Music is the use of two semi independent voices for the instrumental interpretation of all compositions in theĬlassical repertoire.
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Skeletal StructureFundamental to the technique of Burmese
#Myanmar language voice tone series#
More like 'modes', 'patet', or even 'raga' than simply a series of scales on various starting Of pitch emphasis give each of these systems a distinct character. Passing tones, exchange tones, and for temporary modulations to other athan. The other two tones in each case would be used as Pattern of I II III V VI or I III IV V VII. Out of the basic seven tones available in each athan are emphasized, most often in either a You Thei, puppet theater, certain athan were used for different periods of the theatrical night.įurthermore, in each athan there is a basic pattern of emphasized tones, in which five Traditional performance of all night theater, either the pwe, theater with live actors, or the It is also important to note in Burmese tradition that certain athan are appropriate forĬertain compositions and for transpositions from other like athan, whereas others are not. Clearly, the Burmese usage implies a practice closer to Javanese patet or even Indian Raga than the straighter directly transposable pitch series of Thai music. Thus, than you has as starting tone the pitch, than hman whereas chauk pauk shares the same pitches but has its tonal center a third higher. In each case, the basic 'mode' would be given a different name. The term athan generally refers to the pitch of the starting tone, although in the case of certain athan, for example, chauk pauk or chauk thwe nyunt, the reference is to a 'mode' in which the emphasis and finalis is on a pitch one third higher than the starting tone. Each of these seven pitches can be used as a starting tone for one or more "modes". In theory, a series of seven tone are recognized as basic. A distinctive and clear performance practice, however, indicates a conscious awareness of a highly developedĪnd clearly defined modal system among Burmese musicians. There is no term in Burmese equivalent to the Javanese patet, or the Indian raga. While there is a particular and unique name for each of these athan, In essence, Burmese music consists of a series of seven tone scales called athan(1). The final Burmese dynasty, the Alaungpaya, which began in 1752, lasted until 1885 when it was overthrown by the British. This body of music is known as the Maha Gita, or great song, and was used during the many reigns of the Burmese Monarchy. Both ensembles share a single vast repertoire. Saung Gauk.(163 k.), and the outdoor gong and drum ensemble Within the realm of Burmese traditional music, there are twoĭistinct modes of performance, a chamber music ensemble which prominently uses the Burmese harp, Burmese music is nonetheless strongly distinct from the music cultures of its neighbors.
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Burmese music also draws upon the rich heritage of Hindu Buddhist traditions. It is generally related to the music genres of South East AsiaĪnd generally uses gong chime instruments roughly similar to those of Thailand, Laos and Cambodia.
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Writings by Burmese scholars are extremely rare. There has been consequently little study of it and even Isolation which has been imposed since 1962. But it's more than that - it's gorgeous music that can stand alone.The structure of Burmese music is, regrettably, too little known outside of Myanmar due to the political
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Given the seeming lack of interest in this style among the younger generation, this stands as an important document and a record of one of the arched harp's greatest exponents. In this music it's most certainly not a case of the harp accompanying the singer the two carry absolutely equal weight, working together on the song. Inle Myint Maung, who died in 2001, was a superb harpist, able to draw exquisite tones from the instrument (just listen to his coda on "Rain and a Princess"), and Daw Yi Yi Thant offers wonderful diction, an important factor given the pronunciation variations within the Burmese language. But listen closer and there's an exquisite beauty in their clarity. Featuring a 16-string arched harp, along with a vocalist (who also utilizes two small percussion instruments), they're not easy listening, with winding melodies and great restraint of vocal emotion. These pieces, from the thachin gyi, or great song, repertoire, from the Mahagita collection, offer an insight into that tradition. While Indian classical music is widely known, that of neighboring Burma, or Myanmar, as it's now officially known, has received precious little exposure.