Transcript Music of Southeast Asia

Vietnam, Thailand and the Philippines
 Traditional
Vietnamese music is highly
diverse and combines many native and
foreign influences.
 Throughout its history, Vietnam has been
heavily impacted by the Chinese musical
tradition, along with Korea and Japan.
 However, even with these foreign influences,
Vietnam has a unique musical tradition
stemming from its native roots.
 Native
Vietnamese music is comprised of two
types: Imperial Court music and Folk music.
 Nhã
nhạc ("elegant music", ritual and
ceremonial music) is the most popular form
of imperial court music, specifically referring
to the court music played from the Trần
Dynasty (1225-1400) to the very last Nguyễn
Dynasty (1802-1945)
 Along with nhã nhạc, the imperial court of
Vietnam in the 19th century also had
many royal dances which still exist to this
day. The theme of most of these dances is to
wish the kings longevity and the country
wealth.
 In Vietnamese traditional dance court dances
were defined as either van vu (civil servant
dance) or vo vu (military dance)
 Đại
nhạc ("great music") and Tiểu nhạc ("small
music) was chamber music for the
entertainment of the king
 Classical music is also performed in honor of
gods and scholars such as Confucius in
temples.
Vietnamese folk music is extremely diverse and
includes many forms.
 Chèo is a form of generally satirical musical
theatre, traditionally performed by peasants in
northern Vietnam. It is usually performed
outdoors by touring groups, in a village square or
the courtyard of a public building. Today it is
increasingly also performed indoors
 Xẩm is a type of Vietnamese folk music which
was popular in the Northern region of Vietnam
but is considered nowadays an endangered form
of traditional music in Vietnam. In the dynastic
time, xẩm was generally performed by blind
artists who wandered from town to town and
earned their living by singing in common place.
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 Quan
họ (alternate singing) is popular across
Vietnam; numerous variations exist,
especially in the Northern provinces. Sung a
cappella, quan họ is improvised and is used
in courtship rituals.
 Hát chầu văn is a spiritual form of music used
to invoke spirits during ceremonies. It is
highly rhythmic and trance-oriented. Before
1986, the Vietnamese government repressed
hát chầu văn and other forms of religious
expression. It has since been revived by
musicians like Phạm Văn Tỵ.
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Nhạc dân tộc cải biên is a modern form of
Vietnamese folk music which arose in the 1950s after
the founding of the Hanoi Conservatory of Music in
1956. This development involved writing traditional
music using Western musical notation, while Western
elements of harmony and instrumentation were
added. Nhạc dân tộc cải biên is often criticized by
purists for its watered-down approach to traditional
sounds
Ca trù is a popular folk music which is said to have
begun with a female singer who charmed the enemy
with her voice. Most singers remain female, and the
genre has been revived since the Communist
government loosened its repression in the 1980s,
when it was associated with prostitution. Ca trù is
thought to have originated in the imperial palace,
eventually moving predominantly into performances
at communal houses for scholars and other members
of the elite. It can be referred to as a geisha-type of
entertainment where women, trained in music and
poetry, entertained rich and powerful men.
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Đàn bầu (monochord zither)
Đàn gáo (two-stringed fiddle with coconut body)
Đàn nguyệt (two-stringed fretted moon lute)
Đàn nhị (two-stringed fiddle with hardwood body)
Đàn sến (two-string fretted lute)
Đàn tam (fretless lute with snakeskin-covered body and three
strings)
Đàn tam thập lục (hammered dulcimer)
Đàn tranh (long zither)
Đàn tỳ bà (pear-shaped four-stringed fretted lute)
Kèn bầu (oboe)
T'rưng (bamboo xylophone)
K'ni (also spelled k'ny or k'ný) - one-string vertical fiddle with a
resonating disc that is held in the player’s mouth
K’longput - made from a series of large bamboo pipes of
varying lengths, each closed at one end or open at both ends.
The pipes are placed on their sides with the open ends facing
the musician, who has no direct contact with the instrument.
Instead, the player cups both hands and claps quietly
 The
embrace of Modern Pop music culture
has increased, as each new generation of
people in Vietnam has become more exposed
to and influenced by westernized music
along with the fashion styles of China, Japan,
and South Korea.
 Musical production has improved and
expanded over the years as visiting
performers and organizers from other
countries have helped to stimulate the
Vietnamese entertainment industry.
 During
the recent years such as 2006 and
beyond, Vietnamese pop music has
tremendously improved from years past.
With the help of the Internet and sites such
as Zing, Vietnamese music has been able to
reach to audiences nationally and also
overseas
 In Vietnam, there is no official music chart
across the country or digital sale, though is
reflected in "sales" of pirate CD and
downloads.
 Pop
 More
pop
 And R&B
 Rap
 And then there’s this…
 Rock
n Roll was first introduced by American
soldiers, and became very popular
 Metal is becoming a very popular genre
 The
music of Thailand reflects its geographic
position at the intersection of China and
India, and reflects trade routes that have
historically included Persia, Africa, Greece
and Rome.
 Though Thailand was never colonized by
colonial powers, pop music and other forms
of modern Asian, European, and American
music have been very influencial.
Thai classical music is synonymous with those
stylized court ensembles and repertoires that
emerged in its present form within the royal
centers of Central Thailand some 800 years ago.
 There are three primary classical ensembles,
the Piphat, Khrueang sai and Mahori.
 While they differ in significant ways, they all
share a basic instrumentation and theoretical
approach. Each employ the small ching hand
cymbals and the krap wooden sticks to mark the
primary beat reference. Several kinds of small
drums (klong) are employed in these ensembles
to outline the basic rhythmic structure (natab)
that is punctuated at the end by the striking of a
suspended gong (mong).
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Traditional Thai classical repertoire is
anonymous, handed down through an oral
tradition of performance in which the names of
composers are not known.
 However, since the beginning of the modern
Bangkok period, composers' names have been
known and, since around the turn of the century,
many major composers have recorded their
works in notation.
 Musicians, however, imagine these compositions
and notations as generic forms which are
realized in full in idiosyncratic variations and
improvisations in the context of performance.
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The most common and iconic Thai classical music that
symbolizes the dancing of the Thailand's legendary dragons.
A midsized orchestra including two xylophones (ranat), an
oboe (pi), barrel drums (klong) and two circular sets of
tuned horizontal gong-chimes (khong wong lek and khong
wong yai).
Piphat can be performed in either a loud outdoor style using
hard mallets or in an indoor style using padded hammers.
There are several types of piphat ensembles ranging in size
and orchestration, each kind typically being associated with
specific ceremonial purposes.
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The highly decorated piphat ensemble that features the ornately
carved and painted semicircular vertical gong-chime is
traditionally associated with the funeral and cremation
ceremonies of the Mon ethnic group.
Different versions of the piphat ensemble are employed to
accompany specific forms of traditional Thai drama such as the
large shadow puppet theater (nang yai) and the khon dance
drama.
The Khrueang Sai orchestra combines some of
the percussion of wind instruments of the piphat
with an expanded string section including
the saw duang (a high-pitched two-string bowed
lute), the lower pitched saw u (bowed lute) and
the three-string jakhe (a plucked zither).
 In addition to these instruments are
the khlui (vertical fipple flute) in several sizes
and ranges, a goblet drum (thon-rammana) and,
occasionally, a small hammered Chinese
dulcimer (khim).
 The khrueang sai ensemble is primarily used for
instrumental indoor performances and for
accompanying the Thai hoon grabok (stickpuppet theater)
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The third major Thai classical ensemble is the
Mahori, traditionally played by women in the courts
of both Central Thailand and Cambodia.
Historically the ensemble included smaller
instruments more appropriate, it was thought, to the
build of female performers. Today the ensemble
employs regular sized instruments—a combination of
instruments from both the Khruang Sai and Piphat
ensembles but excluding the loud and rather shrill
oboe pi.
The ensemble, which is performed in three sizes—
small, medium and large—includes the threestring saw sam sai fiddle, a delicate-sounding,
middle-range bowed lute with silk strings. Within the
context of the Mahori ensemble, the saw sam sai
accompanies the vocalist, which plays a more
prominent role in this ensemble than in any other
classical Thai orchestra.
Luk thung, or Thai country music, developed in
the mid-20th century to reflect daily trials and
tribulations of rural Thais.
 Mor lam is the dominant folk music of the northeastern region. Its focus is on the life of the
rural poor. It is characterized by rapid-fire,
rhythmic vocals and a funk feel to the
percussion.
 The north-east is also known for kantrum, which
is much less famous than mor lam. It is a swift
and very traditional dance music. In its purest
form, singers, percussion and tro (a type of
fiddle) dominate the sound. A more modern form
using electric instrumentation arose in the mid1980s.
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 By
the 1930s, Western classical
music, showtunes, jazz and tango were
popular. Soon, jazz grew to dominate Thai
popular music. The Thai version of this
music was called pleng Thai sakorn, which
incorporated Thai melodies with Western
classical music. This music continued to
evolve into luk grung, a romantic music that
was popular with the upper-class.
By the 1960s, Western rock was popular and Thai
artists began imitating Western bands; this music
was called wong shadow, and it soon evolved
into a form of Thai pop called string.
 The '70s also saw artists beginning to use
the Thai language in rock music as well as the
rise of protest songs called phleng pheua chiwit
(songs for life).
 The earliest phleng pheua chiwit band was
called Caravan, and they were at the forefront
of a movement for democracy. In 1976, police
and right wing activists attacked students
at Thammasat University; Caravan, along with
other bands and activists, fled for the rural hills.
There, Caravan continued playing music for local
farmers, and wrote songs that would appear on
their later albums.
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String pop took over mainstream listeners in
Thailand in the 90s, and bubblegum
pop stars became best-sellers.
 Simultaneously, Britpop influenced alternative
rock artists and they became popular in late
1990s.
 The late 90's saw pop overshadowed by the
remarkable commercial resurgence of Luk
Thung, but modern Luk Thung has also adopted
some elements from the pop acts.
 Heavy Metal music in Thailand was very popular
in early 90s, and continues to be popular today.
 Thailand has also seen a huge boost in Indie
artists in recent years
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 Pop
 More
pop
 And then this…
 Rap
 Research
an aspect of the Filipino culture.
This can include music, dress, dancing,
history, etc. Present your findings to the
class after thirty minutes of research time.
 The
music of the Philippines is a mixture
of indigenous, other Asian, European, Latin
American, and American influences.
 Traditional Philippine music is reflective of
the country's history as a melting pot of
different cultures. Among the dominant
cultural strains noticeable today are HispanoMexican, American and to some extent
Chinese, Indian and Islamic.
 Because of the mixture of cultures, it is
difficult to strictly classify the whole corpus
of Philippine music as either Western or
Eastern.
 Philippine
gong music is a very important
part of their musical culture.
 These metal instruments, usually made of
brass, are used by Filipinos as means of
entertainment or as an important part of
worship, ceremonies and various religious
rituals practiced even centuries ago.
 Unchanged by the modern ways, a wide
variety of gongs are used until the present
day.
 Northern
Philippines: Widely used is the
gangsa. This is made of metal such as copper
and brass, sometimes with a mixture of gold.
It is flat-topped with a straight rim. Various
sizes are used for a gangsa ensemble, a
group of five or six players who perform their
rhythms to accompany dancers. The gongs
are beaten with the hands or with a padded
stick and may be carried hung from a string
or placed on the lap. Exciting rhythms are
produced by the gangsa.
Southern Philippines: Gong playing is part of the
centuries-old culture of many groups of Filipinos in this
region. Several types of gongs are found in this part of
the country.
 Among these are the Manobo and the Maguindanaon
gongs.
 Manobo gongs resound in patterns of rhythm and
melody. These gongs have a small node, called boss, on
top. Some Manobo gong ensembles may have five gongs
played by five players. Others consist of eight or ten
gongs of different sizes which are suspended on a
frame. The ten-gong ensemble is called the ahong.
 A different type of gong ensemble may be heard among
the Maguindanaon by large groups of these Muslim
Filipinos. There are four types of gongs all with a boss
on top. These are the kulintang, gandingan, agong, and
babandil.
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 The
kulintang consists of eight gongs of varied sizes
placed in a row on a stand. The player uses two
wooden beaters to strike melody patterns on five
gongs.
 Two pairs of narrow-rimmed gongs of different
sizes suspended on a frame make up the
gandingan. The gongs are struck by a player to
produce melodic-rhythmic patterns.
 The agong is the largest and deepest-rimmed gong
of the ensemble, thus producing a low pitch. It is
struck with a padded stick. The ensemble may have
one or two agongs.
 The babandil has a narrow rim and a smaller boss.
Rhythmic patterns are produced by striking the
rim.
 The
palabunibunyan is a complete gong
ensemble which includes the dabakan, the
only instrument which is not a gong.
 The dabakan is a drum made from a
hollowed tree trunk and with goat skin being
used for the head of the drum.
 Feasts, official functions, and family
celebrations are usually accompanied by the
palabunibunyan playing.
 The
Harana and Kundiman are lyrical songs
popular in the Philippine Islands dating back
to the Spanish period.
 Harana are traditional courtship songs in
the Mexican-Spanish tradition based on the
habanera rhythm
 Kundiman is also characterized by a minor
key at the beginning and shifts to a major
key in the second half. Its lyrics depict a
romantic theme, usually portraying love,
passion, or sadness.
 The
Tinikling is a Philippine dance which involves
two individual performers hitting bamboo poles,
using them to beat, tap, and slide on the ground,
and against each other in co-ordination with one
or more dancers who steps over, and in between
poles.
 The Cariñosa (meaning loving or affectionate
one), is a Philippine national dance where
the fan, and handkerchief plays an instrument
role as it places the couple in romance scenario.
The Cariñosa is accompanied with Hispanic
music, and language
 The Rondalla is performed on ensembles
comprising mandolin instruments of various sizes
called banduria. Other instruments
including guitars, are also performed.
 Original
Pilipino Music, now more commonly
termed Original Pinoy Music or Original
Philippine Music or OPM for short, originally
referred only to Philippine pop songs,
particularly ballads, such as those popular
after the collapse of its predecessor,
the Manila Sound in the late 1970s, up until
the present.
 From its inception, OPM has been centered in
Manila, where Tagalog, and English are the
dominant languages. Other language groups,
despite making music in their native
languages, have not been recognized as OPM.
 1980s
 1990s,
1990s
 Current,