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YODAYA: THAI CLASSICAL แบบสัมภาษณ์ และแบบสังเกต ทําการรวบรวม MUSIC IN MYANMAR ข้อมูลเอกสารและข้อมูลภาคสนาม โดยข้อมูล 1 CULTURE ภาคสนามได้จาก การสํารวจเบืองต้น การสัมภาษณ์ และการสังเกต จากกลุ่มผู้รู้จํานวน คน กลุ่มผู้ Suradit Phaksuchon2 ปฏิบัติจํานวน คน และกลุ่มผู้ให้ข้อมูลทัวไป Panya Rungrueang3 จํานวน คน ในเขตพืนทีเมืองย่างกุ้ง และเมือง มัณฑะเลย์ สาธารณะรัฐแห่งสหภาพเมียนมาร์ บทคัดย่อ ระหวางเดือนสิงหาคม่ -มีนาคม นําข้อมูล มาตรวจสอบความถูกต้องด้วยวิธีการแบบสามเส้า เพลงโยธยา เป็นเพลงประเภทหนึงในวัฒนธรรม วิเคราะห์ตามความมุ่งหมายทีตังไว้ และนําเสนอ ดนตรีของเมียนมาร์ ทีมีความเกียวโยงกบราชสํานักั ผลการวิจัยเชิงพรรณนาวิเคราะห์ เมียนมาร์ในอดีต และอยู่ในวิถีชีวิตของชาว เมียนมาร์จนถึงปัจจุบัน การวิจัยครังนีเป็นการวิจัย ผลการวิจัยพบวา่ เพลงประเภทโยธยาเริมมีในสมัย เชิงคุณภาพ มีความมุ่งหมายเพือ ) ศึกษาประวัติ คองบองซึงเป็นยุคหลังจากทีกรุงศรีอยุธยาตกเป็น ความเป็นมาของเพลงโยธยา ) ศึกษาคุณลักษณะ เมืองขึนของเมียนมาร์ และได้อพยพพระบรมวงศา ทางดนตรีและความเป็นดนตรีไทยในเพลงโยธยา นุวงศ์ ข้าราชบริพาร ปราชญ์ ศิลปิน นักดนตรีไปยัง เครืองมือทีใช้ในการวิจัย ได้แก่ แบบสํารวจเบืองต้น เมียนมาร์ พบร่องรอยความเป็นดนตรีไทยจากบท เพลงทีชือเพลงและบทขับร้องเป็นภาษาไทย คือ เพลง ฉุยฉาย บทขับร้องเป็นภาษาเมียนมาร์แต่ชือ 1 โยธยา: ดนตรีไทยในวัฒนธรรมเมียนมาร์ This paper is a part of my Ph.D. dissertation on เพลงเป็นภาษาไทย ได้แก่เพลง พยันติน แขกมอญ Yodia: Thai Music in Burmese Tradition. ขมิน ตะนาว เพลงช้า ทบทวน เชิดฉาน งุหงิด กะบี Financial support from the Thailand Research Fund through the Royal Golden Jubilee Ph.D. และมโหตี ลักษณะท่วงทํานองเพลงชเวตานยา Program and Mahasarakham University (Grant ทอนที่ มีคุณลักษณะทางดนตรีคล้ายกบเพลงพญาั No. PHD/0219/2552). เดิน ทอนที่ 2 (สุรดิษ ภาคสุชล) Lecturer, College of Music, Mahasarakham University ส่วนด้านคุณลักษณะทางดนตรีและความเป็นดนตรี 3 (ปัญญา ร่งเรือง)ุ Associate Professor, Faculty of ไทยในเพลงโยธยา พบวากลุ่ มเสียงในเพลงเวซะยัน่ Music, Bangkokthonburi University ตา และเพลงชเวตานยา มีการใช้กลุ่มเสียง C D E G Downloaded from Brill.com09/28/2021 07:22:04PM via free access MANUSYA: Journal of Humanities Regular 20.2, 2017 A และกลุ่มเสียง G A B C D ซึงเป็นกลุ่มเสียงที Findings revealed that the history of Yodaya can be traced far back to the สัมพันธ์กนั ตรงกบทางในและทางนอกั ของดนตรี Konbaung period, the era after which ไทย ลักษณะท่วงทํานองเพลงชเวตานยา ท่อนที Ayutthaya was ruled by Myanmar. As a consequence of this, Thai royal families, มีท่วงทํานองทีมีคุณลักษณะทางดนตรีใกล้เคียงกบั philosophers, experts and servants were เพลงพญาเดิน ท่อนที โดยเพลงพญาเดินใช้กลุ่ม forced to migrate to Myanmar. One significant piece of evidence revealing the เสียง G A B C D ส่วนเพลงชเวตานยาใช้กลุ่มเสียง representation of Thai music in Myanmar C D E G A จังหวะหน้าทับใช้หน้าทับสะคุ้นโด music was derived from the title and lyric of the song “Chui Chai.” It was also found เยียะ รูปแบบของเพลงโยธยา แบ่งออกเป็น ส่วน that some Yodaya songs have lyrics in คือ ท่อนนํา ทํานองเพลง และท่อนจบ ทํานองท่อน Myanmar but titles in Thai. These songs are Phayantin, Khaekmorn, Kamin, Tanao, นําและท่อนจบจะใช้จังหวะอิสระ ส่วนทํานอง Plengcha, Tobtuan, Cherdcharn, Ngungid, เพลงจะมีจังหวะสมําเสมอเชือมโยงกนั Kabi, and Mahouti. In terms of the musical features and Abstract representation of Thai music in Yodaya, two Yodaya songs (Weichayanta and Yodaya is one of the music genres in Chaweitanya) were found to represent Myanmar’s musical culture. It was Thai music because their melodic scales initially tied to the Myanmar royal court in (G A B D E and C D E G A) are similar to the past and has ever since infiltrated the both Tarngnai and Tarngnork scales in Myanmar way of life up until the present classical Thai music. The melodic feature day. This qualitative study was set out to: in the 4th movement of Chaweitanya is 1) investigate the historical development similar to the 1st movement of the of Yodaya, and 2) examine the features Phayadern song in Thai music. Phayadern and representation of Thai classical music and Chaweitanya are based on G A B D E in Yodaya. Data was gathered between and C D E G A scales respectively and are August 2009 and March 2014 through accompanied by a percussion drum multiple techniques: survey, interview, rhythm, called “Sa Khun Dou Yia.” The observation, field-notes and documentary structure of Yodaya was divided into three analysis. Informants included five experts, movements: prelude, interlude and finale. eight practitioners and four related people The prelude and finale movements in Yangon and Mandalay cities in contained free tempo while the interlude Myanmar. Data was validated by means of movement had a consistent and related a triangulation method based on defined tempo. objectives and was presented following analytical description. 56 Downloaded from Brill.com09/28/2021 07:22:04PM via free access YODAYA: Thai Classical Music in Myanmar Culture Introduction young men with military skills would be put into the army while young girls The number of academic studies on the without the said skills would do farming to relationship of Thailand and Myanmar are supply the Palace. In addition to that, those quite limited and most focus who had skills in craftsmanship and dance predominantly on the historical aspects of would work inside the Palace providing the war between Thailand and Myanmar. services for the King and Royal family Tisavarakumarn Damrong Rajanubhab (Heart 2012: 10-11). was one of the past scholars who seriously studied the relationship between Thailand This practice continued in all major wars and Myanmar. He published a lot of that resulted in the Ayutthaya Kingdom’s classical scholarly documents leading the defeats by the Burmese Kingdom i.e. The next generation of scholars to probe more Burmese-Siamese War of 1563 also deeply into the relationship between known as the War over the White Elephants, the 1st Fall of Ayutthaya in Thailand and Myanmar. However, the nd focus of their studies was primarily on the 1569 and the 2 Fall of Ayutthaya in 1767. historical dimension rather than the After the victory in each of the cultural one where knowledge and abovementioned wars, prisoners of war, information was transferred mainly from including royal family members, people to people. government officials, philosophers, as well as common people from the Kingdom of It can also be deduced from historical Ayutthaya had been taken to the Burmese documents that people living in the areas Kingdom. Apart from evidence found in which are the current southeast Asian Thailand, other relevant documents found continent tended to migrate to the in other countries are also of importance to kingdoms which were more prosperous complement the academic study of both and had powerful armies, in particular Thai and Myanmar music. Evidence Thailand, Laos, Cambodia and Myanmar. shows that Thai drama and music in the Ayutthaya Kingdom entered Myanmar’s In the years between 1546-1767, the culture and society when Thai people were Burmese and Ayutthaya Kingdoms often forced to move from Ayutthaya to waged war against each other. They Myanmar after Myanmar won the war periodically took turns to be winner or over Ayutthaya. In this regard, it is still of loser. The winner took away able and interest to further investigate what were skilled people as prisoners of war in order the characteristics of Thai music that to supplement and strengthen their own entered Myanmar from the Ayutthaya Kingdom. It was then a common practice kingdom and to what extent they have for the winner to force the prisoners of war remained the same or changed up until into their kingdom. The practice was now. carried out in a way that the victor kingdom would arrange housing and lands Yodaya is the interpretation of the for the prisoners. Among them, strong Ayutthaya kingdom, people and culture in 57 Downloaded from Brill.com09/28/2021 07:22:04PM via free access MANUSYA: Journal of Humanities Regular 20.2, 2017 various aspects: language, food, drama, music, art and so on. Ayutthaya kingdom was found in the area of the River Chaopraya which is located in the central part of Thailand today. There was the administrative center in Ayutthaya city. Figure 2 Ayutthaya Kingdom Map in 1686 A.D. (Kasetsiri et.al., p.37) Figure 1 Ayutthaya Kingdom Map in 1683 A.D. (Kasetsiri, 2007: 41) Figure 3 Ayutthaya Kingdom Map in 1744 A.D. (Kasetsiri et.al., p.44) 58 Downloaded from Brill.com09/28/2021 07:22:04PM via free access YODAYA: Thai Classical Music in Myanmar Culture In light of what was discussed previously, including digital files, photos and verbal it could be said that certain Thai songs in records in the form of English, Myanmar the Ayutthaya kingdom entered and Thai. Other sources of data were Myanmar’s music culture as Yodaya songs. obtained from observation and field study. The study of Yodaya music could serve as a significant piece of evidence revealing Research Results the crucial features of Thai music in the Ayutthaya kingdom. Findings from this Historical Development of Yodaya study could also be used as reliable data Music for further study of classical Thai music. For this reason, the current study aimed to Yodaya has played a role in Myanmar probe the historical development of culture for a very long time since ancient Yodaya music and the characteristics and times. In the early period, it entered representation of Thai classical music in Myanmar through the Maneekhaek drama, Yodaya songs. It should also be noted that where the word “Yodaya Tee” appears. this paper is part of the doctoral Maneekhaek is believed to serve as the dissertation, entitled “Yodaya: Thai prototype
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    MUSIC AND THE PERFORMING ARTS 1. Interpreting Burmese Music from the 1920s to the 1990s – Sayuri Inoue, Associate Professor, Graduate School of Language and Culture, Osaka University, Japan Abstract: Many articles on Burmese music have been written since the early 1900s. They cover the gradually emerging corpus of Burmese music, which includes elements such as thachingyi, hkit haun, and kalabaw. In this paper, I analyze Burmese music magazines— including Didouk Journal, Gita Padeitha, and Myawadi—collected from the Universities Central Library in Yangon, as well as Burmese books on music, published between the 1920s and the 1990s. Several classical song anthologies appeared in the 1920s and 1930s, followed by articles on Burmese classical music from writers such as U Khin Zaw and Didouk U Ba Cho. Didouk U Ba Cho energetically described Burmese music theory and the interpretation of specific thachingyi songs in Didouk Journal. In 1954, the Ministry of Culture published an official classical song anthology, and thereafter, articles on Burmese classical music were produced by writers such as U Goun Ban, Hla Thamein, Than Hlain, and Nan Nyunt Swe, who contributed articles on thachingyi—regarding subjects such as songs’ aesthetic aspects, critical theory, song genre explanations, and theoretical analysis—to Gita Padeitha. Some articles on non-Burmese music, such as Western classical music and Japanese music, appeared in the 1970s. After that, many article titles began to include the term “Myanmar’s music (or instrument).” Articles on the music of Rakhine, Kachin, and Mon appeared in the 1980s, and Burmese music was more often emphasized in other articles.
  • Music and Dance from Myanmar: Shwe Man Thabin Zat Pwe

    Music and Dance from Myanmar: Shwe Man Thabin Zat Pwe

    Asia Society Presents Music and Dance from Myanmar: Shwe Man Thabin Zat Pwe Directors Shwe Man Chan Thar Tin Maung San Min Win Music Director Thiri Maung Maung U.S. Tour Manager U Aye Swe April 10-11, 2015 8:00 P.M. Pre-performance lecture by Kit Young 7:00 P.M. 725 Park Avenue New York, NY 10021 This program is approximately 90 minutes with an intermission Music and Dance from Myanmar: Shwe Man Thabin Zat Pwe Program “Ta Khaing Lon Shwe” (The Spray of Golden Flowers) “Ti Lon” - Instrumental Prelude U Han Ba (1888-1966), Composer Thiri Maung Maung Shwe Ta Sait Hsaing Waing Ensemble 1. Phaya Gadaw Kan (Invocation Prayer to the Buddha) Shwe Man Thabin Company A. Si Mi Kwet A Ka (Candlelight Offering Dance) San Shwe Sin, Minthamee B. Pwe Taw Hmyauk (Raising the Offering Bowl to the Nat Spirits) Shwe Joe Jar, Minthamee C. Hpakant Min Pu Zaw (Offering to the Nat King of Hpakant) San Min Aung, Mintha San Shwe Sin, Minthamee 2. Hni Ko Hkwe Myaing Hta (The Royal Duet in a Sylvan Setting) Shwe Man Chan Thar dances both Mintha and Minthamee roles 3. Sagaing Byaw: So - Ti -A Ka (The Byaw Tune from Sagaing: Song, Music, Dance) Composer: A-1 Saya Hnya Shwe Man Win Maung, Mintha Vocalist Chit Swan Thar, Awra Aung, Mintha Duet; Shwe Joe Jar, Minthamee 4. Kyei Let Pyaing Pwe: (Folk Dance Medley and Competition) Shwe Man Chan Thar, Eastern Village Mintha Tin Maung San Min Win, Western Village Mintha San Shwe Sin, Central Village Maiden 5.
  • Myanmar (Burma)

    Myanmar (Burma)

    BURMA COUNTRY READER TABLE OF CONTENTS Jerome Holloway 1947-1949 Vice Consul, Rangoon Edwin Webb Martin 1950-1051 Consular Officer, Rangoon Joseph A. Mendenhall 1955-1957 Economic Officer, Office of Southeast Asian Affairs, Washington DC Arthur W. Hummel, Jr. 1957-1961 Public Affairs Officer, USIS, Rangoon Kenneth A. Guenther 1958-1959 Rangoon University, Rangoon Cliff Forster 1958-1960 Information Officer, USIS, Rangoon Morton Smith 1958-1963 Public Affairs Officer, USIS, Rangoon Morton I. Abramowitz 1959 Temporary Duty, Economic Officer, Rangoon Jack Shellenberger 1959-1962 Branch Public Affairs Officer, USIS, Moulmein John R. O’Brien 1960-1962 Public Affairs Officer, USIS, Rangoon Robert Mark Ward 1961 Assistant Desk Officer, USAID, Washington, DC George M. Barbis 1961-1963 Analyst for Thailand and Burma, Bureau of Intelligence and Research, Washington DC Robert S. Steven 1962-1964 Economic Officer, Rangoon Ralph J. Katrosh 1962-1965 Political Officer, Rangoon Ruth McLendon 1962-1966 Political/Consular Officer, Rangoon Henry Byroade 1963-1969 Ambassador, Burma John A. Lacey 1965-1966 Burma-Cambodia Desk Officer, Washington DC 1 Cliff Southard 1966-1969 Public Affairs Officer, USIS, Rangoon Edward C. Ingraham 1967-1970 Political Counselor, Rangoon Arthur W. Hummel Jr. 1968-1971 Ambassador, Burma Robert J. Martens 1969-1970 Political – Economic Officer, Rangoon G. Eugene Martin 1969-1971 Consular Officer, Rangoon 1971-1973 Burma Desk Officer, Washington DC Edwin Webb Martin 1971-1973 Ambassador, Burma John A. Lacey 1972-1975 Deputy Chief of Mission, Rangoon James A. Klemstine 1973-1976 Thailand-Burma Desk Officer, Washington DC Frank P. Coward 1973-1978 Cultural Affairs Officer, USIS, Rangoon Richard M. Gibson 1974-1975 Vice Consul, Rangoon 1975-1977 Thailand-Burma Desk Officer, Washington DC David L.