SOUTHEAST

ASIAN
MUSIC
OBJECTIVES
 Analyze the music of Southeast Asia
 Perform using the music of Southeast Asia
 Analyze examples of Southeast Asian music and describes
how the musical elements are used
 Relate Southeast Asian music to the lives of the people
 Explain the distinguishing characteristics of representative
Southeast Asian music in relation to history and culture of the
area
KNOW THY NEIGHBORS!
 Identify the different countries in Southeast Asia
represented by the following Flags.

INDONESIA
KNOW THY NEIGHBORS!
 Identify the different countries in Southeast Asia
represented by the following Flags.

THAILAND
KNOW THY NEIGHBORS!
 Identify the different countries in Southeast Asia
represented by the following Flags.

CAMBODIA
KNOW THY NEIGHBORS!
 Identify the different countries in Southeast Asia
represented by the following Flags.

MYANMAR
CAMBODIA
Cambodia is one of the most beautiful
countries in Southeast Asia. It is also known as
Kâmpŭchéa. It was the center of the Khmer
(Cambodian) kingdom of Angkor, a great empire
that dominated Southeast Asia for 600 years.
Their music gained a world-wide reputation in
the 1960s until the dramatic political problems in
Cambodia.
ANGKOR WAT
 Art music is highly influenced by
ancient forms as well as Hindu forms.
Cambodian court music is roughly
similar to that of Java, Indonesia. They
feature choruses with large orchestras
based on struck keys and gongs.
 Cambodian people also absorbed and
adopted Indian, Chinese, European, and
other cultures to suit their own traditions
and tastes that resulted in a distinct
Cambodian culture.
 The Pinpeat is a Cambodian musical
ensemble or an orchestra that usually
accompanies ceremonial music of the royal
courts and temples. Music is always part of
their court dances, masked plays, shadow
plays, and religious ceremonies. This group is
similar to the Piphat ensemble of Thailand
and usually consists of nine or ten
instruments.
THE PINPEAT
INDONESIA
Indonesia is an archipelago in Southeast
Asia comprising approximately 17,500
islands. With over 238 million people,
Indonesia is the world's fourth most
populous country and is the fourth biggest
nation of the world.
BOROBUDUR
 Through interaction with other
cultures such as Indian, Arabic, Chinese
and European, a wide range of musical
styles has been developed. Today the
contemporary music of Indonesia is
popular not only in the region but also in
the neighbouring countries.
THERE ARE TWO BASIC KINDS OF
INDONESIAN MUSIC SCALE:
Slendro – five (5) equidistant tones in octave
Pelog – heptatonic (7) tone scale with semi tone

Both vocal and instrumental music in Indonesia use

slendro and peloq scales.
 Polyphonic stratification kind of melody is a result of
hocket/Interlock.
 Interlocking is a common technique used in gong
ensembles.
Irama – is an Indonesian term for tempo
GAMELAN
The Gamelan or Gamelan orchestra is the
most popular form of music in Indonesia. There
are many types of Gamelan but the famous
Javanese and Balinese Gamelan are the most
famous. It contains a variety of instruments such
as metallophones, xylophones, kendang and
gongs; bamboo flutes, bowed and plucked
strings.
 Vocal music is used as ornamentation of
the Gamelan. It is as important as gamelan.
1. Pesindhen is a female soloist singer who
sings with a Gamelan
2. Gerong refers to the unison male chorus
that sings with the gamelan
REMEMBER:
Karawitan is the term for every kind of gamelan music
in Java.
Gamelan orchestra
- are used to accompany dances, songs, and Wayang
Kulit
- are believed to possess supernatural powers
- consider their instruments sacred, therefore stepping
over the instrument is a sign of disrespect
- musicians bow before playing the instruments to show
respect
Javanese Gamelan Balinese Gamelan

 Used for court music  Used for sacred music

 Percussion dominated  Consist of metallophone
and mostly gongs
 Style of playing gives
 Sudden change of tempo
solemn character and dynamics are the
basic characteristic.
 Sounds are very bright
and brilliant
 Use of fast and rattling
sounds of cymbals makes
distinctive characters
MYANMAR
Myanmar was known as Burma until 1989.
When the country’s name was officially changed
by the military government that took over in
1988. Early civilization in Myanmar dates back
to the 1st century with archaeological evidences
of the Pyu Kingdoms of Thayekhittaya (Sri
Ksetra), Beithano (Visnu), and Hanlin.
SCHWEDAGO
 The music of Myanmar (or Burma) has
similarities with many other musical
traditions in the region, including Chinese
music and Thai music, probably because its
longest land border is shared with China.
 The Hsaing Waing is Myanmar’s
traditional folk music ensemble. It is
made up mainly of different gongs and
drums as well as other instruments
depending on the nature of the
performance.
 Myanmar’s musical instruments are
categorized into 2 types, the loud sounding and
soft sounding. The loud sounding instruments
are performed in open-air ensembles at
ceremonies and festivals. Most of the Hsaing
Waing instruments belong to the loud
sounding category.
OTHER INSTRUMENTS IN THE HSAING
WAING ARE THE:
 For more formal and classical performances
that are performed indoors, the ensemble may be
accompanied by the saung gauk the national
instrument of (13-string angular harp with
soft sound) Myanmar, the pattala (Burmese
xylophone), or the piano and violin, both
introduced during colonial rule.
 Myanmar not only has musical ensembles but also
an extensive collection of classical songs called the
Mahagita. These songs are divided into different
types like the oldest repertoires, royal court music,
songs of longing, horses’ dance songs, worship
songs for Burmese spirits, and songs of sorrow and
music adapted from Ayutthaya and the Mon
people. The saung gauk usually accompanies these
songs.
MALAYSIA
Malaysia is a constitutional monarchy in
Southeast Asia. It is divided into two regions:
1. West Malaysia – also known as Peninsular
Malaysia
2. East Malaysia consists of thirteen states and three
federal territories. Chinese and Indian cultural
influences made their mark when trade began in
the country. Trading also increased when
immigrants flocked to Malaysia.
PAHANG STATE MOSQUE
 The country is multi-ethnic and multi-
cultural, which plays a large role in developing
their culture. The constitution declares Islam the
state religion while protecting freedom of
religion.
MULTI-RACIAL GROUPS THAT
INFLUENCED MALAYSIA’S MUSIC
GENRE:

1. Malay
2. Chinese
3. Indian
4. Iban
5. Dayak
6. Kadazandusun
7. Eurasians
 Malaysian music is largely based
around percussion instruments. It has
multi-cultural influence and is believed to
have originated in the Kelantan-Pattani
region with a mixture of Indian, Chinese,
Thai, and Indonesian influences.
THE MUSIC OF MALAYSIA MAY BE
CATEGORIZED INTO TWO TYPES:

1. Classical and Folk music emerged during the pre-

colonial period and still exists in the form of vocal,
dance, and theatrical music.

2. Syncretic or Acculturated music developed during

the post-Portuguese period (16th century). It contains
elements from both local music and foreign elements
of Arabian, Persian, Indian, Chinese, and Western
musical and theatrical sources.
MALAYSIAN MUSICAL INSTRUMENTS
Musical instruments of Malaysia are greatly
associated with their culture and roots. Due to
colonization, the stages of development of
Malaysian instruments are great. They share
some common features with Indian musical
instruments. After the colonization of Malaysia
by the British, the musical development was
influenced by Western music.
MUSICAL ENSEMBLES AND TYPES OF
PERFORMANCES IN MALAYSIA:

1. Agung and Kulintang

This is a gong-based musical ensemble
commonly used in funerals and weddings in East
Malaysia. This type of ensemble is similar to the
kulintang of the Philippines, Brunei, and
Indonesia.
AGUNG AND KULINTANG
2. KERTOK

This is a musical ensemble from the

Malay Peninsula that consists of xylophones
played swiftly and rhythmically in
traditional Malay functions.
KERTOK
3. DIKIR BARAT

This is a type of musical form that is

important to Malaysia’s national culture.
It is performed by singing in groups and often
in a competitive manner usually with percussion
instrumental accompaniment or sometimes
without instruments at all.
DIKIR BARAT
4. SILAT MELAYU
This is a form of martial art that is
similar to t’ai chi. It originated in the
Malay Peninsula since the Christian Era
and is a mixture of martial arts, dance,
and music usually accompanied by gongs,
drums, and Indian oboes.
SILAT MELAYU
THAILAND

Formerly known as Siam, Thailand is

known for being the sole nation in
Southeast Asia that has never been ruled
by a Western power. It is for this reason
that the country is also called “Muang
Thai,” which means “Land of the Free.”
AYUTTHAYA RUINS
 History and geography indicates that Thai
music is a conglomeration of Asian influences.
Its musical principles and elements are basically
derived from Chinese music, while its musical
instruments are inspired from the Indian and
Indonesian strings and gong-chimes. The Thais
combined and adapted these to their culture and
created their own unique music.
 Music is theoretically based on the five-tone
or seven-tone scale system. It is not only
confined to the royal courts but is also used
extensively in dance, theatre, and in
ceremonies.
Thai folk music consists of simple songs with
simple melodic lines. Its main focus in singing is
the articulation of the text rather than the style or
technique of execution.
 Songs of Thailand have inherently poetic lyrics
which allow a singer or performer to easily define
the melodic lines. It provides the singer the
opportunity to improvise song text to suit the given
occasion. The interpretation of a singer gives
meaning to the sacred and spiritual essence of
songs with free rhythm while melodies may either
be interpreted or written in the high or low register
with long or short durations.
INSTRUMENTAL ENSEMBLES
Piphat - It is a mid-sized orchestra that is performed
in either outdoor style with hard mallets or indoor style
with padded mallets. This ensemble has different types
but the highly ornate one is traditionally associated with
funerals and cremation ceremonies. Other versions of the
piphat ensemble are used to accompany specific forms of
traditional Thai drama such as the large shadow puppet
theatre (nang yai) and the khon dance drama.
PIPHAT
KHRUEANG SAI

It is an orchestra that combines some of

the percussion and wind instruments of the
Piphat with an expanded string section.
This group is primarily used for indoor
performances and for the accompaniment
of stick-puppet theater.
KHRUEANG SAI
MAHORI

This ensemble is traditionally played by

women in the courts of Central Thailand and
Cambodia. Because of this, instruments for this
ensemble are historically smaller. However,
regular-sized instruments are used today. A
vocalist performing with the Mahori is usually
accompanied by the so sam sai.
MAHORI
LAOS
This country is an independent state of
Southeast Asia and officially known as
Lao People’s Democratic Republic. It is
formerly part of the Indochinese Union,
also known as French Indochina. Wat Pha
That Luang, Vientiane is one of its
famous landmarks.
WAT PHA THAT LUANG
 The classical music and dance of Laos
is highly influences by India, Cambodia,
and Thailand.
Themes are drawn from Hindu
mythology, the Buddhist Jatakatales, and
local legends.
 The royal entourage of Lao kings
traditionally included musicians, and
a typical orchestra improvised songs
with sets of tuned gongs, xylophones,
a bamboo flute, and other wind
instruments.
THE LAO ORCHESTRA CAN BE DIVIDED
INTO TWO CATEGORIES:

1. Sep Nyai - This is similar to the Piphat of Thailand

with instruments that are strictly percussive but also
integrates the use of an oboe.

2. Sep Noi – This is also known as the Mahori of

Thailand. However, it incorporates the use of several
Khene which is a large bamboo mouth organ and is
the most popular folk music instrument of Laos.
 Traditional music, called Mor lam, is largely based
around the khene.
VIETNAM
Vietnam is officially known as the
Socialist Republic of Vietnam. This
country is located on the eastern coast of
the Indochinese Peninsula.
THIEN MU
 Vietnamese music (nhạc Việt Nam) refers to
the ethnic music that originated from the "Kinh"
people of Vietnam. This term is also used to
address the music of any of the numerous ethnic
minorities including the Montagnard, Degar,
Tay, Cham, and others.
 Although Vietnam is geographically part of
Southeast Asia, ten centuries of rule by the Chinese
to the north have made the culture much closer to
Far East than to its Southeast Asian neighbors. Thus,
early music theory was either based upon or adapted
to the prevailing Chinese theory, and the majority of
instruments used in the royal court were of Chinese
origin.
 On the other hand, other influences can be
seen with the ethnic minorities, such as the
Chàm or Montagnard peoples. This is possibly
due to interaction with the other countries of
Southeast Asia. Vietnamese music shows signs
of Indian influences, noticeable in improvisation
preludes of chamber music (known as rao in the
South and dao in the north) as well as usage
of onomatopoeia in drum playing.
TRADITIONAL AND FOLK MUSIC
Vietnamese traditional music can be
separated into a few major categories,
divided predominantly by the way in
which were used in the people's cultural
lives.
CATEGORIES OF VIETNAMESE MUSIC:
1. Imperial court music – The most popular of this
kind is the Nha nhac that was popularly performed
during the Tran Dynasty to the Nguyen Dynasty.
This form of classical music is also performed in
honour of the gods and scholars in temples. Other
classical music falling into this category include the
Dai Nhac (“great music”) and the Tieu Nhac (“small
music”) which was performed as chamber music for
the king.
IMPERIAL COURT MUSIC
FOLK MUSIC
This category is extremely diverse because it
includes music performed both indoors and outdoors.
Performers of this category are also diverse. They
may be professional musicians down to the blind
artists in the streets who perform to earn their living.
Vietnamese folk music are performed in different
occasions depending on its sub-category.
 It may be performed in musical theaters,
streets, courtship rituals, and ceremonies for
invoking spirits. They are sometimes also
influenced by Western elements. Some
Vietnamese music only makes use of female
singers and some have both male and female
singers.
FOLK MUSIC
RELIGIOUS AND CEREMONIAL MUSIC

This is music performed in

religious rituals or at funerals.
SINGAPORE
 The Republic of Singapore is an independent
republic in Southeast Asia, comprised of one
main island and about 50 small adjacent islands
off the southern tip of the Malay Peninsula.
About three-fourths of the people of Singapore,
known as Singaporeans, are Chinese, but there
are significant Malay and Indian minorities.
 Singapore’s cultural life reflects its
colonization by the British Empire and its
diverse population. Being the melting pot
of different cultures in Asia, folk music of
this country reflects the culture and
traditions of specific groups.
 The ethnic groups which made a prominent
place in the musical world of Singapore have
been Chinese, Indian Malays, and Tamils. Other
minority Asian ethnic groups which have also
made a mark in the folk culture of Singapore are
the Cantonese, Hokkien, and Malay Bangwasan.
 Through the years, the music industry in
Singapore grew having Western-influenced
performances by the Singapore Symphony
Orchestra as well as ethnic music
performances mainly by the Singapore
Chinese Orchestra. Other performing groups
with Malay and Indian influence are still
prevalent until today.
SONGS FROM SOUTHEAST ASIA
 BURUNG KAKATUA
(BAHASA INDONESIA)
Burung kakatua
Hinggap di jendela
Nenek sudah tua
Giginya tinggal dua
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Burung kakatua
Giginya tinggal dua
Nenek sudah tua
Hinggap di jendela
Seperti kakatua!
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Burung kakatua
THE COCKATOO
(ENGLISH )
The cockatoo
Sits on the window sill
My grandmother is already old
And she only has two teeth
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Burung kakatua
She only has two teeth left
Grandma is already old
She sits on the the window sill
Like the cockatoo!
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Tredung, tredung, tredung tra la la
Burung kakatua
RASA SAYANG
(MALAY)
Rasa sayang hey!
Rasa sayang sayang hey!
Hey lihat nona jauh
Rasa sayang sayang hey!
Buah cempedak di luar pagar
Ambil galah tolong jolokkan
Saya budak baru belajar
Kalau salah tolong tunjukkan
Pulau pandan jauh ke tengah
Gunung daik bercabang tiga
Hancur badan dikandung tanah
Budi yang baik dikenang juga
Dua tiga kucing berlari
Mana sama si kucing belang
Dua tiga boleh ku cari
Mana sama abang seorang
Pisang emas dibawa berlayar
Masak sebiji di atas peti
Hutang emas boleh dibayar
Hutang budi dibawa mati
I’VE GOT THAT LOVELY FEELING
(LITERAL ENGLISH TRANSLATION)
I’ve got that loving feeling hey!
I’ve got that loving feeling hey!
See that girl in the distance
I’ve got that loving feeling hey!
The cempedak tree is across the fence
Please take a stick and poke it down for me
I’m just a new guy trying to learn
So if I’m wrong then please tell me
Pandan island far in midst
With the three peaked Daik mountain
While the body decomposes in earth
Good deeds remain to be remembered
Two or three cats are running around
With the striped one which can vie
Two or three men woo I may
Which of them with you can vie
Pisang emas brought on a journey
One ripens on a box
If gold is owed, it can be repaid
But if it is gratitude, it is carried to the grave