Scribd Logo
Upload

Welcome to Scribd!

  • 23 views

    Southeast Asian Music: Angeline J. Ramos 8 - St. Gregory Nazianzen

    Uploaded by

    Noel Bajada
    The document summarizes some common traits of court music styles in Southeast Asia. It notes that these styles share melodic and ornamental focus rather than harmony, include composed frameworks for controlled improvisation, and traditionally accompanied rituals and performances rather than existing as music for its own sake. It also emphasizes the importance of knobbed gong-chimes across the region and discusses how folk music traditions were historically considered inferior to royal court styles.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd

    Southeast Asian Music: Angeline J. Ramos 8 - St. Gregory Nazianzen

    Uploaded by

    Noel Bajada
    23 views2 pages
    The document summarizes some common traits of court music styles in Southeast Asia. It notes that these styles share melodic and ornamental focus rather than harmony, include composed frameworks for controlled improvisation, and traditionally accompanied rituals and performances rather than existing as music for its own sake. It also emphasizes the importance of knobbed gong-chimes across the region and discusses how folk music traditions were historically considered inferior to royal court styles.

    Original Title

    SOUTHEAST ASIAN MUSIC.docx

    Copyright

    © © All Rights Reserved

    Available Formats

    DOCX, PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    The document summarizes some common traits of court music styles in Southeast Asia. It notes that these styles share melodic and ornamental focus rather than harmony, include composed frameworks for controlled improvisation, and traditionally accompanied rituals and performances rather than existing as music for its own sake. It also emphasizes the importance of knobbed gong-chimes across the region and discusses how folk music traditions were historically considered inferior to royal court styles.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    23 views2 pages

    Southeast Asian Music: Angeline J. Ramos 8 - St. Gregory Nazianzen

    Uploaded by

    Noel Bajada
    The document summarizes some common traits of court music styles in Southeast Asia. It notes that these styles share melodic and ornamental focus rather than harmony, include composed frameworks for controlled improvisation, and traditionally accompanied rituals and performances rather than existing as music for its own sake. It also emphasizes the importance of knobbed gong-chimes across the region and discusses how folk music traditions were historically considered inferior to royal court styles.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 2

    ANGELINE J.

    RAMOS

    8 – ST. GREGORY NAZIANZEN

    SOUTHEAST ASIAN MUSIC

    While folk traditions found in such a huge region are obviously diverse, the "royal culture"
    traditions, including gong-chime orchestras, ritual dances and shadow puppet theaters are
    shared among most of the countries of the region. They were probably established,
    developed and spread during the time of great local empires: Srivijaya, Khmer and
    Majapahit.

    Court music styles of the region share some common traits:


    1. Music does not employ harmony instruments and does not "care" about harmony in
    Western sense - there can be accidental harmonies but these are never the aim of
    composition
    2. Melody and its ornaments are considered to be the most important
    3. While compositions do exist, they are treated only as framework for "controlled
    improvisation". The skill of a musician is often measured by his ability to intricately
    "ornament" the main melodic line. This is however much less improvisational than jazz
    music is.
    4. Traditionally the performances of music were almost never given for the sake of music
    in itself. They usually accompanied religious rituals, court celebrations, and performances
    of other arts, i.e. shadow Puppet Theater, classical dances, theater, etc.
    5. Importance of knobbed gong-chimes: this kind of instrument is present in vast majority
    of the genres concerned and is seen as a staple-instrument of the region.

    It is important to remember that while folk music does exist in the countries concerned, it
    is considered inferior and signifying low social status. As such, the local folk music gets
    much less state support and recording opportunities than "royal/classical" music styles
    get. The situation is largely like it used to be in Europe before nationalism encouraged the
    search for "folklore" in the Romantic period. Thus, it's easy to fall under impression that
    "royal/classical" music is the only traditional music existing in this countries, which is
    false.
    EXAMPLES OF SOUTHEAST ASIAN MUSIC

     BRUNEI – Aduk-Aduk
     CAMBODIA – Sat Heu
     INDONESIA – Rasa Sayang
     LAOS – Lam Ploen
     MALAYSIA – Puteri Gunung Ledang
     MYANMAR – Kaba Ma Kyei
     PHILIPPINES – Rondalla
     SINGAPORE – Xinyao
     THAILAND – Piphat
     VIETNAM – Trong Quan
     CHINA – Guandong
     JAPAN – Nagauta
     KOREA – Salpuri

    You might also like