Music and musical instuments

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Websites/Multiple Documents

Description: Several hundred results. Try other combinations like "Myanmar traditional music" etc.
Source/publisher: Youtube
Date of entry/update: 2010-02-28
Grouping: Websites/Multiple Documents
Language: English, Burmese
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Individual Documents

Description: "Collection of Sai Kham Lek Song, there are 105 songs in this book..."
Creator/author:
Source/publisher: Kham Koo Website
1999-04-22
Date of entry/update: 2019-10-12
Grouping: Individual Documents
Language:
Format : PDF
Size: 2.49 MB
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Description: "The collection of Shan modern song which written by famous song composers such Sai Kham Lek, Sai Htee Seng, and Sai Kham mao. There are more than 40 songs in this book..."
Source/publisher: Kham Koo Website
2007-05-24
Date of entry/update: 2019-10-12
Grouping: Individual Documents
Language:
Format : PDF
Size: 3.22 MB
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Description: "The collection of Shan modern song which written by famous song composers such Sai Kham Lek, Sai Htee Seng,. There are more than 50 songs in this book..."
Source/publisher: Kham Koo Website
1970-06-00
Date of entry/update: 2019-10-12
Grouping: Individual Documents
Language:
Format : PDF
Size: 2.46 MB
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Description: Old time Burmese classic songs collection... မြန်မာ့ခေတ်ဟောင်းတေးများစုစည်းမှု
Date of entry/update: 2016-05-02
Grouping: Individual Documents
Language: Burmese (မြန်မာဘာသာ)
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Description: "... Myanmar harp is said to be used starting from Pyu period. According to records, it was played abroad by Myanmar musicians in about 9 century AD. Though the shape of it has changed in the successive ages, the basic shape has not changed. The harp was used in Bagan Period (10-13 Century AD). We can still see the figure of harp in a mural at the Ananda Temple, one of famous pagodas in Bagan. One note-worthy fact in Konbaung Period (1752-1885 AD) is that professional and amateur harpists used to write letters such as "karaweik Than" (The voice of Karaweik bird), Mya Chu Than (the voice of an emerald jingle) and "Zinwazo Than" (The voice of swift bird) at the place "phala" at the back of their harps. Saung was played well at courts. It was cherished and appreciated by kings, queens, ministers and courtiers. Prominent harpists were Nat Shin Naung, the king of Taungoo, Ma Mya Galay, the queen of western palace and Myawaddy Mingyi U Sa, a minister. Myanmar songs are performed with musical instruments played on the prescribed musical scales. Myanmar musical instruments are tuned primarily on Saung musical scales. Songs such as Kyo, Bwe, Thichin Khant, etc are played on Hnyin Lone scale. Patpyo, Lei Htwe Than Kut, Lokanat than, etc are played on Aukpyan scale, Bawlei, Yodia songs are played on Palei scale, Shit Sei Paw Tay Htat and Dain songs are played on Myin Saing scale. In ancient time, three strings were used. Later, it became seven. In Konbon Period, Myawaddy Mingyi U Sa, the then noted minister invented 13 strings. Later a harpist by the name of Saya Nyein invented 14 strings. During the second world war, the then famous harpist Alanka Kyaw Zwa U Ba Than used 16 strings adding two more stings. The added two strings are called Done Kyo..."
Creator/author: U Minn Kyi
Source/publisher: Myanmarpedia
Date of entry/update: 2016-05-01
Grouping: Individual Documents
Language: English
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Description: "... In general, Burmese traditional music can be divided into different categories according to the type of functions that it serves. These categories are Classical Traditions, Mahagita and Folk Traditions..."
Source/publisher: Myanmar Gamelan
Date of entry/update: 2016-05-01
Grouping: Individual Documents
Language: English, Burmese (မြန်မာဘာသာ)
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Description: Myanma Traditional Cultural Dance
Source/publisher: Myanmar International
2013-08-13
Date of entry/update: 2016-05-01
Grouping: Individual Documents
Language: English, Burmese (မြန်မာဘာသာ)
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Description: "Commissioned by CPCS, Myanmar: Portraits of Diversity is a series of short films seeking to stimulate discussion and move audiences towards recognizing, accepting, and celebrating religious diversity in Myanmar. Directed by Kannan Arunasalam, the films present individuals from Myanmar?s different religious communities and highlight the inter-faith connections and engagement that take place naturally around the country. Featuring stories of cooperation across religious and ethnic divides, as well as the capacity for peace leadership within the country, community leaders share analysis and insights into the threat of inter-communal violence and illustrate the capacity for peace leadership...The film series seeks to stimulate alternative narratives regarding ethnic and spiritual issues in Myanmar where tolerance and cooperation are highlighted, rather than conflict and persecution. Screened together with guided reflections, the films can be used as tools to stimulate exchanges of ideas about diversity and tolerance, and to create a space to foster acceptance and share visions for the future. The issues raised by individuals featured in the films can be used to generate discussions on Myanmar?s different religious communities and highlight the kinds of inter-faith connections and engagement that take place naturally around the country. A discussion and study guide is available for each video portrait, followed by suggested activities that can also be adapted to different learning environments. For each film, background is provided on the person and their context, followed by five discussion questions and extension activities..."
Source/publisher: Centre for Peace and Conflict Studies (CPCS)
2015-04-00
Date of entry/update: 2015-09-29
Grouping: Individual Documents
Language: English and Burmese
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Description: "This article details the written and oral transmission of Burmese classical songs or thachingyi (great song), specifically those for voice and harp (saung gauk). Over one thousand songs have been listed under the category of thachingyi. Their song texts have been transcribed, but their melodies and instrumentation have been transmitted orally. As the melodies of several of these songs have been lost, less than half continue to be played today. The musician reputed to have the largest repertoire can play approximately 400 songs. The majority of other musicians play a selection from the 169 songs featured in Naingandaw mu maha gita (The national version of maha gita, hereafter NAIN), the national compilation of song texts. There have been attempts to transcribe this music, however, none of these has been effective, apart from the notations of the distinguished instrumentalist, U Myint Maung (1937?2001). In this article, I will begin by examining the role of written materials in transmission. I will then describe how the music is relayed orally and discuss the factors that enable oral transmission. Finally, I will discuss how to approach the standardization of Burmese classical songs..."
Creator/author: INOUE Sayuri
Source/publisher: The Journal of Sophia Asian Studies, No. 32, 2014... 上智アジア学 第32 号2014 年 目次 ...Burma Studies in Japan: History, Culture and Religion
2014-12-27
Date of entry/update: 2015-09-23
Grouping: Individual Documents
Language: English
Format : pdf
Size: 695.84 KB
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Description: Abstract: "The genre copy thachin or ?copy song” pervades the popular mu sic scene in Myanmar. These songs are akin to cover versions of existing international hits, but with new lyrics in the Burmese language, and performed by Burmese musicians. These songs can have incredible genre-­‐crossing capabilities, from blues to rap, heavy metal to salsa. The current situation for popular music production in Myanmar, as elsewhere, is connected with the country?s history of military rule and years of censorship and economic difficulties. Advocates for the genre of copy thachin argue that borrowing international songs allowed local artists to learn about global popular music, and the numerous popular musicians and songwriters in Myanmar are testament to this. On the other hand, with the removal of the stringent censorship regime and the increasing contact with international consumer culture, groups of Myanmar music fans are increasingly critical of copy thachin, seeing the practice as derivative and an embarrassment. This article will explore the history of the genre, notions of authenticity, and dis cuss Myanmar?s changing relationship with the symbolic capital of its own culture industry and its relationship with international popular culture.".....Paper delivered at the International Conference on Burma/Myanmar Studies: Burma/Myanmar in Transition: Connectivity, Changes and Challenges: University Academic Service Centre (UNISERV), Chiang Mai University, Thailand, 24-­26 July 2015.
Creator/author: Jane M Ferguson
Source/publisher: International Conference on Burma/Myanmar Studies: Burma/Myanmar in Transition: Connectivity, Changes and Challenges: University Academic Service Centre (UNISERV), Chiang Mai University, Thailand, 24-­26 July 2015
2015-07-26
Date of entry/update: 2015-08-10
Grouping: Individual Documents
Language: English
Format : pdf
Size: 788.13 KB
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Description: It?s taken more than 30 years, but reggae has finally arrived in Burma, joining rock, blues, rap and hip-hop on the country?s music scene.
Source/publisher: "The Irrawaddy" Vol. 18, No. 10
2010-10-00
Date of entry/update: 2012-07-22
Grouping: Individual Documents
Language: English
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Description: The Tiger Girls, Burma?s answer to the celebrated Spice Girls, are clawing their way rapidly to the top of the Burmese pop scene... "Burma?s first all-girl band took to the stage last February and since then has built up a large fan base—which doesn?t include members of the country?s censorship board, who took exception to some of the group?s more daring English language lyrics..."
Source/publisher: "The Irrawaddy" Vol. 18, No. 9
2010-09-00
Date of entry/update: 2010-09-09
Grouping: Individual Documents
Language: English
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Description: A rock band from Burma, Unrivalled, won the second round of a rock music contest involving more than 3,000 bands from Southeast Asian nations held in Malaysia in June. The contest was organized by the Malaysia-based AirAsiaRedTix.com and MTV Asia.
Source/publisher: "The Irrawaddy" Vol. 18, No. 8
2010-08-00
Date of entry/update: 2010-08-31
Grouping: Individual Documents
Language: English
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Description: Mon musicians throw the spotlight on a threatened traditional instrument... "It?s called a ?crocodile? because of its shape, but all associations linking the feared predator and this ancient Mon musical instrument end there. Despite its name, the Mon crocodile is a thing of beauty, producing beautiful sounds. And, like so many remnants of the past, it?s under threat..."
Creator/author: ASOHN VI
Source/publisher: "The Irrawaddy" Vol. 18, No. 5
2010-05-00
Date of entry/update: 2010-08-29
Grouping: Individual Documents
Language: English
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Description: Young activists turn a musical trend into a political weapon... "Hip-hop, rap and politics make strange bedfellows, but the young people of Burma have found ways of using their favorite musical styles to get their political message across..."
Creator/author: Ko Htwe
Source/publisher: "The Irrawaddy" Vol. 18, No. 3
2010-03-00
Date of entry/update: 2010-03-17
Grouping: Individual Documents
Language: English
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Description: From army major to successful pop musician is a big leap, but Nay Ye Mann appears to have accomplished it with ease... "The former officer in the Burmese army?s engineering corps has engineered himself a front-ranking position on the Burmese music scene with clever promotional campaigns featuring glamorous models and handsome actors..."
Source/publisher: "The Irrawaddy" Vol. 17, No. 7
2009-10-00
Date of entry/update: 2010-02-28
Grouping: Individual Documents
Language: English
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Description: One woman?s campaign to preserve the music of the Golden Triangle hill tribes... "A simple snowflake became a tantalizing clue for anthropologists tracing the origins of the ethnic groups that populate the Golden Triangle region where the borders of Burma, Thailand and Laos meet...A Lahu Shi man with his baby and his drum. Photos: VLCTORIA VORRELTER The songs of these people are their substitute for a written history, according to Victoria Vorreiter, who spent five years documenting and recording the music, poetry and songs of six major ethnic groups: the Akha, Hmong, Karen, Lahu, Lisu and Mien..."
Creator/author: Jim Andrews
Source/publisher: "The Irrawaddy" Vol. 18, No. 2
2010-02-00
Date of entry/update: 2010-02-28
Grouping: Individual Documents
Language: English
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Description: "The good news for Burma?s music scene is that popular rock star Lay Phyu is back in the spotlight. Lay Phyu?s comeback performance with his backing band, Iron Cross, has been booked for Mandalay in late January and is sure to be a sellout. The enigmatic rock star mysteriously walked out on the band in 2006 after a concert celebrating the 15th anniversary of the band?s founding. He reappeared in August last year at a Cyclone Nargis fundraising relief concert, but has never explained why he stopped performing for two years. Lay Phyu?s new album, Bay of Bengal, has hit the top of the Burmese charts, which he has dominated for years..."
Source/publisher: "The Irrawaddy" Vol. 17, No. 1
2009-02-00
Date of entry/update: 2009-02-16
Grouping: Individual Documents
Language: English
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Description: Iron Cross: "Burma?s top rock band, also known as IC, is 17 years old but still hammering out a beat. When it was formed in 1991—by five musicians led by the late guitar virtuoso Saw Bwe Hmu, an ethnic Karen Christian—it played mostly cover versions of foreign numbers with Burmese lyrics. But songwriters Maung Maung Zaw Latt and L Phyu freed it from its reliance on such popular American bands as Metallica and won it critical acclaim and a wide public..."
Source/publisher: "The Irrawaddy" Vol. 16, No. 12
2008-12-00
Date of entry/update: 2008-12-22
Grouping: Individual Documents
Language: English
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Description: "BURMA?s hip-hop performers are now on the hit list of the authorities, who have grown increasingly nervous about their activities since the September 2007 demonstrations. Popular rap and hip-hop artist Yan Yan Chan is the latest to feel the regime?s displeasure. He was arrested in April, two months after the detention of his friend and fellow member of the ACID group, Zayar Thaw, who is being held in Rangoon?s Insein Prison. Where he is being held is unknown..."
Source/publisher: "The Irrawaddy" Vol. 16, No. 5
2008-05-00
Date of entry/update: 2008-05-01
Grouping: Individual Documents
Language: English
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Description: CD Marks 20th Anniversary of 8-8-88..."The journey of Burma?s democracy movement has inspired Burmese writer Yeni to produce a CD dedicated to the hopes, aspirations and struggles of the Burmese people in August 1988—and today. About 10 musicians based in the northern Thai city of Chiang Mai perform on the CD, titled ?New Light Festival? and produced by Yeni, a writer and senior journalist at The Irrawaddy magazine. Jo Rangsan Rasri Dip, the two-time winner of Thailand?s Season Award, honoring the best of the country?s music industry, co-produced the album and recorded it at his Duem Dontri studio in Chiang Mai..."
Source/publisher: "The Irrawaddy" Vol. 16, No. 3
2008-03-00
Date of entry/update: 2008-04-27
Grouping: Individual Documents
Language: English
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Description: " WHEN I heard of the death of Sai Htee Saing, his famous song ?Nwe Ok Or? (?The Summer Cuckoo?) immediately echoed in my mind. Many of his fans thought this song best represented the frail-looking ethnic Shan singer whose sweet, simple tenor voice had charmed them for many decades..."
Creator/author: Amporn Jirattikorn
Source/publisher: "The Irrawaddy" Vol. 16, No. 4
2008-04-00
Date of entry/update: 2008-04-27
Grouping: Individual Documents
Language: English
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Description: "Thangyat is one of the oldest examples of Burmese folk art. Usually amusing and satirical, Thangyat combines poetry, dance and music and is sung to the beat of a traditional drum on festive occasions. In the past, during the Burmese New Year water festivals, or Thingyan, young people would publicly recite humorous Thangyat lyrics, which freely criticize everything from politics to social behavior. But the Burmese military generals have changed all that. In 1989, a year after taking power, the generals lost their sense of humor and banned public performances of Thangyat. However, Thangyat is still kept alive by exiled Burmese communities..."
Source/publisher: "The Irrawaddy" Vol. 16, No. 4
2008-04-00
Date of entry/update: 2008-04-27
Grouping: Individual Documents
Language: English
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Description: "For the past 20 years or so, the movie Thingyan-moe has been an annual staple for Burmese celebrating their New Year Water Festival. It means ‘rain in the water festival?, and the strains of its musical score reverberate everywhere as Burmese throw water over each other. But the movie, stocked with traditional song and dance numbers from the northern capital of Mandalay, may now have a rival. This year, for the first time, bands representing the different cultures of Burma and the five other countries in the Greater Mekong Sub-Region performed in Mandalay. The bands—from Cambodia, China?s Yunnan province, Laos, Vietnam and northern Thailand, as well as Burma—were invited by the Ministry of Hotels and Tourism to take part in a special Thingyan traditional program there..."
Source/publisher: "The Irrawaddy" Vol. 13, No. 4
2005-04-00
Date of entry/update: 2006-04-27
Grouping: Individual Documents
Language: English
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Description: "Is a national orchestra still just a midsummer night?s dream?... When the newly-constituted Burmese national symphony orchestra performed before an audience of dignitaries in Rangoon in September, the lifelong efforts of trailblazing musician Myo-ma Nyein were finally rewarded...
Creator/author: Yeni
Source/publisher: "The Irrawaddy" Vol. 12, No. 9
2004-10-00
Date of entry/update: 2004-11-11
Grouping: Individual Documents
Language: English
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Description: "Dominated by cover songs derived from foreign imports, Burmese popular music continues to struggle to find its own voice. In a closed society like Burma, culture is all about preservation and less to do with innovation. Any creative breakthrough produces moral panic, not only in the minds of the powers that be, but also of the majority of folks. In a deep-down analysis, the structural interests of both politics and the market are the most decisive factors in shaping the creative capacity of the society at large. The 30-year-long journey of Burmese pop music can be seen in this light, since it is very much a product of this control culture and is still subject to the restrictive and exploitative political and market structure..."
Creator/author: Min Zin
Source/publisher: "The Irrawaddy" Vol. 10, No. 7
2002-09-00
Date of entry/update: 2003-06-03
Grouping: Individual Documents
Language: English
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Description: "I think I can be more like a bullet they could use in fighting back."... The Irrawaddy spoke recently with Yuenyong "Ad" Ophakul, of the Thai folk-rock band Carabao, about his recent solo release, "Don�t Cry" (Mai Dtong Rong Hai). The album, which combines reggae rhythms with strong lyrics expressing support for the Shan struggle for independence, is the artist�s latest foray into Burmese politics. The artist spoke about music and free expression in an interview with Wandee Suntivutimetee..."
Creator/author: Wandee Suntivutimetee
Source/publisher: "The Irrawaddy" Vol. 10, No. 7
2002-09-00
Date of entry/update: 2003-06-03
Grouping: Individual Documents
Language: English
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Description: "Rap music and Hip-Hop have gained a foothold in Rangoon, but many still prefer to step to a different beat. Sai Sai stands waiting backstage wearing his high-top Nike Air Jordans, both hands in the pockets of his oversized shorts that match his loose-fitting hooded sweatshirt. His friend, wearing a bandanna on his head beneath a New York Yankees baseball cap flipped backwards, talks to a fellow band-member sporting her favorite skintight jeans. They are waiting to perform along side some of Burma�s newest and hottest music stars in Rangoon at an outdoor concert�a rarity in a country where public gatherings of more than five people are officially prohibited..."
Creator/author: Shawn L. Nance/Rangoon
Source/publisher: "The Irrawaddy" Vol. 10, No. 7
2002-09-00
Date of entry/update: 2003-06-03
Grouping: Individual Documents
Language: English
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Description: "The promotion of political ideas in a musical context has been a common feature of mass movements Southeast Asia. In Burma, where strict censorship prevails and military dictatorship still governs, the uneasy marriage of music and politics continues to be met with stiff resistance. Like other political movements in Southeast Asia, music has provided a rallying point for the masses during political upheavals in Burma. It has served as a potent response to the rapid political and social displacements brought on by neo-colonialism, industrialization, and dictatorship. At the same time, music has also been appropriated to serve the establishment by strengthening national cohesion, promoting entrenched power structures and spreading selected values and information to the multitudes..."
Creator/author: Aung Zaw
Source/publisher: "The Irrawaddy" Vol. 10. No. 7
2002-09-00
Date of entry/update: 2003-06-03
Grouping: Individual Documents
Language: English
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Creator/author: Robert Garfias
1995-11-05
Date of entry/update: 2003-06-03
Grouping: Individual Documents
Language: English
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