The grounds of Wat Laem Sor, this ornately designed Chedi(Pagoda) sits at the rocky water's edge.

Covered in countless small yellow tiles, it appears golden when viewed from a short distance. This temple is the home of Koh Samui's most famous landmark the Big Buddha. Visible from several kilometers away and even from the air when arriving on or leaving the island , the 12 meter tall golden image stands proud. The body of Samui's most famous mummified monk, Loung Pordaeng, is on display here in a specially constructed building. When he died more than 20 years ago, he was sitting in a meditation position. He is still in that same position and his body shows few signs of any major decay. Wat Khunaram is on the 4169 ringroad between the Na Muang waterfalls and Hua Thanon. The National Monument Pura Besakih Pakerisan Valley Taman Ayun Temple

ELEMENTS OF MUSIC Timbre - quality of sound (four types of voices) Rhythm rising and falling of sound marked by accented beats Melody a succession of related single tones expressing an idea (pitch and duration) Form structural organization of a musical composition (through one part, binary two different melodic ideas& ends with the repetition of the first idea.) ternary two basic ideas and coming at regular intervals

Texture pertains to the relationship of melodic and harmonic elements which produce qualities of lightness or heaviness, thickness or thinness (monophonic without accompaniment, homophonic has a supporting set of chords for accompaniment, polyphonic has two or more melodies without supporting chords) Characteristics of Philippine Music     Have no standard form Basically rhythmic and folkloric Written in duple and triple meter/either in major or minor key Based on the daily activities of the people

Categories      Serenade songs usahay Victory songs - tagumpay Festival songs Lullaby songs - oyayi Welcome songs

                      

Wedding songs Religious festival songs seasonal songs Advent song panunuluyan Christmas carols ang pasko ay sumapit Pasyon Alay flores de mayo Balitaw Kundiman Nicanor Abelardo/Bituing Marikit, Pakiusap & Nasaan ka Irog Germogenes Ilagan Dalagang Bukid Pascual Poblete Pag-ibig sa Tinubuang Lupa Zarzuela Alejandro Cuvero / Nabasag ang Banga Severino Reyes Walang sugat Fulgencio Tolentino Minda mora & Luha ng kagalakan Cordillera Functional & integrated in their day to day activities Limited tones Badiw of Ibaloi - song for the dead sung in leader-chorus style Ullalim of Kalinga sung in solo manner accompanied by dances and various musical instruemnts Imma-isa-isa of Tingguians - rice pounding Ayoweng of Bontoc field work Sumsumlag ka ud buwan of Igorot express their love to their parents Dangdang-ay gathering of tribes Mindanao Mellismatic long phrasing, a narrow range and fluttering unsteady tones Lullaby - Kambonbong of Maranao - Binua of Badjao - Lindugen of Tirurays Courtship Bayok Maranao

Sindil Tausog Entertainment Tenis Tenis Samal Working song Sayil Tausog

Mindoro Ambahan bamboo tube

Visayas Children song Ili ili tulog anay Working song Si pilemon Serenade song Matud Nila Ballad Sa Lungsod ng buenavista Nonsense song Pakitong kitong Drinking song Dandansoy Thai music has its own structure and form that is distinctly unique and cannot be compared to western music. *non-harmonic, melodic or linear. emphasize rhythm over harmony. *based on seven-tone scale system *children songs, folk songs, vocal music pentatonic scale *instrumental music moves around its seven-tone scale not written in major or minor scale *used in dance, theater and ceremonies *duple meter *heterophonic texture * written in the high or low register with long or short duration

Ritual songs suod chanting of religious verses that is used to worship spiritual and supernatural beings. Thes a ritual song that is performed with improvisations and is learned by memory. Used in pottery reading, recitatition, and speech.

Entertainment songs use to tell stories about customs and traditions. Phleng klomdek nursery rhymes with an irregular rhythm Phleng bork songs for male singers that tell about stories and news. Leader-answer style Sebha a solo song. Combination of 3 communication aspects (singing, speaking, praying) He Ruea a boat song sung following rhythm of the oarmen Sangkhara a beggars music.

Main Ensembles:  MAHORI ENSEMBLE songs and plays, little softer string and percussion instruments (ranaat, khawng wong lek, ching, jakhae or jakhe, samsaay and thon)  PIPHAT ENSEMBLE court ceremonies, loud percussion and woodwind instruments (pinai, ranaat, taphon, ching, and khawng wong lek)  KHRUANG SAAY - softest dynamic level stringed and wind instrument (jakhae, saw sam sai, sao u, sao dung, pi charba, ching chap Khruang Saay Khryang Khu 2 saw duang, 2 saw u, 2 jakhae, 1 khlui lip, 1 thon romana, 1 khlui phiang aw

 

Indonesian music has always been associated with gamelan Vocal music is used to ornament the gamelan music. PESENDHEN produce by female soloist

GAMELAN performed in courts and in temples. (gong-chimes, bronze gong, drums, flutes, and metallophones) Balinese gamelan used to play sacred music Made up of gongs and metallophones Characteristic sudden change of tempo and dynamics

Produce a very bright and brilliant sound Distinctive mark use of fast, rattling cymbals Javanese gamelan used to play court music Percussion dominated Composed of bronze gongs and metallophones Both used in ceremonies, concerts, performances   The use of gongs is common in the Philippines and Indonesia (gamelan & kulintang) while both Philippine and Thai ensembles have string ensembles (rondalla & pi phat) Indonesian singing uses a combination of mostly chest voice with occasional head, Philippine vocal music uses both chest and head voice, with both as a result of western colonization (dutch for Indonesia and Spain and America for the Philippines), while thai nasal vocal timbre may be an effect of their language and its close proximity to Chinese culture and language. Texture is heterophonic for Indonesian and Thai folk music while Philippine folk music uses mixed textures. Interlock is a common technique used in gong ensembles in Indonesia and the Philippines. The use of melodic modes is common to Indonesian and Thai folk music while Philippine folk music uses melodic modes and diatonic scales. Duple meter and strophic form is common across countries. Timbre nasal (thai & indonesian), mixed timbres (philippine) Timbre drums (Phil-Dabakan, Thai-taphon, Indonesian-kendang), xylophone (Phil-gabbang, Thairanat), gong (Phil.-kulintang, gangsa, Indonesian-saron), flutes (Phil.& Indonesian suling, Thai- pi nai), LUTE (Phil.-banduria, Indonesian-ranat, Cambodian-Thai-erhu) Rhythm mostly duple (Thai), colotomic structure in 8 or 16 (Indonesian), mixture of simple or compound triple and quadruple (Philippine) Melody uses pentatonic scales (Thai), pelog and slendro (Indonesian), pentatonic, pentachordal & diatonic scale (Phil) Harmony/Texture polyphonic stratification with the resultant melody as a result hocket/interlock (Indoensian, Phil.), heterophonic (Thai), Drone & melody (kaen music) Form Thai vocal-strophic, Instrumental- three part form, Indonesian : repeated, Phil.-strophic, binary, ternary, free forms