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Kutiyapi
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<h2 id="regional-names">Regional names</h2> <p>In various Philippine languages, the instrument is also called: <i>kutyapi</i>, <i>kutiapi</i> (<a href="/facts/Maguindanao/nEyTq3uR">Maguindanaon</a>), <i>kotyapi</i> (<a href="/facts/Maranao/k47bngep">Maranao</a>), <i>kotapi</i> (<a href="/facts/Subanon_language/cGw8HnkT">Subanon</a>), <i>fegereng</i> (<a href="/facts/Tiruray_language/TYF9tEHF">Tiruray</a>), <i>faglong</i>, <i>fuglung</i> (<a href="/facts/B%2527laan/49HbHpG3">B'laan</a>),<a class="footnote-ref" id="fnref:1" href="#fn:1"><sup>1</sup></a> <i>kudyapi</i> (<a href="/facts/Bukidnon/NXvhHaCv">Bukidnon</a> and <a href="/facts/Tagbanwa_people/XoXCbNbT">Tagbanwa</a>), <i>hegelong</i> (<a href="/facts/T%25E2%2580%2599boli/FzgV6CHQ">T’boli</a>), <i>kuglong</i>, <i>kadlong</i>, <i>kudlong</i> or <i>kudlung</i> (<a href="/facts/Manobo/vw6IaXjX">Manobo</a>, <a href="/facts/Mansaka/vw6IaXjX">Mansaka</a>, <a href="/facts/Mandaya/vw6IaXjX">Mandaya</a>, <a href="/facts/Bagobo/vw6IaXjX">Bagobo</a> and Central <a href="/facts/Mindanao/szgkAsAV">Mindanao</a>),<a class="footnote-ref" id="fnref:2" href="#fn:2"><sup>2</sup></a><a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a><a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a> and <i>kusyapi</i> (<a href="/facts/Palawan/jun0la0I">Palawan</a>).<a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a> </p> <h2 id="in-palawan">In Palawan</h2> <p>For the Palawano, it is possible to arrange the beeswax frets into different patterns resulting in two different scales for the instrument. These are the <i>binalig</i>, a higher pitched scale similar to the <a href="/facts/Pelog/ozGH46LV">pelog</a> and accompanying style used to imitate that of the <a href="/facts/Kulintang/Sh4tlyq5">kulintang</a>, and the <i>dinaladay</i>, a lower pentatonic scale used for teaching pieces of an abstract mature. </p><p> In <i>dinaladay</i>, several tiers of difficulty revolve around main compositions: <i>Patentek</i>, <i>Patundug</i>, <i>Banutun</i> and <i>Minudel</i>; <i>Patentek</i> being the most straightforward, <i>Minudel</i> being the most-challenging. </p><p><i>Binalig</i> scale pieces include several archaic compositions now not played on the <a href="/facts/Kulintang/Sh4tlyq5">kulintang</a>, and of these pieces <i>Malapankuno</i> (cock crowing) and <i>Mapalendad</i> are included. </p><p>Any piece with <i>a kinukulintangan</i> affixed to its name is one that imitates the style of the kulintang instrument, of which the <i>Sinulog a kinukulintangan</i>; a piece that embellishes the main melody of the kulintang's <i>Sinulog a kangungudan</i>, is the most popular. </p><p>The Kutiyapi may or may not be accompanied by one of several types of flutes; the <i><a href="/facts/Palendag/M8MGalPw">palendag</a></i>, <i><a href="/facts/Suling/tm7KGHpF">suling</a></i>, <i>insi</i> or <i><a href="/facts/Tumpong/fa3Bcb0u">tumpong</a></i>. Singing is usually reserved for courtship purposes. </p> <h2 id="among-the-bangsamoro-peoples">Among the Bangsamoro peoples</h2> <h3>Maranao</h3> <p>Among the Maranao, pieces played by using <i>bagu</i> and <i>andung</i> scales (equivalents of the <i>binalig</i> and <i>dinaladay</i> scales used by the Maguindanao), and in contrast to Maguindanao pieces, the kutiyapi is also used as an accompanying instrument to <i>bayoka</i> or epic chants. Examples of older <i>andung</i> pieces include <i>Kangganatan</i> and <i>Mamayog Akun</i>. </p><p>The Kudyapi (kotyapi) has also been as one of the instruments in several older light ensembles, including that of the <i>kasayao-sa-singkil/kasingkil</i> ensemble, the original musical accompaniment to the <a href="/facts/Singkil/IYhFU5Mk">singkil</a> dance (now rarely used in favour of conventional <a href="/facts/Kulintang/Sh4tlyq5">kulintang</a> ensembles). This ensemble pairs the kotyapi with a jaw harp (<a href="/facts/Kubing/8gNt0M3v">kubing</a>), <a href="/facts/Suling/tm7KGHpF">suling</a>, a pair of small double-headed drums known as <i><a href="/facts/Kendang/000BqLAh">gandangan</a></i> (a drum now rarely used among the Maranao in favor of the single-headed <a href="/facts/Dabakan/MbeNFnoR">dadabuan</a>) and a single <a href="/facts/Kulintang/Sh4tlyq5">kulintang</a>, in accompaniment to the bamboo poles used in the dance. </p><p>Another archaic ensemble where the kotyapi was included was the <i><a href="/facts/Kapanirong/G0bTTKnk">Kapanirong</a></i>, or courtship ensemble, in which the kotyapi was used with a <a href="/facts/Kubing/8gNt0M3v">kubing</a>, small <i>insi</i> flute, a two-stringed bamboo zither <i>serongagandi</i>, and a brass-tray <i>tintik</i>. </p> <h3>Dayunday performances</h3> <p>Among both the Maguindanao and Maranao, a much more recent informal styles are also used. <i>Dayunday</i> is a performed in front of an audience using an improvisational vocal style based on both <i>sangel sa wata</i> (traditional lullaby) and <i>bayok</i> (epic chant sung in <a href="/facts/A_cappella/nsSwsrMw">a cappella</a>) genres, played in either <i>binalig</i> or <i>dinaladay</i> scales, that is used during weddings, election campaigns, religious celebrations such as <a href="/facts/Eid_ul-Fitr/C1brNDJX">Eid</a> or other large gatherings. The <i>dayunday</i> generally sets well known musicians from both genders against each other in verbal jest and competition. </p><p>With the advent of globalization, the importance of the kutiyapi has waned as artists have taken up the <a href="/facts/Guitar/QIJdTYa6">guitar</a> instead, as it is louder.<a class="footnote-ref" id="fnref:6" href="#fn:6"><sup>6</sup></a> </p> <h2 id="among-lumad-groups">Among Lumad groups</h2> <p>Among the <a href="/facts/T%2527Boli/6YWLgsEo">T'Boli</a>, <a href="/facts/Manobo/vw6IaXjX">Manobo</a> and other <a href="/facts/Lumad/vw6IaXjX">Lumad</a> groups, the instrument (known as <i>hegelung</i>, <i>kudyapi</i> or <i>fedlung</i>) is tuned to a major pentatonic scale. Among groups like the <a href="/facts/Bagobo/vw6IaXjX">Bagobo</a>, the <i>kutiyapi</i> (<i>kudlung</i>) is also used as a bowed instrument and is generally played to accompany improvised songs. </p><p>A characteristic difference between Mindanaon <a href="/facts/Moro_people/pKWVfw2m">Moro</a> <i>kutiyapi</i> and the non-Islamized Lumad equivalents is the style and set up of vocal accompaniment. Among the Lumad groups, the <i>kudyapi</i> player and vocalist are separate performers, and vocalists use a free-flowing method of singing on top of the rhythm of the instrument, whereas among the Maguindanao and Maranao, there are set rhythms are phrases connected with the melody of the kutiyapi, with the player doubling as the vocalist (<i>bayoka</i>), if need be. </p> <h2 id="in-the-visayas">In the Visayas</h2> <p>The <i>kudyapi</i> has been found among groups such as the Bisayans whose prevalence just like the <i>kubing</i> and other musical instruments are or were found in other parts of the Philippines.<a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> </p> <blockquote><p>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 <i>sungar-sungar</i> or <i>burbuwaya</i>; the neck, <i>burubunkun</i>; the strings, <i>dulos</i>; the fretboard, <i>pidya</i>; and the tuning pegs, <i>birik-birik</i>. The scroll was called <i>apil-apil</i> or <i>sayong</i>, 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<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a></p></blockquote> <h2 id="tagalog-kutyapi">Tagalog <i>kutyapi</i></h2> <p>While kutyapi was already a forgotten instrument among <a href="/facts/Tagalog_people/XLv1sRQ3">Tagalogs</a>, with traces only remaining in folk songs like <i>Sa Libis ng Nayon</i>, a stringed instrument was historically used by Tagalogs as mentioned in the <a href="/facts/Society_of_Jesus/n0PeYBB8">Jesuit</a> friar <a href="/facts/Pedro_Chirino/vPWrgUxr">Pedro Chirino</a>'s <i>Relacion de las Islas Filipinas</i> (1604) which is called <i>kutyapi</i>. Unlike its southern counterparts, the Tagalog kutyapi was a four-stringed instrument. According to Chirino:<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a> </p> <blockquote><p>They [the Tagalogs] are punctiliously courteous and affectionate in social intercourse and are fond of writing to one another with the utmost propriety and most delicate refinement. Consequently they are much given to serenading. And although their guitar, which they call <i>cutyapi</i>, is not very ingenious, nor the music very refined, it is quite pleasing, and especially to them. They play it with so much skill and ardor that they make its four wire strings speak. It is a generally accepted fact over there that by merely playing them, without saying a word, they can express and understand whatever they please, which is something that cannot be said of any other nation. The Bisayans are more artless...</p></blockquote> <p>Subsequent records by Spanish friars Diego de Bobadilla, S.J. (1590–1648), and Francisco Colin, S.J., who were both in the Philippines during the first half of 17th century, echoed the same thing in their writings when describing the instrument and its use by Tagalogs, but unlike the first two, Colin only mentioned the instrument having "two or more strings", not explicitly four. The instrument's spelling has varied among the different dictionaries and records made by Spaniards, with Chirino originally using the term <i>culyapi</i>, de Bobadilla's <i>cutiape</i>, and finally in the <a href="/facts/Vocabulario_de_la_lengua_tagala/S0gnIdS6"><i>Vocabulario de la Lengua Tagala</i></a> where it is variably written as <i>coryapi</i> and <i>codyapi</i>. <a href="/facts/Pedro_de_San_Buenaventura/S0gnIdS6">Pedro de San Buenaventura</a>'s <i>Vocabulario</i> compared the instrument to both viola and guitar. Francisco de San Antonio who came to <a href="/facts/Pila%2c_Laguna/RPkNB4Bk">Pila, Laguna</a>, in 1624 also equated <i>kutyapi</i> to <i><a href="/facts/Rabel_(instrument)/9hx7Bnmq">rabel</a></i>, writing "<i>Rabel de los naturales</i> (rabel of the natives)".<a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a> </p><p>It is not known precisely when the instrument lost its place in Tagalog culture, as most dictionaries until the 20th century still have entries of <i>coryapi/codyapi</i>. </p> <h2 id="similar-southeast-asian-instruments">Similar Southeast Asian instruments</h2> <p>Similar instruments played throughout the region include the <a href="/facts/Sape_(instrument)/CquGtB1U">Sape</a> of <a href="/facts/Sarawak/jLxI3WQo">Sarawak</a> and the Crocodile lutes of Mainland Southeast Asia. Although they share a similar name, the <a href="/facts/Kacapi/gT6n6erv">Kacapi</a> of <a href="/facts/Sundanese_people/FKwxab2P">Sundanese</a> is a zither, and not a lute. </p> <h2 id="see-also">See also</h2> <ul><li><a href="/facts/Lute/CQhyHry9">Lute</a></li> <li><a href="/facts/String_instrument/srW2H8dV">String instrument</a></li> <li><a href="/facts/List_of_string_instruments/8g5IJH65">List of string instruments</a></li></ul> Wikimedia Commons has media related to Kutiyapi. <h2 id="references">References</h2> <ol> <li id="fn:1"><p>de Leon, Felipe M. Jr. (2006). "Gawad sa Manlilikha ng Bayan – 1993 Awardee – SAMAON SULAIMAN and the Kutyapi Artist". National Commission For Culture and the Arts. 2002. Archived from the original on 2006-10-10. Retrieved 2006-06-12. <a href="https://web.archive.org/web/20061010075101/http://www.ncca.gov.ph/about_cultarts/cultprofile/gamaba/sulaiman.php" target="_blank">https://web.archive.org/web/20061010075101/http://www.ncca.gov.ph/about_cultarts/cultprofile/gamaba/sulaiman.php</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>Hila, Antonio C. (2006). "Indigenous Music – Tuklas Sining: Essays on the Philippine Arts". Filipino Heritage.com. Tatak Pilipino. Archived from the original on 2005-12-24. Retrieved 2006-06-12. <a href="https://web.archive.org/web/20051224003259/http://www.filipinoheritage.com/arts/phil-music/pre-colonial-indigenous-music.htm" target="_blank">https://web.archive.org/web/20051224003259/http://www.filipinoheritage.com/arts/phil-music/pre-colonial-indigenous-music.htm</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>Canave-Dioquino, Corazon (2006). "Philippine Music Instruments". National Commission For Culture and the Arts. Archived from the original on 2006-01-17. Retrieved 2006-06-12. <a href="https://web.archive.org/web/20060117211206/http://www.ncca.gov.ph/about_cultarts/comarticles.php?artcl_Id=155" target="_blank">https://web.archive.org/web/20060117211206/http://www.ncca.gov.ph/about_cultarts/comarticles.php?artcl_Id=155</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>de Jager, Fekke (2006). "Kudyapi". Music instruments from the Philippines. Retrieved 2006-06-12. <a href="http://www.kipas.nl/Instruments/Kudyapi.htm" target="_blank">http://www.kipas.nl/Instruments/Kudyapi.htm</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>de Leon, Felipe M. Jr. (2006). "Gawad sa Manlilikha ng Bayan – 1993 Awardee – MASINO INTARAY and the Basal and Kulilal Ensemble". National Commission For Culture and the Arts. 2002. Archived from the original on 2006-07-16. Retrieved 2006-06-12. <a href="https://web.archive.org/web/20060716025744/http://www.ncca.gov.ph/about_cultarts/cultprofile/gamaba/intaray.php" target="_blank">https://web.archive.org/web/20060716025744/http://www.ncca.gov.ph/about_cultarts/cultprofile/gamaba/intaray.php</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Mercurio, Philip Dominguez (2006). "Traditional Music of the Southern Philippines". PnoyAndTheCity: A center for Kulintang – A home for Pasikings. Retrieved 2006-06-07. <a href="http://www.pnoyandthecity.blogspot.com" target="_blank">http://www.pnoyandthecity.blogspot.com</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>"5 Traditional Musical Instruments of the Philippines You Should Learn". Pinoy-Culture.com. Archived from the original on 2016-03-12. Retrieved 2016-03-12. <a href="https://web.archive.org/web/20160312133625/http://pinoy-culture.com/5-traditional-musical-instruments-of-the-philippines-you-should-learn/" target="_blank">https://web.archive.org/web/20160312133625/http://pinoy-culture.com/5-traditional-musical-instruments-of-the-philippines-you-should-learn/</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>Scott, William Henry (1994). Barangay: Sixteenth-Century Philippine Culture and Society. Quezon City: Ateneo de Manila University Press. p. 108. ISBN 971-550-135-4. <a href="971-550-135-4" target="_blank">971-550-135-4</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>Brandeis, Hans (2012). Boat Lutes in the Visayas and Luzon – Traces of a Lost Tradition (PDF). Retrieved 20 April 2021 – via ResearchGate. <a href="https://www.researchgate.net/profile/Hans_Brandeis/publication/330182533_Boat_Lutes_in_the_Visayas_and_Luzon_-_Traces_of_a_Lost_Tradition/links/5c322cc2299bf12be3b30856/Boat-Lutes-in-the-Visayas-and-Luzon-Traces-of-a-Lost-Tradition.pdf" target="_blank">https://www.researchgate.net/profile/Hans_Brandeis/publication/330182533_Boat_Lutes_in_the_Visayas_and_Luzon_-_Traces_of_a_Lost_Tradition/links/5c322cc2299bf12be3b30856/Boat-Lutes-in-the-Visayas-and-Luzon-Traces-of-a-Lost-Tradition.pdf</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>Brandeis, Hans (2012). Boat Lutes in the Visayas and Luzon – Traces of a Lost Tradition (PDF). Retrieved 20 April 2021 – via ResearchGate. <a href="https://www.researchgate.net/profile/Hans_Brandeis/publication/330182533_Boat_Lutes_in_the_Visayas_and_Luzon_-_Traces_of_a_Lost_Tradition/links/5c322cc2299bf12be3b30856/Boat-Lutes-in-the-Visayas-and-Luzon-Traces-of-a-Lost-Tradition.pdf" target="_blank">https://www.researchgate.net/profile/Hans_Brandeis/publication/330182533_Boat_Lutes_in_the_Visayas_and_Luzon_-_Traces_of_a_Lost_Tradition/links/5c322cc2299bf12be3b30856/Boat-Lutes-in-the-Visayas-and-Luzon-Traces-of-a-Lost-Tradition.pdf</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> </ol>