clearly seen in the Tausug Sinug and Yakan Tini-id and Kuriri compositions where this sort of jousting becomes a game of skill and virtuoso playing.
The kulintang repertoire has no fixed labels because the music itself is not considered a fixed entity.
Due to the fact it is orally transmittedthe repertoire itself is considered something always in a state of flux due to two primary reasons.
Though to the musicians themselves the melodies would sound similar, the labels they would place on a particular rhythmic mode or style could vary even from household to household within that same village. For the musicians, the emphasis is on the excitement and pleasure of playing the music without much regard to what the piece was referred to as.
Secondly, because musicians improvised their pieces regularly, modes and styles were continually revised and changed as they were passed on to a newer generation of musicians, making the pieces and therefore the labels attached to them relevant only during a certain frame of time. Such issues made attempts to codify the compositions in a uniform manner impossible. Kulintang music is considered an ancient tradition that predates the influences of HinduismBuddhismIslamChristianityand the West.
In the Philippines, it represents the highest form of gong music attained by Filipinos  and in North Malukuit is said to have existed for centuries. Because of limited data concerning gong music prior to European exploration, theories abound as to when the prototypes of what is now Luntang filipina dating kulintang came to be.
One theory suggest that the bronze gong had an ancient history in Southeast Asia, arriving in the Indonesian archipelago two or even three Luntang filipina dating years ago, making its way to the Philippines from China in the 3rd century AD.
Though different theories abound as to the exact centuries the kulintang was finally realized, there is a consensus that kulintang music developed from a foreign musical tradition which was borrowed and adapted to the indigenous music tradition already present in the area. Luntang filipina dating