Ebook List. Home / Ebook / Myanmar Music Association 1. First; 1 - 1 of 1; Latest. Page No. 1. 1. Dhamma Songs. Author: Myanmar Music Association · Religion. The extant literature on Burmese music published in English, Chinese, and .. My ethnographic studies in the decade since his book appears also support this. Wai La - Make Up Ma Kyite Thaw Thi Chin Myar · So Tay - Mee Eain Shin · Myo Gyi - Pyaung Lal Chin Myar · Wanna - Ah Thint Pyit Htar Tal.
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Myanmar Music Book. likes · 4 talking about this. Music Chart. Myanmar Song Book and Chords. likes · 53 talking about this. Song. A Renowned Burmese Musician and Composer, Myoma Nyein. Author: Than Aung Detail · Read. Myanma Classical Music of Professional Composers.
Drawing primarily on extensive ethnographic study and literature review, it provides an overview of this tradition and also updates information on its current status. To help build a comprehensive picture of this tradition, both its musical and extra-musical aspects are examined. In particular, at the core of the inquiry is that which makes this music sound dis- tinctive. This article also presents this music in its historical, social, political and cultural contexts, describing its social and cultural practices as well as its recent politicization and commercialization. Finally, two creative albums re- leased in the new millennium offer case studies on the issues of musical blending and aesthetic clashes.
It is pleasant to think that although our wars with Siam were generally motivated by the Siamese king's white elephants, we brought back something which was by no means a white elephant to us! Craftsmen, entertainers, musicians, dancers numbering many hundreds were imported from Siam to Burma, and they brought about a vast augmentation of our culture.
New life and new forms were infused into our theater, our classical dance style is far closer to that of Siam than, say, to that of India, and a principal type of our classical song, the yodaya Side I, Band 3 and Side II, Band 8 , takes its name from Ayuthia, the old capital of Thailand.
In the years following this Thai "invasion," there lived a remarkable man named U Sa, a veritable Leonardo da Vinci, who was poet, musician, playwright, soldier, diplomat, and statesman all combined.
In a long lifetime, he was constantly creating and adapting new literary, dramatic, and musical forms, and over two hundred of our finest songs are attributed to him. Another important school of classical music comes down to us from the Mons; their beautiful songs were long ago enshrined in a collection called the Mahagita. Finally, some of the purest and oldest forms of our traditional music are preserved in the propitiatory rituals of rural Nat worship.
As Dr. Htin Aung explains in his essay, these spirits from the old animist cults have been welcomed into Buddhism, and the country folk still honor them with wayside shrines, or by hanging a coconut turbaned with a piece of red and white cloth from the king post of the house, to which offerings of fruit or cooked rice are made with music and dancing.
For my purist taste, far too much!
But, to speak for the other side — and I fear they are numerous — let me bring in the views of my much admired and musically learned friend Ko Thant of Mandalay.
Ko Thant is scornful of our Burmese instruments because they lack the precision of the Western ones. But does he stop to consider that, in a sense, their very precision has made a slave of the instrumentalist?
Our Burmese players attain extraordinary virtuosity with their crude instruments — making them the slaves — and achieve the most subtle shadings in moving from one note to the next.
And because they do not read from a written score, but play entirely from memory, our musicians create the music anew at each playing, with full scope for the expression of personal art. Ko Thant likes the strict discipline of the Western orchestra and condemns the free-for-all of the Burmese saing. He rails at Sein Beda for tuning a recalcitrant drum in the middle of a concert.
Ile does not realize that this really does not matter, that Western music is a compound, whose object is harmonious coalescence, whereas ours is a mixture, the pleasure lying in the artful mixing of sounds. A European listens for the total effect of all, a Burmese for the individual effect of each voice in the orchestra. In our music, accompaniment to singing does not mean a harmonic background to vocal melody, but a partnership in patterns.
In and out of the framework of musical time and melodic direction provided by the instruments, the vocal part weaves another, related pattern and direction. So long as they keep to the framework, both singer and player may embellish and improvise. It is skill in weaving sounds, rather than voice production, which determines the quality of the singer.
Ko Thant maintains that music is an "international language" and that we should allow Western instruments and melodies to overwhelm us so that our musicians may speak the same musical tongue as the rest of the world.
But does not this idea stem from a basic misconception of the nature of art? Is not the individual voice the really important thing? And will not the community of world culture be far richer and more stimulating if each regional culture seeks to develop its own traditions? And since we already have improvisation in our music do we really need Western jazz and popular songs?
But perhaps that question has already been answered: we have them. As long ago as , Daw Than E wrote this little sketch on that subject: An old-fashioned Burmese gentleman was visited by a radio salesman. He settled down expectantly as the set was hooked up; perhaps he would hear the soothing strains of a song from the Mahagita.
But what came out shocked him; he looked puzzled. Oh, you'll hear wonderful things with this set. They have Bei mir bist du schoen and Isle of Capri with Burmese words and even the old favorites like Good King Wenceslas —-that's a duck of a tune —and Come to the Savior, make no delay.
Yes, we have been flooded with Hawaiian guitars, hillbilly banjos, and Harlem saxophones.
Where will it end? As director of broadcasting in Burma I am trying to fight the menace.
There are good modern pieces in the Burmese vein still being produced, and a number of popular songs based on our own folk tunes have become hits. And to preserve our old music—since little of it has been written down—we have been making tapes of the best classical pieces and folk songs. For certainly our Burmese music is worth preserving, just as Gujarat painting, Khmer architecture, Chinese porcelain, and Mayan sculpture are worth preserving.
The tragedy in those cases is that the art of the craftsmen has been lost. We cannot let that happen. We must not hope vainly for the evolution of a style that will be neither Burmese nor Western. Rather, we must go back to the purest traditions of our own music—relearn them, safeguard them, and present them to the world in a way the world can understand. For there is a strange beauty in the remote flowering of Burmese music We want to hear what you think about this article.
Until just a short time ago, they were still living in an isolated country. But with Myanmar becoming more open, cultural exchange is now possible. Side Effect's performance in Berlin was much more than just a fun concert. It was the group's very first appearance outside of Myanmar. They'd played in a small club in Hamburg the night before, but the big stage in Berlin was a whole different league.
The crowd started dancing during the first song and just a few minutes later the whole room was bouncing. Some were even stage-diving.
You can't even imagine what that means to us! The indie band, whose sound recalls groups like The Strokes or The White Stripes, worked hard to develop its own style. And that in a country that was politically and culturally insulated until just a short time ago. Singer Darko und drummer Tser Htoo have matching tattoos of the band's logo In Myanmar, formerly known as Burma, the music industry consisted almost entirely of cover bands that rewrote their own heartfelt texts to successful Western pop songs.
But in the past few months, things have been changing.
The military junta seems to be open to change: Political prisoners have been released and censorship suspended. Barack Obama recently became the first US President to enter the country and promised during his visit to end America's economic sanctions. Sanctions have had an impact on Side Effect, as well.
With the help of musician friends in Canada, the group raised funds for their debut album via a crowd-funding website.
They'd never expected to take their music abroad, so wrote most of their material in their native language. It's also the exception in that the song has an optimistic text. But here it doesn't work that way. No matter which degree you've got, there is no job waiting for you and you have to try very hard to make a living.
I was looking for a reason to live on, and I found that was music. The monks were very peaceful and they were praying for the people," he said. But Darko, like so many in his country, was wrong: The government violently cracked down on the praying monks.
We are not politicians, but what we can do best is be musicians. This country needs good musicians, poets and artists.
Censorship and paper drums Singer and guitarist Darko C.