u n i t 1 : m u s i c o f s o u t h e as t a s i a

UNIT 1: Music of Southeast Asia

Table of Contents

Introduction 4

Lesson 1: Music of Southeast Asia: Geographical, Historical, and Cultural Background 5 Learning Targets 5 Let’s Warm Up! 5 Learn about It! 6 Check Your Understanding 10 Challenge Yourself! 11 Let’s Jam! 11

Lesson 2: Indonesia’s Gamelan Ensemble 12 Learning Targets 12 Let’s Warm Up! 12 Learn about It! 14 Check Your Understanding 20 Challenge Yourself! 21 Let’s Jam! 21

Lesson 3: Thailand’s Piphat Ensemble 22 Learning Targets 22 Let’s Warm Up! 22 Learn about It! 23 Check Your Understanding 25 Challenge Yourself! 26 Let’s Jam! 27

1 Copyright © 2018 Quipper Limited

Lesson 4: Cambodia’s Pinpeat Ensemble 28 Learning Targets 28 Let’s Warm Up! 28 Learn about It! 29 Check Your Understanding 31 Let’s Jam! 32

Lesson 5: Myanmar’s Saung Gauk 33 Learning Targets 33 Let’s Warm Up! 33 Learn about It! 34 Check Your Understanding 36 Let’s Jam! 37

Lesson 6: Vocal Music of Southeast Asia 38 Learning Targets 38 Let’s Warm Up! 38 Learn about It! 39 Check Your Understanding 42 Challenge Yourself! 42 Let’s Jam! 43

Did You Know? 44

Web Links 45

Performance Task 45

Self-Check 47

Wrap Up 47

Bibliography 48

Glossary 49


GRADE 8

UNIT 1 Music of Southeast Asia

Fig. I. Most ensemble instruments are made of metal.

Source: Fir0002/Flagstaffoto from Indonesian Embassy of Canberra

(https://upload.wikimedia.org/wikipedia/commons/7/7e/Traditional_indonesian_instruments04.jpg), “Gong group of the Gamelan ensemble of Instruments”,


Introduction Eleven countries make up the region called Southeast Asia: Indonesia, Cambodia, Malaysia, Thailand, Singapore, Myanmar, East Timor, Laos, Brunei, Burma, and the Philippines. While each country has its unique way of expressing its values and beliefs through art in general, and music specifically, most countries in the region share some similarities economically, as well as spiritually.

In this unit, we will get to know more about the region and its cultural and historical background. We will also discuss how the differences and similarities between the region’s countries influence the kind of music they create. Although we’ll be focusing on only a few of the countries, particularly those internationally known for their native instrumental ensembles, this lesson will provide you with a better understanding of the region as a whole. Included as well are some perspectives to what the factors are that have made the region as diverse and colorful as it is.


Lesson 1: Music of Southeast Asia: Geographical, Historical, and Cultural Background

Learning Targets

In this lesson, you should be able to:

● locate Southeast Asia geographically; and ● discuss the geographical and cultural factors that influenced music in the region.

Music is often intertwined with the daily life of individuals. Some songs are written to accompany certain day-to-day activities, while other songs and pieces of music are written in commemoration of important events in an individual’s, or a society’s, history. Either way, music, culture, and everyday life affect, and often enrich, each other.

What could have been the factors that enriched the music of Southeast Asia?

Let’s Warm Up!

Below is a map of Southeast Asia.

1. Group yourselves into five. 2. Locate the 11 countries that are part of the region, and mark them with stars. 3. Describe the location of each country. What countries are their neighbors? Is it part of

the mainland, or is it an island or group of islands?

Name one tourist spot per country.


Fig. 1.1. A Map of Southeast Asia

Source: https://www.nationsonline.org/oneworld/map_of_southeast_asia.htm

Learn about It!

Influences from Outside the Region

Southeast Asia is a vast region, home to eleven countries: Cambodia, Thailand, Myanmar (Burma), Vietnam, Laos, Malaysia, Singapore, East Timor, Brunei, Indonesia, and the Philippines.

The region can be subdivided into two parts: the Indochinese Peninsula or Mainland (Cambodia, Thailand, Myanmar, Vietnam, Laos) and Insular Southeast Asia (Malaysia, East Timor, Singapore, Brunei, and the archipelagos of Indonesia and the Philippines). This region is located to the east of India. This is why these countries can also be called the “East Indies.”


The region experiences a tropical climate—hot, and humid in some areas. This weather provides the region with a rich variety of spices and exotic goods. Some of these goods are rice, rubber, and petroleum. This is why plenty of traders and explorers wanted to establish trade with these countries.

One of the nearby countries that established trade and commerce with the region is India. Through trade with the region, India introduced new art forms, ideas, and traditions to the region. Among these are Hinduism and Buddhism, and Islam.

Fig. 1.2 A Buddhist temple in Southeast Asia

Photo from pixabay.com


Aside from the Indians, people from other countries also came to the region, including the Portuguese and the Dutch. They went beyond trade, however, and eventually converted parts of the region into their colonies. Unlike the Indians, though, these two left very little to no cultural influence on the countries they occupied, mainly because they remained unwelcome outsiders during their stay.

Later on, in the 19th century, other European countries such as Britain and France came and colonized parts of the region as well, using their colonies as outposts for trade in the region.

Some General Characteristics

The inhabitants of Southeast Asia made instruments out of material endemic to the region, such as bamboo, wood, and various metals. Some of these instruments include bamboo zithers and jew’s harps.

Many of the early inhabitants of the region believed in animism, a belief reflected in the various chants and songs written in the worship of nature and the spirits.

They wrote songs centered on agriculture, their main economy, including rice-planting songs and songs for the harvest time. Some of these songs were pleas to spirits or prayers for a bountiful harvest.

Aside from the use of bamboo and other wood materials, Southeast Asian music is also known to make use of metal gongs. Gongs can be found in communities, courts, and temples in Southeast Asia. They are used to communicate with spirits and often accompany rituals and processions or aide in meditation and healing. An example of the prevalence of gongs in the region is the gong ensemble from Indonesia is the Gamelan Selunding.


Fig. 1.3. Religious ceremonies accompanied by ensemble or solo instruments.

Religion and Music in the Region

In some cities and towns, Hindu epics such as Ramayana and Mahabharata are performed using shadow puppets and masks. These performances often include elaborate dances and chants.

Moreover, Buddhist influences can be heard in the chants of Buddhist countries such as Myanmar, Cambodia, Thailand, Laos, Vietnam, and Indonesia.

In the same way that music accompanies Buddhist and Hindu rituals and occasions, music is also played to celebrate Islamic feasts in the region such as Muhammad’s birthday, Mawlid.


Try It Yourself

The early inhabitants of Southeast Asia made instruments from the materials around them, like wood, bamboo, and metal, to mimic the sound of nature.

Form a group. Look for materials around you that you can use as instruments. Create a short piece that mimics the sounds of nature, and perform it in class.

Check Your Understanding

Fill in the blanks with the correct answer.

A. Recall the following information. 1. Southeast Asia has a __________________ climate. 2. Mainland Southeast Asia is also called _______________. 3. The countries that aren’t part of Mainland Southeast Asia form the ________________. 4. Collectively, the countries of Southeast Asia can also be called the ________________. 5. _____________ is the country that had the greatest influence on the culture of the

region. 6. Name a European country that colonized a part of Southeast Asia.

______________________________

7. The european countries Portugal and the Netherlands made ____________ impact in Southeast Asia.

8. Britain and France acquired colonies in the region to use as sources of goods such as ____________________.

9. Indians brought ____________________, ____________________, and ____________________ to Southeast Asia.

10. ____________________ is a famous gong ensemble from Indonesia.


Challenge Yourself! Answer the following questions.

1. Why is it important that we know where a region is located? 2. How did trade affect the culture of Southeast Asia? 3. The early inhabitants of the region were animists. How did this manifest in their

music? 4. Music in Southeast Asia is used for what kinds of occasions? 5. Ludwig van Beethoven once said, “Music is a higher revelation than all wisdom

and philosophy. Music is the electric soil in which the spirit lives, thinks, and invents.” After learning about the factors that led to the development of Southeast Asian music, do you agree?

Let’s Jam!

Form a group. Write a short poem about an activity or occasion common to all the members of the group. Create an ensemble of instruments (you may also use body percussion) to accompany your composition.


Lesson 2: Indonesia’s Gamelan Ensemble

Learning Targets


● discuss Indonesian Gamelan ensembles and their instruments; ● differentiate between Javanese and Balinese Gamelan ensembles; and ● perform simple rhythms that interlock in a Gamelan style.

When you hear the world “Gamelan,” the first country to pop into your head will probably be Indonesia. Did you know, though, that there is more than one kind of Gamelan ensemble in the country? The two are Javanese Gamelan and Balinese Gamelan. Can you imagine how they differ from each other?

Let’s Warm Up!

Classify the following instruments according to Hornbostel-Sachs classification. Below the photo, write whether the instrument falls under aerophones, membranophones, idiophones, or chordophones.


Learn about It!

Indonesia is the largest archipelago in the world. Shaped by volcanic activity, its islands are located on the equator.

The two largest islands of Indonesia are Sumatra and Java. These islands hold a significant number of the Indonesian population. A smaller number lives on the island of Bali, a small island off the tip of Java.

While most of the population in Sumatra and Java are Muslim, a majority of the people residing in Bali practice Hinduism.

The Gamelan Ensemble

The islands of Indonesia are known for their bronze gong ensembles, called the Gamelan ensemble.

Gamelan ensembles consist of bronze or iron idiophones, otherwise known as metallophones. These include a hanging gong called the gong ageng, rack gongs called bonang, and gongs laid in rows, similar to a xylophone’s keys, like saron barung and gambang. These are played using mallets.

The Gamelan ensemble also sometimes makes use of bamboo flutes, fiddles called rebab, and drums called kendang, as well as voice.


Fig. 2.5 Instruments of Gamelan.

Gamelan instruments are sacred and believed to have supernatural powers. They are treated with utmost respect; musicians bow before playing, and cannot step over any of the instruments.


Fig. 2.6 The Balinese Gamelan Ensemble

Photo from pixabay.com

There are two basic tuning systems used for both Javanese and Balinese Gamelan:

1. Slendro—a tuning system that divides an octave into five equidistant tones. It can also be described as a pentatonic scale. This tuning is usually used to denote cheerfulness and festivity.

2. Peloq—seven-tone tuning. This tuning is used to express sadness.

Gamelan music is played in cycles that are marked by periodic punctuations. This structure is called a colotomic structure. Most of the time, it is the lower sounding gong ageng that does the punctuation.

Gamelan is highly polyphonic, meaning that many instruments play independent parts that come together to create the desired soundscape.

There are two main kinds of Gamelan ensembles in the country: Javanese and Balinese.


Javanese Gamelan

Because the population of Java is predominantly Islamic, Javanese Gamelan is most often Islamic in function.

Its melody is often described as balanced and symmetrical in phrasing.

The principal melody is played by the melodic instruments such as fiddles and flutes, while there is also an added layer of sound created by the higher-pitched metallophones, giving the music a “misty” quality.

There are two styles of playing in this ensemble: the strong style and the soft style.

In the strong style, the metallophones and rack gongs play the principal melody in a fast tempo.

On the other hand, the soft style emphasizes the female vocal solos and the male chorus, supported by fiddles, flutes, and zithers. The soft style uses a slow, solemn tempo.

Try It Yourself

Listen to the music of the Javanese Court Gamelan, using this link from youtube:

https://www.youtube.com/watch?v=qaJ_5hcnEQA

This is called Udan Mas or Golden Rain.

Write a reaction paper on the piece.


Balinese Gamelan

While Javanese Gamelan is associated with Islam, Balinese Gamelan or Gong Kebyar is tied to Hinduism.

It is used to attract and entertain deities and acts as a ritual offering. The music has continually shifting tempo and dynamics. It has an agitated feel, punctuated by sudden bursts of virtuosic playing. This is why it is often described as moody.

The interlocking pitches played on the metallophones create fast, rattling sounds that are often described as having high rhythmic density. Because of this, the music gives the effect of being played at “superhuman speed”.

Another distinctive quality of Balinese Gamelan is the “shimmer effect” created when one gong in an identical pair is de-tuned, and the two are played together. This creates a sound similar to a tremolo.

Try It Yourself

Listen to the music of Balinese Gong Kebyar music through this link from youtube:

https://www.youtube.com/watch?v=hfvIL5QOKHo

Get a partner and discuss the similarities and differences between Javanese and Balinese Gamelan music.



Fill in the blanks with the correct answer. Answers are provided in the box below.

1. The____________ is the rack gong of Gamelan. 2. When Indonesians want to express happiness in the piece they commonly use the

__________________ tuning. 3. _________________ is the cyclical playing of music, in which each cycle is marked by a

periodic punctuation.. 4. _________________ is a distinct element found in Balinese Gamelan music in which a pair

of gongs, one of them de-tuned, is played together, creating a sound similar to a tremolo..

5. ______________ is the dominant religion in Java. 6. _____________________ is the term for an idiophone made of metal. 7. __________________ is the drum used for Gamelan. 8. ________________ is the Indonesian fiddle used in gamelan music. 9. Gong Kebyar is tied to the ______________ religion. 10. The ________________ is the instrument that usually punctuates each cycle in the

colotomic structure of Gamelan music.


Challenge Yourself!

Answer the following.

1. Give one similarity between Javanese and Balinese music and explain. 2. Name a metallophone found in the Gamelan ensemble and write down its English

name. 3. Recall the differences between Javanese and Balinese music. In each of these

aspects below, discuss how the two differ from the following: ○ Tempo ○ Expressiveness ○ Purpose

Let’s Jam!

Listen to the piece, Udan Mas, again. Listen to the gong ageng punctuate the end of each cycle. Jam with the gong ageng player and try to play the punctuations with him.

Look out for the soft sound and loud sound and try to clap along.


Lesson 3: Thailand’s Piphat Ensemble Learning Targets


● discuss the Piphat ensemble; ● identify the instruments involved in the Piphat ensemble; and ● analyze the music of the Piphat ensemble.

If, for court, the Indonesians have Gamelan music, the Thais have the Piphat ensemble. Despite this similar function, the Piphat ensemble is completely different from the Gamelan ensemble. Can you guess how they differ?

Let’s Warm Up!

1. Get a sheet of paper and a crayon or colored marker. 2. Listen to the musical excerpt below:

https://www.youtube.com/watch?v=ZhNoTzhzYHg

3. Using the sheet of paper and the crayon/marker, trace the direction of the music. 4. Compare drawings with your seatmate.


Learn about It!

What you have just heard is the Piphat ensemble of Thailand. The country’s most well-known ensemble, the Piphat ensemble plays music not only for theater performances but also for rituals, most especially funerals.

Like the Gamelan ensemble, it is also found in court.

The pieces played by this ensemble are described as continuous, busy, and non-directional. A musician in this ensemble intentionally avoids repetition, giving the music a patternless feel.

The ensemble uses polyphony, where various instruments play together, each with their own independent melodic lines.

This ensemble is composed of double-reed aerophones and tuned idiophones, and is dominated by a wooden-keyed xylophone called the Ranat Ek. The Ranat Ek plays melodic runs.

There is also a lower pitched wooden-keyed xylophone called the Ranat Thum, that plays syncopations.

Aside from the wooden-keyed xylophones, there is also a set of tuned gongs laid in a circle, called the Khawng Wong Yai. The Khawng Wong Yai plays basic melodies.

A higher-pitched counterpart of this is called the Khawng Wong Lek, which plays faster and more ornate melodic lines.

Lastly, there is also the double-reed oboe called Pi, which plays the melody.


Fig. 3.1 The Ranat Ek

Fig. 3.2 The Khawng Wong Yai

The music of the Piphat ensemble is played in duple meter. However, unlike western duple meter, the accents of Piphat ensemble music fall on the second beat, rather than the first. The Ching, a cup-shaped instrument, plays this accent.


Fig 3.3 Handheld Ching

Try It Yourself

Listen to the Piphat ensemble through this link:

https://www.youtube.com/watch?v=bi5RyepygCo

Listen to the instruments intently. Do you hear the Ranat Ek and Ching?

Clap along with the Ching.



1. The _____________________ is the high-pitched wooden-keyed xylophone that leads the Piphat ensemble.

2. The music of the Piphat ensemble is played in _____________ meter. 3. The Piphat ensemble is known to use _________________, wherein several instruments

play together, each with their own melodic line..


4. A cup-shaped instrument that accents the end of a meter is a/n _________. 5. ____________________ is a set of gongs laid out in a circle, that plays the basic melody. 6. The Piphat ensemble plays for not only theater performances, but also for rituals,

most especially ___________________. 7. Piphat ensemble music is continuous, busy, and __________________ direction. 8. The double-reed aerophone, _________________, is often highlighted in Piphat ensemble. 9. Playing syncopations and playful tunes is done by the ____________________, a

lower-pitched xylophone in the Piphat ensemble. 10. The accents of Piphat music fall on the ______________ beats.

Challenge Yourself!

Encircle the letter of the correct answer.

1. For what occasions does the Piphat Ensemble play? a. Rituals, Theater Performances, and Funerals b. Rituals, Theater Performances, and Harvesting Season c. Rituals, Theater Performances, and Processions d. Rituals, Meditation, and Healing Ceremonies

2. What is the leading instrument of the Piphat ensemble?

a. Ranat Thum b. Ranat Ek c. Khawng Wong Lek d. Ching

3. Piphat ensemble music is described as:

a. structured, steady, monophonic b. busy, continuous, without direction, polyphonic c. through-composed, improvised, homophonic d. solemn, structured, repeating


Write the correct answer on the space provided.

4. Name the higher-pitched and lower-pitched xylophones and explain what they do.

5. Name the higher-pitched and lower-pitched gong circles and explain what they do.

Let’s Jam!

Compose a short and simple melody for a recorder. Form an ensemble to accompany the melody on the recorder. You may use instruments, body percussion, or vocal sounds to accompany the recorder.


Lesson 4: Cambodia’s Pinpeat Ensemble Learning Targets


● define what the Pinpeat ensemble is; ● identify the instruments of the Pinpeat ensemble; ● analyze the music of the Pinpeat ensemble.

If Thailand has a Piphat ensemble, then its neighboring country Cambodia has a Pinpeat Ensemble. The names of the two ensembles may look and sound similar, but do the two ensembles bear any other resemblances?

Let’s Warm Up!

1. Form a group of five. 2. Listen to the excerpt below:

https://www.youtube.com/watch?v=xIv7yqiyeeI

3. Choreograph a dance that suits the music. 4. Have a dance battle against another group in the class.


Learn about It!

Cambodia was the center of the great Khmer empire in Southeast Asia during the 7th century. During this time, Cambodian music mainly accompanied court occasions such as rites, festivals, and performances.

The Pinpeat Ensemble

One of its main and oldest court ensembles is the Pinpeat Ensemble. It is composed of eight to ten instruments.

It usually performs traditional Cambodian theatrical forms, such as the “Lakhon Khol,” which is a masked theater play that features the story of Ramayana according to the Khmers, and the “Nang Sbek,” a shadow theater play.

The Pinpeat ensemble is classified as “gong-chime” music, emphasizing percussive elements such as gongs and xylophones. It accompanies royal court dances and gives dancers the main beats during a performance.

Fig. 3.1 Cambodia’s Pinpeat Ensemble


Do you notice that the instruments of the Pinpeat ensemble of Cambodia look very similar to the instruments of the Piphat ensemble of Thailand? That’s because they are. They just have different names.

The Roneat is a xylophone with keys set in a frame in the shape of a boat. It can be likened to the Ranat Ek from Thailand.

There is also the Kongvong, the gong circle of the Pinpeat ensemble, which is the Cambodian equivalent of the Thai Khawng Wong.

In addition to that, there is also the Chhing, the cup-shaped instrument that is also found in the Piphat ensemble.

Lastly, there are two drums in the picture. One is the Skor Samphor, which is a double-headed drum played with the hands. The other is the Skor Thom, another kind of drum built by combining two separate drums.

Try It Yourself

Listen to the Pinpeat ensemble of Cambodia:

https://www.youtube.com/watch?v=2-XS7xiOZOY

Observe the instruments used in the ensemble. Name each instrument, as well as its Piphat equivalent.




1. Pinpeat ensemble music is classified as ________________ music because it emphasizes percussive elements such as xylophones.

2. Pinpeat ensemble music usually accompanies the royal court’s ___________________. 3. _____________________ is the Khmer version of the Hindu epic Ramayana. 4. _____________________ is the double-headed drum of the Pinpeat ensemble. 5. The handheld cymbals used in the Pinpeat ensemble are called _________________. 6. The ____________________ has the same instruments as Pinpeat ensemble. 7. The Pinpeat ensemble has a gong circle called ______________. 8. The _______________ is the wooden-keyed xylophone of the Pinpeat ensemble. 9. The shadow play of Cambodia, _______________, is often accompanied by the Pinpeat

ensemble. 10.The _____________________ are two big drums that are similar with the ones found in

Japan.

Challenge Yourself

1. Name the two kinds of drums (membranophones) found in the Pinpeat Ensemble. 2. Name two theatrical forms accompanied by the Pinpeat Ensemble. 3. Explain how the Pinpeat and Piphat ensembles are similar.


Let’s Jam!

Using the video from this link, https://www.youtube.com/watch?v=2-XS7xiOZOY, study the choreography accompanied by the Pinpeat ensemble.

Perform the dance as a class.


Lesson 5: Myanmar’s Saung Gauk Learning Targets


● define what the Saung Gauk is; ● recognize the features of the Saung Gauk visually; ● familiarize yourself with the sound produced by the instrument; and ● discuss the songs and musical pieces related to the Saung Gauk.

From the past two lessons, we’ve learned that the instruments and instrumental ensembles of some countries, like those of Thailand and Cambodia, sometimes have similarities. Can this also be said of the instruments and ensembles of Myanmar?

Let’s Warm Up!

1. Without watching the video, Listen to the audio found at the link below:

https://www.youtube.com/watch?v=gT3kX-hSto0&list=PLZM9yT8vav_Io686jeHN53GAGSM6bJc97

2. Get a partner. 3. Discuss your observations with your partner. Guess whether the person singing is a

man or a woman. Also, guess what instrument/s is/are being played. 4. Watch the video. Check whether your guesses are correct.


Learn about It!

Myanmar was previously known as Burma before the military government established itself in 1988 and changed the country’s name.

The country housed the Pyu kingdom from the second century until the eleventh century, and the influence of its royal traditions can still be seen in the Myanmar of today.

Although also influenced by neighboring countries, Burmese performing art is predominantly influenced by Buddhism. Some of the country’s most popular theatrical art forms, including Nibhatkhin, a processional theatrical form in which scenes from Buddha’s life are brought from village to village, and Pwe, a popular open-air play on the past lives of Buddha, are deeply rooted in the religion.

Burmese Musical Instruments

The musical instruments of Myanmar can be categorized into two: loud-sounding instruments and soft-sounding instruments.

Loud-sounding instruments are found in ensembles that play in open-air settings. These instruments often accompany ceremonies. Myanmar’s traditional folk ensemble, Hsaing Waing, makes use of mostly loud-sounding instruments like drums and gongs.

On the other hand, soft-sounding instruments are most often used indoors, for occasions like those of royal courts. Examples of these are the Saung Gauk, a thirteen-stringed harp, and Pattala, a Burmese xylophone.

The Saung Gauk is an angular-shaped harp with an intricately designed hollow body made of Padauk, Burmese mahogany. This hollow body is covered with female deerskin, and fitted with a neck made of cutch wood. Silk strings are then attached to the body and the neck.


Fig. 5.1 The Saung Gauk

The Saung Gauk is used to accompany performances of songs from the Mahagita (“Great Music”), a collection of the country’s classical songs. The collection consists of songs of longing and sorrow, worship songs for spirits, royal court music, dance songs for horses, and music from the Ayutthaya and Mon people.

Try It Yourself Listen to the Saung Gauk using the link below:

https://www.youtube.com/watch?v=_z9_ksh78fA

Describe the way the musician plays the instrument. Reenact the movements that the musician does.



Fill in the blanks with the correct answer. 1. _______________ was Myanmar’s name before the military government took over the

country and renamed it. 2. The traditional folk ensemble of Myanmar is called ________________. 3. The _________________ is a processional theatrical form depicting scenes from the life of

Buddha 4. ____________________ instruments are played in the open air. 5. An angular 13-stringed harp from Myanmar is called the _______________. 6. _____________ is used as strings for the harp. 7. _____________ is a collection of Myanmar’s classical songs. 8. Myanmar’s music is mostly influenced by the religion ______________. 9. __________________ is Burmese mahogany. 10.The __________________ is a Burmese xylophone played indoors.

Challenge Yourself

Complete the sentences.

1. The Saung Gauk is an example of a ______________________ instrument. 2. The Saung Gauk is played____________. (where) 3. Its hollow body is made of ____________________. 4. Its strings are made of _______________. 5. It accompanies songs from the ___________________.


Let’s Jam!

Form a group and listen to the Saung Gauk once again and make it your inspiration for composing a simple song about the beauty of life (4 lines, 1 to 2 stanzas).

Practice the melody of your song and accompany it with available instruments.

Play your composition in front of your classmates.


Lesson 6: Vocal Music of Southeast Asia Learning Targets


● discuss various songs from Southeast Asia; ● state how vocal music is passed on from generation to generation in Southeast

Asia; ● describe vocal music performance practices in Southeast Asia; and ● accurately perform a Southeast Asian song.

Western vocal music is often used, sometimes unconsciously, as a way of passing on stories, values, and traditions from one generation to the next. Aside from that, it is also often used for entertainment, whether through listening or through the actual process of music-making. Is this also true of vocal music from Southeast Asia?

Let’s Warm Up!

1. Form a group of five. 2. Write two stanzas, four lines each, with lyrics based on an activity common to all the

members of the group. It could be anything, from eating lunch to walking home from school.

3. Write a melody to set your stanzas to. 4. Perform your piece as a group.


Learn about It! Although Southeast Asia is more known internationally for its instrumental ensembles, the region also has a rich vocal music tradition. Here, vocal music plays an essential part in each country’s culture; it acts as a record of stories for their community, narrating the lives of great men and women, heroes, warriors, and important historical events.

In the Philippines, they sing epics that go on for several nights. The younger generations learn these epics from the older generation by oral tradition. Use of oral tradition is usual for the Southeast Asian countries; songs, traditions, and stories are not written down but are orally taught, and learned through listening and constant practice.

Some countries use songs for the royal courts. The Mahagita from Myanmar is a collection of “great royal songs.” Oldest of these are the Kyo Songs, the Bwe Songs, and Tachin Hkan. The songs of the Mahagita are all published without notation; only the lyrics of the songs are printed. This is because the melodies of the songs are passed on through oral tradition as well.

There are also songs that are made for entertainment, especially those written for kids. One entertaining song from Indonesia is “Anak Kambing Saya.” It is written in a call-and-response form. This song is cheerful and upbeat. It talks about friendship and togetherness.

Voice Quality in Southeast Asian Vocal Music

Some vocal music, like those from Thailand, Cambodia, Indonesia, and Vietnam, can be described as having a nasal quality. This is because their language is nasal as well. However, sometimes, nasality is also used to imitate the sounds of certain instruments. An example of this is Indonesian vocal music, where voices are nasalized to imitate the two-stringed fiddle, Rebab.

On the other hand, Borneo, and the Luzon and Mindanao regions of the Philippines have non-nasal vocal music.

Since some vocal music in the region is also theatrical in nature, timbre plays a crucial role in vocal music. In portraying characters through their singing, performers use varying


timbres. Narrators, like the dalang in Javanese shadow plays, explore different singing and speaking qualities to bring characters to life more effectively.

Tradition and Globalization

Although Southeast Asian vocal music varies from country to country, all vocal music from the region face a common problem. Because of several factors, the greatest of which is a western influence, the tastes and aesthetic values of the population in the region have changed drastically. Because of this, some songs become restyled or modernized to cater to modern ears, sacrificing the authenticity of their original versions.

Courts, states, music schools, and other cultural institutions are now working towards the preservation of these folk songs, in their original forms, and raising awareness regarding these issues.

Loi Loi Krathong

Below is the Thai traditional song called “Loi Loi Krathong.” Loi Loi Krathong literally means “to float a basket.” It is sung while baskets float down rivers, as offerings during the full moon. Loi Krathong is a festival in Thailand to celebrate the full moon of the 12th month in the Thai Lunar calendar.


Try It Yourself Form a group of five.

Study the song “Loi Loi Krathong”, and perform it as a group. Imitate the nasality of authentic Thai performers.

https://www.youtube.com/watch?v=NC6HTsYjh6k




1. __________, in Southeast Asian vocal music, is used to portray characters. 2. Vocal music from Thailand, Cambodia, Indonesia, and Vietnam can be described as

having a ____________ quality. 3. __________________ is a tradition that orally teaches songs and stories without writing

them down. 4. An example of a children’s song from Indonesia is ___________________. 5. The song from the previous answer is written in a _________________ form. 6. A __________________ is a narrator for Javanese shadow plays. 7. ____________, ___________, and __________ of Mahagita make up the oldest songs from

the book. 8. In Javanese Gamelan, voices are nasalized to imitate the ________________. 9. __________________ is the literal meaning of Loi Loi Krathong. 10.The festival where “Loi Loi Krathong” is performed takes place on the ______________

month of the Thai lunar calendar.

Challenge Yourself! Search for the literal translation of the words of Loi Loi Krathong. Below each line, write the direct translation.

Wan Pen Duan Sip Song

Nam Koh Nong Tem Taling

Rao Tanglai Shai Ying


Sanuk Ganjing Wan Loy Krathong

Loi Loi Krathong

Loi Loi Krathong,

Loi Krathong Gan Laew

Koh Shern Nong Kaew

Ook Ma Ram Wong

Ram Wong Wan Loy Krathong

Ram Wong Wan Loy Krathong

Boon Ja Song Hai Rao Suk Jai

Boon Ja Song Hai Rao Suk Jai

Let’s Jam!

Form a group. Perform Loi Loi Krathong. Create a short skit to accompany your performance.


Did You Know?

Fig. 2.6. Claude Debussy

Source: Atelier Nadar, Paris, Claude Debussy atelier Nadar, marked as public domain, more details on Wikimedia Commons

The Indonesian Gamelan ensemble is so famous that it is one of the most studied and researched music traditions in the world. Western composers like Claude Debussy, Francis Poulenc, and Phillip Glass acknowledged that they drew inspiration from the Gamelan ensemble for their compositions.


https://en.wikipedia.org/wiki/File:Claude_Debussy_atelier_Nadar.jpg

https://commons.wikimedia.org/wiki/Template:PD-US

https://commons.wikimedia.org/wiki/Template:PD-US

Web Links

Check this youtube link that says speaks about Southeast Asian Music in relation to other countries.

● https://www.youtube.com/watch?v=xHgdrzgtBik&t=262s

● https://www.youtube.com/watch?v=ffigAV8vj70

● https://www.youtube.com/watch?v=v86IiLm1okw

● https://www.youtube.com/watch?v=MFrLcRhMKnE

● https://www.youtube.com/watch?v=WFrOAJMpryQ&list=PL5HYcGNYQ2SWRKbsC1rrg1c

ptx_rmHYfP

Performance Task The Great Tourist Guide

Purpose:

At the end of this activity, the students should be able to:

● demonstrate extensive knowledge of Southeast Asian culture by performing “Gundul Gundul Pacul” in the correct context;

● perform the song with appropriate actions and movement; and ● show appreciation for Southeast Asian music through active participation.

Role: You are a tour guide, leading Filipino tourists through Indonesia.

Competence: You must be able to teach Gundul Gundul Pacul to your tourist group, complete with actions.


Procedure:

1. Form a group of five. 2. Search for “Gundul Gundul Pacul” online, using this link:

https://www.youtube.com/watch?v=U-hJfrbRtg0

3. Study the song. The lyrics are below:

Gundul gundul pacul cul gembelengan Nyunggi nyunggi wakul kul gembelengan Wakul ngglimpang segane dadi sak latar Wakul ngglimpang segane dadi sak latar

4. Research the meaning of the lyrics of the song. 5. Memorize the song, and practice performing it. 6. Choreograph movements corresponding to the song’s lyrics. 7. Teach the song and choreography to your group. 8. Perform the song in front of the class.

Key Guide Questions 1. What is the literal translation of “Gundul Pacul”? 2. Should the song be sung alone or in a community? 3. What feeling does the song evoke?

Reflective Questions

1. Reflecting on the message of the song, do you think it is important for the song to be shared?

2. How does “Gundul Gundul Pacul” reflect Indonesian traditions? 3. Do you think, learning songs from other cultures will help us appreciate our own

songs and traditions as well? 4. What can you contribute as an individual in helping others appreciate musical

traditions?


Self-Check Reflect

I find __________________________ the most interesting because ______________________.

I got ____ checks because _______________________________________________________.

I need to improve on _______________________because _____________________________.

I need to practice _________________________ because _____________________________.

I plan to ___________________________________________________

__________________ .

Wrap Up


Bibliography

James Brandon et al. 2018. Encyclopedia Brittanica. “Southeast Asian Arts.” Accessed January 20, 2019 https://www.britannica.com/art/Southeast-Asian-arts/Music#ref29483

Geo, Ethio. 2012. “South and Southeast Asia.” Accessed January 19, 2019 http://mrethiergeo.weebly.com/south--southeast-asia.html

DEPED BATAAN. “Gr. 8 Learning Module in Music.” Accessed by January 19. 2019 http://www.depedbataan.com/resources/20/grade_8_teaching_guide_in_music_q1-_southeast_asia.pdf

Miller, Terry. and Andrew Shahriari. 2009. World Music: A Global Journey. New York: Taylor and Francis e-library.

Hays, Jeffrey. 2014. “Fact and Details” Accessed by January 23, 2019 http://factsanddetails.com/southeast-asia/

Bedenis, Christine. 2014. “Three Kinds of Folk Music in Thailand. Accessed by January 31, 2019 https://www.christinebedenis.co/2014/05/02/thai-music-4/


Glossary

Aerophones refer to instruments that make sounds using wind.

Chordophones refer to instruments that make sounds using strings.

Gamelan refers to the main instrumental ensemble of Indonesia.

Idiophones refer to instruments that have their whole bodies vibrate to make sound.

Membranophones refer to instruments that make sounds using the skin of animals to make sound.

Metallophones refer to idiophones that are made of metal.

Pinpeat refers to the ensemble of Cambodia made of metallophones and other percussions.

Piphat refers to the ensemble of Thailand made of metallophones, percussion, and aerophones.


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