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Southeast Asia
A Land of Bamboo and Bronze
VietnamThailandIndonesia
© Taylor & Francis
Southeast Asia Map
© Taylor & Francis
Background PreparationBackground PreparationBackground PreparationBackground Preparation
Mainland and IslandMainland and IslandBuddhism – IslamBuddhism – IslamTropical climateTropical climateRiceRiceBamboo & bronzeBamboo & bronze
Mainland and IslandMainland and IslandBuddhism – IslamBuddhism – IslamTropical climateTropical climateRiceRiceBamboo & bronzeBamboo & bronze
© Taylor & Francis
VietnamSite 1: Upland Bronze GongsSite 2: Tài Tử Chamber Music
© Taylor & Francis
Arrival: Vietnam Upland–Lowland Culture Chinese influence Vietnam War
© Taylor & Francis
Site 1: Upland Bronze Gongs First Impressions
Repetitive ringing Aural Analysis
Interlocking construction
Strong tonal center Simple duple meter
Members of the Jarai ethnic group in Vietnam’s Central Highlands
© Taylor & Francis
Cultural Considerations Large cooperative ensembles Particular to upland ethnic groups Often accompanies dance Common at festivals and funerals
© Taylor & Francis
Site 2: Tài Tử Chamber Music First Impressions
“Flexible”feeling Aural Analysis
Small string ensemble Frequent tone bending Heterophony
Notice the “scooped” frets on this Vietnamese guitar© Taylor & Francis
Cultural Considerations
“Talented”amateur music Entertainment settings
© Taylor & Francis
ThailandThailandThailandThailandSite 3: Classical Site 3: Classical PiphatPiphat
Site 4: Site 4: Lam KlawnLam Klawn
Site 5: Site 5: Phleng Luk Phleng Luk ThungThung
Site 3: Classical Site 3: Classical PiphatPiphat
Site 4: Site 4: Lam KlawnLam Klawn
Site 5: Site 5: Phleng Luk Phleng Luk ThungThung
© Taylor & Francis
Arrival: ThailandArrival: Thailand
Formerly SiamCultural regions
Central (Bangkok) North (Lanna) Northeast (Isan) South
Predominantly BuddhistThai is a tonal language
Formerly SiamCultural regions
Central (Bangkok) North (Lanna) Northeast (Isan) South
Predominantly BuddhistThai is a tonal language
© Taylor & Francis
Site 3: Classical PiphatSite 3: Classical Piphat
First ImpressionsOrganized chaos“Kazoo” aerophone and “ching”
Aural AnalysisPi nai (quadruple reed aerophone)
Melodic & rhythmic percussionSeven equidistant tones per octave
First ImpressionsOrganized chaos“Kazoo” aerophone and “ching”
Aural AnalysisPi nai (quadruple reed aerophone)
Melodic & rhythmic percussionSeven equidistant tones per octave
© Taylor & Francis
Thai Classical InstrumentsThai Classical InstrumentsKhong wong yai (gong circle)
Ranat ek (leading xylophone)
Left 2: Pi (reed aerophones)
Right 3: Khlui (flutes)
Thon ramana (goblet & frame drums)Chap lek (large cymbals)
Krap sepha (wood clappers)Ching (small cymbals)
© Taylor & Francis
Temple AnalogyTemple Analogy
Polyphonic Stratification
Layered RoofMelodic percussion & pi
PillarsChing – aural conductor
FoundationDrums, small percussion
Polyphonic Stratification
Layered RoofMelodic percussion & pi
PillarsChing – aural conductor
FoundationDrums, small percussion
© Taylor & Francis
Cultural ConsiderationsCultural Considerations
Wai Khru – Teacher Honoring Ceremony Wai Khru – Teacher Honoring Ceremony
Above: A wai khru altar with students
initiated by an elder teacher
Right: A wai khru ceremony in Bangkok
© Taylor & Francis
Arrival: Northeast ThailandArrival: Northeast Thailand
Culturally LaoRice economyIsan influence
Culturally LaoRice economyIsan influence
© Taylor & Francis
Site 4: Northeast Thai Lam Klawn
Site 4: Northeast Thai Lam Klawn
First ImpressionsPeppy poetsHappy “harmonica”
Aural AnalysisKhaen – mouth
organLam - poetic songRepartee
First ImpressionsPeppy poetsHappy “harmonica”
Aural AnalysisKhaen – mouth
organLam - poetic songRepartee
© Taylor & Francis
Cultural ConsiderationsCultural Considerations
Maw lamProfessional poets
Festival and ritual entertainment
Maw lamProfessional poets
Festival and ritual entertainment
Left: Maw lam perform onstage to khaen accompaniment.
Right: Khaen (free-reed mouth organ)
© Taylor & Francis
Site 5: Phleng Luk ThungSite 5: Phleng Luk ThungFirst Impressions
“Country” popAural Analysis
Mix of modern and traditional instrumentsDerived from lam
First Impressions“Country” pop
Aural AnalysisMix of modern and traditional instrumentsDerived from lam
saw bip (fiddle)phin (lute)
khaen (mouth organ)
© Taylor & Francis
Cultural ConsiderationsCultural Considerations Traditional
“crossover” music Bangkok boom Stage shows
Traditional“crossover” music
Bangkok boom Stage shows
A “pop” concert of luk thung
Luk Thung pop stars
© Taylor & Francis
IndonesiaIndonesia
Site 6: Javanese Court GamelanSite 7: Balinese Gamelan Gong
Kebyar
Site 6: Javanese Court GamelanSite 7: Balinese Gamelan Gong
Kebyar© Taylor & Francis
Arrival: Indonesia
More than 13,000 islands
Most populous Islamic nation
More than 300 languages
Focus for manyethnomusicologists & composers
© Taylor & Francis
Site 6: Javanese Court Gamelan
First Impressions Metallic music with “misty”
interlude
Aural Analysis Mostly metallophones “Soft & Strong” styles Colotomic structure
Above: Metallophones of the Javanese gamelan.Right: Gender (metallophone with bamboo resonators)
© Taylor & Francis
Principal MelodyRack gongs and
large metallophones
Periodic PunctuationMarked by Hanging
Gongs
EmbellishmentSmall metallophones“Mist” of the music
Colotomic Structure
Gong ageng© Taylor & Francis
Cultural ConsiderationsCultural Considerations
IslamCourt MusicTranquilityDance
IslamCourt MusicTranquilityDance
© Taylor & Francis
Site 7: Balinese Gamelan Gong Kebyar
First ImpressionsDynamic shifts of mood
Aural AnalysisStarts and stopsSectional solos“Superhuman speed”“Shimmer effect”
A pair of gender wayang
© Taylor & Francis
Cultural Considerations
Offering to Hindu deities
Dynamic dance
Wayang Kulit Shadow puppets
A Balinese dancer accompanied by gamelan
Wayang Kulit (shadow puppet theatre)
© Taylor & Francis