COUNTRY
1. Cambodia
2. Indonesia
3. Myanmar
4. Thailand
5. Malaysia
MUSIC
1. Pinpeat
2. Gamelan
3. Mahagita
4. Piphat
5. Music of Malaysia is the generic term for music that has been created in various genres in
Malaysia
Describe their music
1. One of the traditional music forms is Pinpeat (Khmer: ពិណពាទ្យ), in which
an orchestra or musical ensemble performs the ceremonial music of the royal courts and
temples of Cambodia. The royal orchestra would accompany the classical ballets, both male
(Lokhon Khol) and female (Apsara), as well as the Grand Theater of Shadows, the Sbek
Thom.
2.The most popular and famous form of Indonesian music is probably gamelan, an ensemble
of tuned percussion instruments that include metallophones, drums, gongs and spike
fiddles along with bamboo flutes. Similar ensembles are prevalent throughout Indonesia
and Malaysia, however gamelan is originated from Java, Bali, and Lombok.
3.Translated as "great music" in Pali, the Mahāgīta is an extensive collection of Burmese
classical songs called thachin gyi. The collection is divided into several different types of
songs including the following: kyo, bwe, thachin gan, the oldest repertoires; pat pyo, royal
court music; lwan chin, songs of longing; lay dway than gat; myin gin, music that makes
horses dance; nat chin, songs used to worship the nat, Burmese spirits; yodaya, music
introduced from Ayutthaya, Talaing than, music adapted from the Mon people and bole,
songs of sorrow.
4. 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 (Piphat mai khaeng; ปี่พาทย์ไม้แข็ง) or in an indoor style using padded
hammers (Piphat mai nuam; ปี่พาทย์ไม้นวม).
5. In general, music of Malaysia may be categorised as classical, folk, syncretic (or
acculturated music), popular and contemporary art music. Classical and folk music emerged
during the pre-colonial period and exists in the form of vocal, dance and theatrical music
such as Nobat, Mak Yong, Mak Inang, Dikir barat, Ulek mayang and Menora. The syncretic
music developed during the post-Portuguese period (16th century) and contains elements
from both local music and foreign elements of Arabian, Persian, Indian, Chinese and
Western musical and theatrical sources. Among genres of this music
are Zapin, Ghazal, Dondang Sayang, Mata-kantiga, Joget, Jikey, Boria and Bangsawan
I learned that music of Southeast Asian are greatly influenced by other countries
who (somehow) colonized them. This makes the Southeast Asian music a classic
because it has variety.
Southeast Asia is comprised of ten countries. Myanmar, Thailand, Laos, Cambodia,
and Vietnam are part of the mainland, while Singapore, Indonesia, Brunei (on
Borneo), and the Philippines are island nations, and Malaysia is both. Additionally,
regional and comparative studies often distinguish between highland and lowland
peoples, the diversity of ethnic groupings, and urban and rural populations. Others
stress dominant and minority religions, a history of trade, former kingdoms, and
European colonization in investigations of musical similarities and differences.
Ethnomusicological writings are not uniformly distributed among sites. Indeed, the
history of ethnomusicology and the study of Indonesia are tied particularly closely,
explaining the relative breadth and number of available sources in English. The Dutch
musicologist Jaap Kunst (b. 1891–d. 1960), who coined the term “ethno-
musicology,” studied Indonesian music, as did Mantle Hood (b. 1918–d. 2005), the
scholar who established the first ethnomusicology program at the University of
California, Los Angeles. Within Indonesian studies is a preponderance of work on the
different gamelan ensembles, particularly Central Javanese and Balinese. Conversely,
other countries of Southeast Asia are understudied for different reasons. Cambodia,
Laos, and Myanmar have been difficult to access and have been off limits to scholars
at various times. Singapore and Brunei have attracted even less attention, perhaps
because of perceptions that their musical expressions are merely localized versions
of traditions found in China, India, or other Southeast Asian countries. Despite the
many studies on the region as a whole, there is much music scholarship to be done,
especially in the aforementioned places. Vietnam has more available works on
music, though many are located in Vietnam and present a language barrier. The
writings by Trần Văn Khê (b. 1921–present) were the earliest to receive widespread
international distribution, and most are in French, but there are a number of more
recent studies in English by foreign and Vietnamese scholars. The Philippines, too,
has a good number of contemporary sources in English. Many Filipino musicologists
and ethnomusicologists were trained abroad, particularly in the United States. José
Maceda (b. 1917–d. 2004), considered to be the father of Filipino ethnomusicology,
received his doctoral degree from UCLA under Mantle Hood. The resources of this
article tend toward published and more easily accessible monographs and books, but
there are also essays in edited collections, journal articles, and dissertations included
when scholarship has been less copious.
