MAPEH-8 1ST GRADING LESSON (SOUTHEAST ASIA)pdf

MAPEH 8

1. SOUTHEAST ASIANMUSIC
Cambodia Myanmar
Indonesia Singapore
Laos Thailand
Malaysia Vietnam

2. 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

4. CAMBODIA
Cambodiaisoneofthemostbeautiful
countriesinSoutheastAsia.Itisalso
knownasKâmpŭchéa.Itwasthecenterof
theKhmer(Cambodian)kingdomof
Angkor,agreatempirethatdominated
SoutheastAsiafor600years.Theirmusic
gainedaworld-widereputationinthe
1960suntilthedramaticpolitical
problemsinCambodia.

5. ANGKOR WAT

6. Art music is highly
influencedbyancientformsas
wellasHinduforms.
Cambodian courtmusicis
roughlysimilartothatofJava,
Indonesia. They feature
choruseswithlargeorchestras
basedonstruckkeysandgongs.

7. Cambodianpeoplealsoabsorbed
andadoptedIndian,Chinese,
European,andotherculturestosuit
theirowntraditionsandtastesthat
resultedinadistinctCambodian
culture.

8. ThePinpeatisaCambodian
musicalensembleoranorchestrathat
usually accompanies ceremonial
musicoftheroyalcourtsandtemples.
Musicisalwayspartoftheircourt
dances,maskedplays,shadowplays,
andreligiousceremonies.Thisgroup
issimilartothePiphatensembleof
Thailandandusuallyconsistsofnine
orteninstruments.

9. THE PINPEAT

10. INDONESIA
Indonesiaisanarchipelagoin
Southeast Asia comprising
approximately17,500islands.With
over238millionpeople,Indonesiais
theworld'sfourthmostpopulous
countryandisthefourthbiggest
nationoftheworld.

11. BOROBUDUR

12. Throughinteractionwithother
culturessuchasIndian,Arabic,
ChineseandEuropean,awiderange
ofmusicalstyleshasbeen
developed.Todaythecontemporary
musicofIndonesiaispopularnot
onlyintheregionbutalsointhe
neighbouringcountries.

13. THEREARETWOBASICKINDSOFINDONESIAN
MUSICSCALE:
Slendro–five(5)equidistanttonesinoctave
Pelog–heptatonic(7)tonescalewithsemitone
Bothvocalandinstrumentalmusicin
Indonesiauseslendroandpeloqscales.
Polyphonicstratificationkindofmelodyisa
resultofhocket/Interlock.
Interlockingisacommontechniqueusedingong
ensembles.
Irama–isanIndonesiantermfortempo

14. GAMELAN
TheGamelanorGamelanorchestra
isthemostpopularformofmusicin
Indonesia.Therearemanytypesof
GamelanbutthefamousJavaneseand
BalineseGamelanarethemostfamous.It
containsavarietyofinstrumentssuchas
metallophones,xylophones,kendangand
gongs;bambooflutes,bowedandplucked
strings.

16. Vocalmusic isusedas
ornamentationoftheGamelan.Itis
asimportantasgamelan.
1.Pesindhenisafemalesoloist
singerwhosingswithaGamelan
2.Gerongreferstotheunisonmale
chorusthatsingswiththegamelan

17. REMEMBER:
Karawitanisthetermforeverykindof
gamelanmusicinJava.
Gamelanorchestra
-areusedtoaccompanydances,songs,and
WayangKulit
-arebelievedtopossesssupernaturalpowers
-considertheirinstrumentssacred,therefore
steppingovertheinstrumentisasignof
disrespect
-musicians bow beforeplayingthe
instrumentstoshowrespect

18. Javanese Gamelan Balinese Gamelan
Used for court music
Percussion dominated
Style of playing gives
solemn character
Usedforsacredmusic
Consistofmetallophone
andmostlygongs
Suddenchangeoftempo
anddynamicsarethe
basiccharacteristic.
Soundsareverybright
andbrilliant
Useoffastandrattling
soundsofcymbalsmakes
distinctivecharacters

19. MYANMAR
MyanmarwasknownasBurmauntil
1989.Whenthecountry’snamewas
officiallychangedbythemilitary
governmentthattookoverin1988.Early
civilizationinMyanmardatesbacktothe
1stcenturywitharchaeologicalevidences
ofthePyuKingdomsofThayekhittaya
(SriKsetra),Beithano(Visnu),and
Hanlin.

20. SCHWEDAGO

21. ThemusicofMyanmar (or
Burma)hassimilaritieswithmany
othermusicaltraditionsinthe
region,includingChinesemusicand
Thaimusic,probablybecauseits
longestlandborderissharedwith
China.

22. The Hsaing Waing is
Myanmar’s traditional folk
musicensemble.Itismadeup
mainlyofdifferentgongsand
drums aswellasother
instrumentsdependingonthe
natureoftheperformance.

23. Myanmar’smusicalinstrumentsare
categorizedinto2types,theloud
soundingandsoftsounding.Theloud
soundinginstrumentsareperformed
inopen-airensemblesatceremonies
andfestivals.MostoftheHsaing
Wainginstrumentsbelongtotheloud
soundingcategory.

24. OTHERINSTRUMENTS INTHEHSAING
WAINGARETHE:

25. Formoreformalandclassical
performancesthatareperformedindoors,
theensemblemaybeaccompaniedbythe
saunggaukthenationalinstrument
of(13-stringangularharpwithsoft
sound) Myanmar, the pattala
(Burmesexylophone),orthepiano
andviolin,bothintroducedduring
colonialrule.

27. Myanmarnotonlyhasmusicalensembles
butalsoanextensivecollectionofclassical
songscalledtheMahagita.Thesesongsare
dividedintodifferenttypeslikethe
oldestrepertoires,royalcourtmusic,
songsoflonging,horses’dancesongs,
worshipsongsforBurmesespirits,and
songsofsorrowandmusicadaptedfrom
AyutthayaandtheMonpeople.Thesaung
gaukusuallyaccompaniesthesesongs.

28. MALAYSIA
Malaysiaisaconstitutionalmonarchyin
SoutheastAsia.Itisdividedintotworegions:
1.WestMalaysia–alsoknown as
PeninsularMalaysia
2.EastMalaysiaconsistsofthirteenstates
andthreefederalterritories.Chineseand
Indianculturalinfluencesmadetheir
markwhentradebeganinthecountry.
Tradingalsoincreasedwhenimmigrants
flockedtoMalaysia.

29. PAHANG STATE MOSQUE

30. Thecountryismulti-ethnicand
multi-cultural,whichplaysalargerolein
developingtheirculture.Theconstitution
declaresIslamthestatereligionwhile
protectingfreedomofreligion.

31. MULTI-RACIALGROUPS THAT
INFLUENCED MALAYSIA’SMUSICGENRE:
1. Malay
2. Chinese
3. Indian
4. Iban
5. Dayak
6. Kadazandusun
7. Eurasians

32. Malaysianmusicislargelybased
aroundpercussioninstruments.It
hasmulti-culturalinfluenceandis
believedtohaveoriginatedinthe
Kelantan-Pattaniregionwitha
mixtureofIndian,Chinese,Thai,
andIndonesianinfluences.

33. THEMUSICOFMALAYSIAMAYBE
CATEGORIZED INTOTWOTYPES:
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.

34. MALAYSIANMUSICALINSTRUMENTS
MusicalinstrumentsofMalaysiaare
greatlyassociatedwiththeircultureand
roots.Duetocolonization,thestagesof
developmentofMalaysianinstruments
aregreat.Theysharesomecommon
featureswithIndianmusicalinstruments.
AfterthecolonizationofMalaysiabythe
British,themusicaldevelopmentwas
influencedbyWesternmusic.

35. MUSICALENSEMBLES ANDTYPESOF
PERFORMANCES INMALAYSIA:
1. Agung and Kulintang
Thisisagong-basedmusicalensemble
commonlyusedinfuneralsandweddings
inEastMalaysia.Thistypeofensembleis
similartothekulintangofthe
Philippines,Brunei,andIndonesia.

36. AGUNGANDKULINTANG

37. 2. KERTOK
Thisisamusicalensemblefrom
theMalayPeninsulathatconsistsof
xylophonesplayedswiftlyand
rhythmicallyintraditionalMalay
functions.

38. KERTOK

39. 3. DIKIRBARAT
Thisisatypeofmusicalformthatis
importanttoMalaysia’snationalculture.
Itisperformedbysingingingroups
andofteninacompetitivemannerusually
with percussion instrumental
accompanimentorsometimeswithout
instrumentsatall.

40. DIKIRBARAT

41. 4. SILATMELAYU
Thisisaformofmartialartthat
issimilartot’aichi.Itoriginatedin
theMalayPeninsulasincethe
ChristianEraandisamixtureof
martialarts,dance,andmusic
usuallyaccompaniedbygongs,
drums,andIndianoboes.

42. SILATMELAYU

44. THAILAND
Formerlyknown asSiam,
Thailandisknownforbeingthesole
nationinSoutheastAsiathathas
neverbeenruledbyaWestern
power.Itisforthisreasonthatthe
countryisalsocalled“MuangThai,”
whichmeans“LandoftheFree.”

45. AYUTTHAYA RUINS

46. Historyandgeographyindicatesthat
ThaimusicisaconglomerationofAsian
influences.Itsmusicalprinciplesand
elementsarebasicallyderivedfrom
Chinesemusic,whileitsmusical
instrumentsareinspiredfromtheIndian
andIndonesianstringsandgong-chimes.
TheThaiscombinedandadaptedtheseto
theircultureandcreatedtheirown
uniquemusic.

47. Musicistheoreticallybasedonthe
five-toneorseven-tonescalesystem.
Itisnotonlyconfinedtotheroyal
courtsbutisalsousedextensivelyin
dance,theatre,andinceremonies.
Thaifolkmusicconsistsofsimple
songswithsimplemelodiclines.Itsmain
focusinsingingisthearticulationofthe
textratherthanthestyleortechniqueof
execution.

48. SongsofThailandhaveinherently
poeticlyricswhichallowasingeror
performertoeasilydefinethemelodiclines.
Itprovidesthesingertheopportunityto
improvisesongtexttosuitthegiven
occasion.Theinterpretationofasinger
givesmeaningtothesacredandspiritual
essenceofsongswithfreerhythmwhile
melodiesmayeitherbeinterpretedor
writteninthehighorlowregisterwithlong
orshortdurations.

49. INSTRUMENTAL ENSEMBLES
Piphat-Itisamid-sizedorchestrathatis
performedineitheroutdoorstylewithhard
malletsorindoorstylewithpaddedmallets.
Thisensemblehasdifferenttypesbutthe
highlyornateoneistraditionallyassociated
withfuneralsandcremationceremonies.
Otherversionsofthepiphatensembleare
usedtoaccompany specificformsof
traditionalThaidramasuchasthelarge
shadowpuppettheatre(nangyai)andthe
khondancedrama.

50. PIPHAT

51. KHRUEANG SAI
Itisanorchestrathatcombines
someofthepercussionandwind
instrumentsofthePiphatwithan
expandedstringsection.Thisgroup
isprimarilyusedforindoor
performances and forthe
accompaniment ofstick-puppet
theater.

52. KHRUEANG SAI

53. MAHORI
Thisensembleistraditionallyplayed
bywomeninthecourtsofCentral
ThailandandCambodia.Becauseofthis,
instrumentsforthisensembleare
historicallysmaller.However,regular-
sizedinstrumentsareusedtoday.A
vocalistperformingwiththeMahoriis
usuallyaccompaniedbythesosamsai.

54. MAHORI

55. LAOS
Thiscountryisanindependent
stateofSoutheastAsiaandofficially
knownasLaoPeople’sDemocratic
Republic.Itisformerlypartofthe
IndochineseUnion,alsoknownas
FrenchIndochina.WatPhaThat
Luang,Vientianeisoneofits
famouslandmarks.

56. WAT PHA THAT LUANG

57. Theclassicalmusicanddanceof
LaosishighlyinfluencesbyIndia,
Cambodia,andThailand.
ThemesaredrawnfromHindu
mythology, the Buddhist
Jatakatales,andlocallegends.

58. TheroyalentourageofLao
kingstraditionallyincluded
musicians,andatypical
orchestraimprovisedsongswith
setsoftunedgongs,xylophones,
abambooflute,andotherwind
instruments.

59. THELAOORCHESTRA CANBEDIVIDED
INTOTWOCATEGORIES:
1.SepNyai-ThisissimilartothePiphatof
Thailandwithinstrumentsthatarestrictly
percussivebutalsointegratestheuseofan
oboe.
2.SepNoi–ThisisalsoknownastheMahori
ofThailand.However,itincorporatesthe
useofseveralKhenewhichisalarge
bamboomouthorganandisthemost
popularfolkmusicinstrumentofLaos.

60. Traditional music, called Mor lam, is
largely based around the khene.

61. VIETNAM
Vietnamisofficiallyknownas
theSocialistRepublicofVietnam.
Thiscountryislocatedonthe
easterncoastoftheIndochinese
Peninsula.

62. THIEN MU

63. Vietnamesemusic(nhạcViệtNam)
referstotheethnicmusicthatoriginated
fromthe"Kinh"peopleofVietnam.This
termisalsousedtoaddressthemusicof
anyofthenumerousethnicminorities
includingtheMontagnard,Degar,Tay,
Cham,andothers.

64. AlthoughVietnamisgeographicallypart
ofSoutheastAsia,tencenturiesofrulebythe
Chinesetothenorthhavemadetheculture
muchclosertoFarEastthantoitsSoutheast
Asianneighbors.Thus,earlymusictheory
waseitherbaseduponoradaptedtothe
prevailingChinesetheory,andthemajority
ofinstrumentsusedintheroyalcourtwereof
Chineseorigin.

65. Ontheotherhand,otherinfluences
canbeseenwiththeethnicminorities,
suchastheChàmorMontagnardpeoples.
Thisispossiblyduetointeractionwith
theothercountriesofSoutheastAsia.
VietnamesemusicshowssignsofIndian
influences,noticeableinimprovisation
preludesofchambermusic(knownasrao
intheSouthanddaointhenorth)as
wellasusageofonomatopoeia in
drumplaying.

66. TRADITIONAL ANDFOLKMUSIC
Vietnamesetraditionalmusic
canbeseparatedintoafewmajor
categories,dividedpredominantlyby
thewayinwhichwereusedinthe
people'sculturallives.

67. CATEGORIES OFVIETNAMESE MUSIC:
1.Imperialcourtmusic–Themostpopular
ofthiskindistheNhanhacthatwas
popularlyperformed duringtheTran
DynastytotheNguyenDynasty.Thisform
ofclassicalmusicisalsoperformedin
honourofthegodsandscholarsintemples.
Otherclassicalmusicfallingintothis
categoryincludetheDaiNhac(“great
music”)andtheTieuNhac(“smallmusic”)
whichwasperformedaschambermusic
fortheking.

68. IMPERIAL COURTMUSIC

69. FOLKMUSIC
Thiscategoryisextremelydiverse
becauseitincludesmusicperformedboth
indoorsandoutdoors.Performersofthis
categoryarealsodiverse.Theymaybe
professionalmusiciansdowntotheblind
artistsinthestreetswhoperformtoearn
theirliving.Vietnamesefolkmusicare
performedindifferentoccasionsdependingon
itssub-category.

70. Itmaybeperformedinmusical
theaters,streets,courtshiprituals,and
ceremoniesforinvokingspirits.Theyare
sometimesalsoinfluencedbyWestern
elements.SomeVietnamesemusiconly
makesuseoffemalesingersandsomehave
bothmaleandfemalesingers.

71. FOLKMUSIC

72. RELIGIOUSANDCEREMONIAL MUSIC
Thisismusicperformedin
religiousritualsoratfunerals.

73. SINGAPORE

74. TheRepublicofSingaporeisan
independentrepublicinSoutheastAsia,
comprisedofonemainislandandabout
50smalladjacentislandsoffthesouthern
tipoftheMalayPeninsula.Aboutthree-
fourthsofthepeopleofSingapore,known
asSingaporeans,areChinese,butthere
aresignificantMalayandIndian
minorities.

75. Singapore’sculturallifereflects
itscolonizationbytheBritish
Empireanditsdiversepopulation.
Beingthemeltingpotofdifferent
culturesinAsia,folkmusicofthis
countryreflectsthecultureand
traditionsofspecificgroups.

76. Theethnicgroupswhichmadea
prominentplaceinthemusicalworldof
SingaporehavebeenChinese,Indian
Malays,andTamils.OtherminorityAsian
ethnicgroupswhichhavealsomadea
markinthefolkcultureofSingaporeare
theCantonese,Hokkien,andMalay
Bangwasan.

77. Throughtheyears,themusicindustry
inSingaporegrewhavingWestern-
influencedperformances by the
SingaporeSymphony Orchestraas
wellasethnicmusicperformances
mainlybytheSingaporeChinese
Orchestra.Otherperforminggroups
withMalayandIndianinfluenceare
stillprevalentuntiltoday.

78. SONGSFROMSOUTHEAST ASIA

79. BURUNGKAKATUA
(BAHASAINDONESIA)
Burungkakatua
Hinggapdijendela
Neneksudahtua
Giginyatinggaldua
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Burungkakatua
Giginyatinggaldua
Neneksudahtua
Hinggapdijendela
Sepertikakatua!
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Burungkakatua

80. THECOCKATOO
(ENGLISH)
The cockatoo
Sits on the window sill
My grandmother is already old
And she only has two teeth
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Burungkakatua
She only has two teeth left
Grandma is already old
She sits on the thewindow sill
Like the cockatoo!
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Tredung, tredung, tredungtrala la
Burungkakatua

82. RASASAYANG
(MALAY)
Rasa sayanghey!
Rasa sayangsayanghey!
Hey lihatnonajauh
Rasa sayangsayanghey!
Buahcempedakdiluarpagar
Ambilgalah tolongjolokkan
Sayabudakbarubelajar
Kalausalahtolongtunjukkan
Pulaupandanjauhketengah
Gunungdaikbercabangtiga
Hancurbadandikandungtanah
Budi yang baikdikenangjuga
Duatigakucingberlari
Manasamasikucingbelang
Duatigabolehkucari
Manasamaabangseorang
Pisangemasdibawaberlayar
Masak sebiji di atas peti
Hutangemasbolehdibayar
Hutangbudidibawamati

83. I’VEGOTTHATLOVELYFEELING
(LITERALENGLISHTRANSLATION)
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 cempedaktree 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 Daikmountain
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
Pisangemasbrought 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