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Binalig
Binalig is a term meaning "made different" in the [Maguindanaon] language.
For Maguindanaon musicians and scholars, the word binalig has multiple interpretations:
- the embodiment of change in [kulintang] music
- a generative concept that is key to understanding creativity, innovation, and transformation in [Maguindanaon] [palabunibunyan] music tradition
- "made different", specifically regarding kulintang playing style
- describes pieces that communicate, or allow for, self expression
- describes a distinct [rhythmic mode/genre/type] of kulintang pieces
The root word balig has related meanings:
- "the stage of life from early to late adolescence"
- "slang"
- "with a foreign accent"
Rhythmic Mode
Binalig is a common rhythmic mode in [kulintang] music. The following sections explain different interpretations of binalig by different scholars/musicians.
Harold Andre
In a [kulintang ensemble], each player follows this basic pattern and improvises rhythms and phrases over it.
Kristina Benitez
Binalig pieces consist of two-beat musical phrases with emphasis at the beginning of each beat.
This base structure is identical to [duyug/sirong] pieces. However, binalig is distinguished by the following characteristics:
- the consistent use of paired musical phrases in the kulintang
- this pairing reflects how [Maguindanaon] songs often have melodies with complementary phrases
- the greater density in the musical phrases that often feature repeated strokes on one or two gongs, particularly at the end of the phrase
- common for binalig pieces (and not other genres) that the opening section features an ascent to gong 7 following the usual initial strokes on gong 3
- the "rendering" of lines and phrases of popular songs on kulintang
- an extended closing section 5-10 phrases long, which including musical phrases different from those in the main body of the piece
- last stroke is on beat 1, usually ending on gong 2
- occasional endings on gong 3, with innovative renditions ending on gong 7