While hearing and watching the gansa being played, you might see the artist squeezing the finishes of the metal bars that utter the sounds. The purpose for why the instrumentalist squeezes the finishes of the bars is on the grounds that the tone of a bar being struck resonates and when numerous notes are played simultaneously, the sounds become obscured together. To keep away from these legato and conflicting resonances, the instrumentalist strikes a bar, then, at that point, quiets that equivalent bar by squeezing it, prior to striking one more bar to play another note.

The Austronesians that would have gotten comfortable pre-pioneer Philippines would have been what Spanish conquerors would have later named, the Negritos, meaning minimal individuals of color. Raymundo C. Bañas expresses the ethnic personality of the early native Filipino book in his major text, Pilipino Music and Theater. Bañas composes that they were the earliest occupants of Luzon, Mindanao, Palawan, Panay, Negros, and a few different islands. The Negritos are considered among individuals whom other later Filipino precursors found when they moved to the archipelago. Bañas says the main entertainment of the Negritos were music and moving.

Bañas additionally facilitates that the Negritos were known to utilize the five-tone, or pentatonic scale in their music. He additionally encourages that antiquated Filipinos likewise rehearsed the, du-nu-ra (customary love melodies), tal-bun (bubbly festival tunes with ad libbed words to suit the event), and the dance exhibitions of the piña camote and the piña dad ni-lan which portray exhibitions of people cultivating and connecting with nature. Bañas orders the Negritos into various subgroupings. He recognizes the Igorots, the Apayaos, the Ifugaos, and the Ilongot. He references Ilongot instruments and even expounds on the previously mentioned gansa, considering it a “tom” and saying that it was “made of bronze and looks like a roundabout container around twelve or thirteen crawls in measurement, with a boundary of around two creeps to the face. Dangled from a string, it is beaten with a stick while the artist walks and it is suppressed with the open hand at a stop.”

The melodic acts of the pre-frontier, non-Christian Philippine ethnic gatherings shows, in obvious magnificence, the marvel and abundance of old Pilipino people tunes and moves before contact with the Western world. However, the immaculateness of these society customs has been compromised as a piece of Filipino colonization. These local and agnostic Austronesian practices have become varieties of their actual structures separated through a hint of Spanish and American melodic societies and customs. With Spain bestowing Catholicism unto Filipino individuals after overcoming them, Filipino melodic execution went from more Afro-driven roots, ethnic, and non-western to more Euro-driven traditional and symphonic. The Spanish likewise acquainted with the Filipinos the organ, the drums, the piano, the guitar, and numerous different instruments that are presently ordinary among Filipino performers. In any case, the constancy of the native music customs stays through everything, with Filipino execution taking the spotlight regardless of what cycle it might come bundled in.

FILIPINO FOLK MUSIC AND PERFORMANCE