DOCSLIB.ORG

Music 316: MUSIC CULTURES of the WORLD - ASIA Prof

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music 316: MUSIC CULTURES of the WORLD - ASIA Prof Music 316: MUSIC CULTURES OF THE WORLD - ASIA Prof. Ter Ellingson 28D Music 543-7211 [email protected] T.A. Brent Bianchi 28 DMusic 543-7019 [email protected] Winter 2006 10:30-11:20 Monday-Friday (Thursday sections vary) Music Room 213 CD 3: SOUTHEAST ASIA Laos 1. Khen "Nam phat khay", "In the Current of the Mekong", performed by Nouthong Phimvilayphone on khen, a free-reed bamboo mouth organ with varying numbers of pipes (16 in this example); melody accompanied by harmony and occasional counterpoint in 2-3 parts. (Laos 1 A: 1) Indonesia 2. Kecak (Bali) Ramayana epic performance by male chorus and soloists in gamelan svara or "vocal gamelan" style: some voices sing "trunk" melody and gong parts to punctuate rhythmic cycle, some sing solo parts of characters in story, while others shout in interlocking patterns. Kecak chorus of Teges village, Bali. Khen (E/I Tape) 3. Legong (Bali) Music for dance by young girls depicting story of Prince Lasem and Princess Langkesari, played by Gamelan Legong orchestra consisting of metallophones (xylophones with metal keys instead of wood), flutes, and gong chimes (tuned sets of small kettle-shaped gongs with knobbed central bosses) playing "trunk" melody, faster elaborations, and slower extractions of it; larger gongs which punctuate key points in rhythmic cycle; and rhythmic elaborations by drums and cymbals. Performed by Gamelan orchestra of Teges village. (E/I Tape) Gamelan (Java) Music Cultures 316 - Asia CD 3 Prof. Ellingson 2 4. Udan Mas (Java) "Golden Rain", gamelan piece in Bubaran form (gongan cycle of sixteen beats with gong on beat 16; kenong on beats 4, 8, 12; kempul on 6, 10, 14; and kethuk on 1, 3, 5, 7, 9, 11, 13, 15). Performed by palace musicians of Paku Alaman Palace, Yogyakarta: ||: 6+ [5] 3+ 2) 6+ 5^ 3+ 2) 3+ 3^ 2+ 3) 6+ 5^ 3+ (2) :|| ||: 7+ [5] 6+ 7) 5+ 6^ 7+ 2) 2+ 7^ 6+ 5) 6+ 7^ 6+ (5) :|| (5) = Gong and Kenong 5^ = Kempul 5+ = Kethuk 5) = Kenong [5] = Wela (empty beat; no kempul) ||: :|| = Repetition (Javanese Court Gamelan 1 B: 2) Burma (Myanmar) 5. HSAING WAING ENSEMBLE: "Hnin thon tha he min--Season of Mists" This melody is drawn from the court music of the Burmese kings (17th 18th C). This ensemble is found in a variety of contexts in Burma, including monastic festivals, rituals of the spirits and sporting events. This example features the full hsaing waing troupe, including: patt waing (drum circle), hne (oboe), kyi waing (gong circle), si and wa (bell and clapper), among others. Performed by the Saing Waing of Sein Tin Htay from the town of Okkalapa (near Rangoon/Yangon). (Birmanie: Musique D'Art Ocora C559019/020) Philippines 6. KULINTANG ENSEMBLE: “Sinulog a Kangungudan,” traditional Magindanaon melody. The Kulintang ensemble is associated with the Muslim peoples of the Philippines. The two main popular styles are those of the Magindanaons and Maranaos, the two largest Muslim groups in the Mindanao islands. This example is representative of the Magindanaon style. There are three modes in the Magindanaon kulintang, each characterized by its own rhythms and melodies: binalig, sinulog, and tidtu. This example is in the newer sinulog mode. The Magindanaon kulintang ensemble features the following instruments: kulintang (row of eight graduated gongs; develops the melodic patterns), agung (two large, thick-rimmed hanging gongs; reinforces the rhythm), gandingan (4 large, thin-rimmed hanging gongs; reinforces the rhythm and plays secondary melodic part), babandil (small, thin-rimmed hanging gong; time keeper), and dabakan (goblet-shaped or hourglass-shaped drum; keeps a steady rhythm). (Kulintang : Ancient Gong/Drum Music from the Southern Philippines. World Kulintang Institute wkcd 72551) .
Load more

Recommended publications
  • BURMA/ K-N 2 5-7 March 2021 MYANMAR Chiang Mai University STUDIES Thailand Myanmar/Burma in the Changing Southeast Asian Context
    3rd International Conference on VOLUME BURMA/ K-N 2 5-7 March 2021 MYANMAR Chiang Mai University STUDIES Thailand Myanmar/Burma in the Changing Southeast Asian Context PROCEEDINGS 3RD INTERNATIONAL CONFERENCE ON BURMA/MYANMAR STUDIES: MYANMAR/BURMA IN THE CHANGING SOUTHEAST ASIAN CONTEXT 5-7 MARCH 2021, CHIANG MAI UNIVERSITY, THAILAND 3RD INTERNATIONAL CONFERENCE ON BURMA/MYANMAR STUDIES: MYANMAR/BURMA IN THE CHANGING SOUTHEAST ASIAN CONTEXT PROCEEDINGS Volume K-N 05 -07 March 2021, Chiang Mai University, Thailand 3RD INTERNATIONAL CONFERENCE ON BURMA/MYANMAR STUDIES: MYANMAR/BURMA IN THE CHANGING SOUTHEAST ASIAN CONTEXT 5-7 MARCH 2021, CHIANG MAI UNIVERSITY, THAILAND March 2021 ICBMS III Conference Secretariat Regional Center for Social Science and Sustainable Development (RCSD) Faculty of Social Sciences, Chiang Mai University, Chiang Mai, Thailand Email: [email protected], [email protected]; Website: http://burmaconference.com 3RD INTERNATIONAL CONFERENCE ON BURMA/MYANMAR STUDIES: MYANMAR/BURMA IN THE CHANGING SOUTHEAST ASIAN CONTEXT 5-7 MARCH 2021, CHIANG MAI UNIVERSITY, THAILAND Table of Contents LOCAL KNOWLEDGE ABOUT WATER AND SANITATION PATTERNS IN SHAN KALAY KYAUNG VILLAGE Khin Khin Nyein & Myint Myint Khaing ........................................................................................................... 259 MIGRATION ISSUE ON THE URBAN RESILIENCE OF YANGON AREA (CASE STUDY ON THE MOBILE/MIGRANT SETTLEMENT) Khin Mar Yee, Mu Mu Than, Wah Wah Soe, Min Min Aye Than & Hnin Khaine Aye .......................................
    [Show full text]
  • Music 316: MUSIC CULTURES of the WORLD - ASIA
    Music 316: MUSIC CULTURES OF THE WORLD - ASIA Prof. Ter Ellingson 28D Music 543-7211 [email protected] Class Website: http://faculty.washington.edu/ellingsn/Music_Cultures_of_the_World-Asia Su 2012.html CD 3: SOUTHEAST ASIA Laos 1. Khen "Nam phat khay", "In the Current of the Mekong", performed by Nouthong Phimvilayphone on khen, a free-reed bamboo mouth organ with varying numbers of pipes (16 in this example); melody accompanied by harmony and occasional counterpoint in 2-3 parts. (Laos 1 A: 1) Indonesia 2. Kecak (Bali) Ramayana epic performance by male chorus and soloists in gamelan svara or "vocal gamelan" style: some voices sing "trunk" melody and gong parts to punctuate rhythmic cycle, some sing solo parts of characters in story, while others Khen shout in interlocking rhythmic patterns. Kecak chorus of Teges village, Bali. (E/I Recording) 3. Legong (Bali) Music for dance by young girls depicting story of Prince Lasem and Princess Langkesari, played by Gamelan Legong orchestra consisting of metallophones (xylophones with metal keys instead of wood), flutes, and gong chimes (tuned sets of small kettle-shaped gongs with knobbed central bosses) playing "trunk" melody, faster elaborations, and slower extractions of it; larger gongs which punctuate key points in rhythmic cycle; and rhythmic elaborations by drums and cymbals. Performed by Gamelan orchestra of Teges village. (E/I Recording) Gamelan (Java) Music Cultures 316 - Asia CD 3 Prof. Ellingson 2 4. Udan Mas (Java) "Golden Rain", gamelan piece in Bubaran form (gongan cycle of sixteen beats with gong on beat 16; kenong on beats 4, 8, 12; kempul on 6, 10, 14; and kethuk on 1, 3, 5, 7, 9, 11, 13, 15).
    [Show full text]
  • 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.
    [Show full text]
  • The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 8-2019 Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works Tachinee Patarateeranon Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Patarateeranon, Tachinee, "Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works" (2019). Master's Theses. 93. https://digscholarship.unco.edu/theses/93 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School TRADITIONAL SOUNDS ON WESTERN INSTRUMENTS: THE USE OF TRADITIONAL MUSIC OF MAINLAND SOUTHEAST ASIA IN WESTERN ORCHESTRAL WORKS A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Tachinee Patarateeranon College of Visual and Performing Arts Department of Music Music History and Literature August 2019 This Thesis by: Tachinee Patarateeranon Entitled: Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works has been approved as meeting the requirement for the Degree of Master of Music in the College of Visual and Performing Arts, Department of Music, Program of Music History and Literature Accepted by the Thesis Committee: _______________________________________________________ Dr. Deborah Kauffman, D.M.A., Advisor _______________________________________________________ Dr.
    [Show full text]
  • The Development of the Modern Burmese Hsaing Ensemble
    UC Irvine UC Irvine Previously Published Works Title The Development of the Modern Burmese Hsaing Ensemble Permalink https://escholarship.org/uc/item/1s12388x Journal ASIAN MUSIC, XVI-1 Author Garfias, R Publication Date 1985 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Development of the Modern Burmese Hsaing Ensemble Author(s): Robert Garifas Source: Asian Music, Vol. 16, No. 1 (1985), pp. 1-28 Published by: University of Texas Press Stable URL: http://www.jstor.org/stable/834011 Accessed: 16-05-2017 21:59 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/834011?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms University of Texas Press is collaborating with JSTOR to digitize, preserve and extend access to Asian Music This content downloaded from 128.200.102.71 on Tue, 16 May 2017 21:59:21 UTC All use subject to http://about.jstor.org/terms THE DEVELOPMENT OF THE MODERN BURMESE HSAING ENSEMBLE by Robert Garifas Burmese music is certainly one of the least known of all the various musics of Asia.
    [Show full text]
  • Southeast Asian Music
    8 Music Southeast Asian Music Government Property NOT FOR SALE Music— Grade 8 Alternative Delivery Mode Quarter 1 — Module 1: Southeast Asian Music First Edition, 2020 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this book are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Published by the Department of Education – Division of Gingoog City Division Superintendent: Jesnar Dems S. Torres, PhD, CESO VI Development Team of the Module Writer: Julita A. Lauroza Reviewer: Sherwin A. Cuerdo, EPS-MAPEH Jenny R. NAvarro, MAPEH Department Head Julita A. Lauroza Layout Artist: Joemar P. Valdevilla Management Team Chairperson: Jesnar Dems S. Torres, PhD, CESO VI Schools Division Superintendent Co-Chairperson: Conniebel C. Nistal, PhD Assistant Schools Division Superintendent Pablito B. Altubar, CID Chief Members: Sherwin A. Cuerdo, EPS-MAPEH Himaya B. Sinatao, LRMS Manager Jay Michael A. Calipusan, PDO II Mercy M. Caharian, Librarian II Printed in the Philippines by Department of Education – Division of Gingoog City Office Address: Brgy. 23, National Highway, Gingoog City Telefax: 088-328-0108 / 088328-0118 E-mail Address: [email protected] 8 Music Quarter 1 – Module 1: Southeast Asian Music Table of Contents What This Module is About .......................................................................................................................
    [Show full text]
  • The Popular Music Industry in Yangon, Burma A
    REVEALING THE HEART: THE POPULAR MUSIC INDUSTRY IN YANGON, BURMA A Dissertation Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Heather Mary MacLachlan August 2009 © 2009 Heather Mary MacLachlan REVEALING THE HEART: THE POPULAR MUSIC INDUSTRY IN YANGON, BURMA Heather Mary MacLachlan, Ph.D. Cornell University 2009 This dissertation is an ethnography of the Burmese popular music scene, which is centered in Yangon, Burma. The author attended concerts, rehearsals, recording sessions and music classes to develop the data discussed in the dissertation. She conducted seventy-seven individual interviews with members of the industry, including singers, instrument players, composers, studio owners, producers, managers, radio station employees and censors. In Chapter 1, she describes a typical recording session and then explains how the people there typify the larger Burmese pop music scene in terms of their gender, religion, career path, and their relationships to their fans, each other, and their government. She argues that musicians‟ frequent contributions to humanitarian causes are relevant to the ongoing debate about the development of civil society in Burma today. In Chapter 2, she describes a typical live show. She analyzes the kind of music that Burmese pop musicians create and describes their theories about music, showing that, for them, preserving the Anglo-American pop tradition is usually more important than creating innovative musical works. In Chapter 3, she explains the Burmese approach to learning and rehearsing music, showing that musicians‟ beliefs about talent mediate their rehearsal practices. Chapter 4 explains that, in Burma, musical recordings are distributed both via legal channels and by pirates, who pose – according to industry members – a tremendous threat to the industry.
    [Show full text]
  • Abstracts Book – Note to Reader
    SEM 63rd Annual Meeting Society for Ethnomusicology 63rd Annual Meeting, 2018 Individual Presentation Abstracts SEM 2018 Abstracts Book – Note to Reader The SEM 2018 Abstracts Book is divided into two sections: 1) Individual Presentations, and 2) Organized Sessions. Individual Presentation abstracts are alphabetized by the presenter’s last name, while Organized Session abstracts are alphabetized by the session chair’s last name. Note that Organized Sessions are designated in the Program Book as “Panel,” “Roundtable,” or “Workshop.” Sessions designated as “Paper Session” do not have a session abstract. To determine the time and location of an Individual Presentation, consult the index of participants at the back of the Program Book. To determine the time and location of an Organized Session, see the session number (e.g., 1A) in the Abstracts Book and consult the program in the Program Book. Individual Presentation Abstracts Pages 1 – 76 Organized Session Abstracts Pages 77 – 90 Society for Ethnomusicology 63rd Annual Meeting, 2018 Individual Presentation Abstracts Ethiopian Reggae Artists Negotiating Proximity to Repatriated Rastafari American Dreams: Porgy and Bess, Roberto Leydi, and the Birth of Italian David Aarons, University of North Carolina, Greensboro Ethnomusicology Siel Agugliaro, University of Pennsylvania Although a growing number of Ethiopians have embraced reggae music since the late 1990s, many remain cautious about being too closely connected to the This paper puts in conversation two apparently irreconcilable worlds. The first is repatriated Rastafari community in Ethiopia whose members promote themselves that of George Gershwin’s Porgy and Bess (1935), a "folk opera" reminiscent of as reggae ambassadors. Since the 1960s, Rastafari from Jamaica and other black minstrelsy racial stereotypes, and indebted to the Romantic conception of countries have been migrating (‘repatriating’) to and settling in Ethiopia, believing Volk as it had been applied to the U.S.
    [Show full text]
  • Asian and Asian-American Music
    PORTLAND PUBLIC SCHOOLS GEOCULTURAL BASELINE ESSAY SERIES ASIAN AND ASIAN-AMERICAN MUSIC By Hiromi Lorraine Sakata Hiromi Lorraine Sakata Dr. Sakata is a Japanese-American born in California who lived and worked in Afghanistan, Pakistan and India. She has a Ph.D. in Ethnomusicology with emphasis on music of Asia especially East, South, and Southeast Asia. Dr. Sakata has received many awards, fellowships, and grants from the University of Washington, the Fulbright Scholars Program, the Smisthsonian Institution, and the Indo-U.S. Sub-Commission on Education and Culture. She is the author of many books and articles. Dr. Sakata has served as Chair of the University of Washington Ethnomusicology Division and Archives in the School of Music. Currently, she is Professor of Ethnomusicology and Associate Dean for Academic Affairs in the School of the Arts and Architecture at the University of California at Los Angeles. Version: 1999-12-22 PPS Geocultural Baseline Essay Series AUTHOR: Sakata SUBJECT: Music CONTENTS CONTENTS........................................................................................................................I PREFACE.......................................................................................................................... 1 INTRODUCTION............................................................................................................. 5 EAST ASIA...................................................................................................................... 11 SOUTHEAST ASIA.......................................................................................................
    [Show full text]