2The following are some of the names of drum-tunes: Sin-ak-aí-sá-kai (significant of the movement of a raft or canoe); kum-bá-kum-bá to u-sá (imitative of the sporting of a deer); kin-am-pi-lán (indicative of the flourishing of the Moro weapon called kampilan); Min-an-dá-ya, an adaptation from the Mandáyas; bo-túñg-bó-tuñg, ka-ta-hud-án, ya-mút-yá-mut, pa-di-dít, pin-án-dan, pa-tug-da-dúk tí-bañg, min-añg-gu-áñg-an, tin-úm-pi, ma-sañg-aú-it, to-mán-do, in-ág-kui, pa-dú-au, bin-ág-bad, pai-úm-bug, pa-dúg-kug, tum-bá-lig, mañg-úd.
To one who hears Manóbo drum music for the first time, it sounds dull and monotonous, but as the ear grows accustomed to the roll the compass can be detected and the skill of the drummer becomes apparent. Now loud and then soft, now fast and then slow, the tune is rattled off in perfect measure and with inspiring verve. As one travels through the crocodile-infested lake region in the middle Agúsan on a calm night, the Manóbo drums may be heard tattooing from distant settlements. They produce a solemn but weird impression on the listener.
THE GONG
The gong3 is of the small imported type and is purchased from Bisáya traders. As these gongs, when new, have several ornamental triangular figures on the front, the Manóbo is taught to value them at as many pesos minus one as the gong has figures. This gives a gong that cost originally about 2 pesos a value of 4 or 5 pesos.
3A-guñg.
As a musical instrument it is played in combination with the drum. Suspended from something or held up in the hand, it is beaten on the knob with a piece of wood. The general time kept is the same as that kept by the left hand of the drummer. Its constant clanging serves to heighten the animation of the dance.
Both the drum and gong have a certain religious character. They are used in all greater religious celebrations and seem to be a part of the paraphernalia of the priest, for they are nearly always kept in his house.