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This document provides summaries of music and culture from various countries in Southeast Asia and Singapore. It discusses the types of music, instruments used, and cultural influences for Cambodia, Indonesia, Myanmar, Malaysia, Laos, Thailand, Vietnam, and Singapore. The musical traditions are diverse and reflect the blending of indigenous, Indian, Chinese, European, and other Asian influences over time in each country and region.
This document provides summaries of music and culture from various countries in Southeast Asia and Singapore. It discusses the types of music, instruments used, and cultural influences for Cambodia, Indonesia, Myanmar, Malaysia, Laos, Thailand, Vietnam, and Singapore. The musical traditions are diverse and reflect the blending of indigenous, Indian, Chinese, European, and other Asian influences over time in each country and region.
This document provides summaries of music and culture from various countries in Southeast Asia and Singapore. It discusses the types of music, instruments used, and cultural influences for Cambodia, Indonesia, Myanmar, Malaysia, Laos, Thailand, Vietnam, and Singapore. The musical traditions are diverse and reflect the blending of indigenous, Indian, Chinese, European, and other Asian influences over time in each country and region.
-KARAWITAN-JAVA *DIVIDED IN 2 REGIONS: VOCAL MUSIC-MADE SPECIFICALLY FOR -TO ACCOMPANY DANCES,SONGS AND 1.WEST MALAYSIA-PENINSULAR MALAYSIA VOICES;WITH OR WITHOUT INSTRUMENT WAYANG KULIT(PUPPET SHOW) 2.EAST MALAYSIA-CONSISTS OF 13 STATES AND -POSSES SUPERNATURAL POWERS 3 FEDERAL TERRITORIES INSTRUMENTAL MUSIC-MADE SOLELY FOR INSTRUMENTS USED IN *MULTI-ETHNIC;MULTI-CULTURAL INSTRUMENTS GAMELAN:KENDANG,GONG,KEMPUL,TROMPO *MULTI RACIAL GROUPS THAT INFLUENCED NG,CENG- MALAYSIA: CAMBODIA CENG,GANGSAS,ANGKLUNG,SULING,REYONG MALAY,CHINESE,INDIAN,IBAN,DAYAK,KADAZAN *KAMPUCHEA REBAB DUSUN,EURASIANS *INFLUENCED BY ANCIENT AND HINDU FORMS *BASED AROUND PERCUSSION INS. *CAMBODIAN COURT MUSIC-CHORUSES WITH MYANMAR *BELIEVED TO HAVE ORIGINATED IN THE LARGE ORCHESTRAS *BURMA UNTIL 1989 KELANTAN-PATTANI REGION WITH A MIXTURE *PINPEAT-CAMBODIAN MUSICAL *HAS SIMILARITIES WITH CHINESE AND THAI OF CHINESE,INDIAN,THAI,INDONESIAN ENSEMBLE;COMPOSED OF 9 OR 10 MUSIC BECAUSE ITS LONGEST LAND BORDER IS INFLUENCES INSTRUMENTS;CEREMONIAL MUSIC OF THE SHARED WITH CHINA *MUSIC OF MALAYSIA(TWO TYPES) ROYAL COURTS &TEMPLES *HSAING WAING 1.CLASSICAL/FOLK MUSIC-EMRGED DURING 1.ONEAT-XYLOPHONES -TRADITIONALLY FOLK MUSIC ENSMBLE THE PRE-COLONIAL PERIOD 2.SAMPHOR-DOUBLE HEADED DRUM -GONGS AND DRUMS 2.SYNCRETIC/ACCULTURATED MUSIC- 3.KONGVONG-GONG CIRCLES -INSTRUMENTS: DEVELOPED DURING POST-PORTUGESE PERIOD 4.SKORTHOM-2 DRUMS 1.HNE-DOUBLE REED PIPE *MUSIC INSTRUMENTS: 5.CHHING-FINGER CYMBALS 2.CHAUK LON PAT-8 TUNED DRUMS 1.AGUNG AND KULINTANG-GONG BASED 3.MAUNG HSAING-LARGER BRONZE GONGS IN MUSICAL ENSEMBLE INDONESIA RECTANGULAR FRAME 2.KERTOK-MUSICAL ENSEMBLE FROM MALAY *INDIAN,ARABIC,CHINESE,EUROPEAN 4.KYI WAING-SMALL BRONZE GONGS IN PENINSULA;CONSISTS XYLOPHONES *INDONESIAN MUSIC SCALE CIRCULAR FRAME 3.DIKIR BARAT-MUSICAL FORM THAT IS 1.SLENDRO-FIVE EQUIDISTANT NOTES 5.PAT WAING-21 DRUMS IN CIRCLE IMPORTANT TO MALAYSIA’S NATIONAL 2.PELOQ-HEPATONIC TONE SCALE 6.SIAND WA-BELL AND CLAPPER CULTURE *IRAMA-TEMPO *TWO TYPES OF MUSICAL INSTRUMENTS: 4.SILAT MELAYU-MARTIAL ART THAT IS SIMILAR *POLYPHONIC STRATIFICATION-MELODY 1.LOUD SOUNDING-PERFORMED IN OPEN AIR TO T’AI CHI RESULTING FROM HOCKING OR INTERLOCK ENSEMBLES *GAMELAN-JAVANESE;BALINESE 2.SOFT SOUNDING THAILAND -ORCHESTRA *SAUNG GAUK-13 STRING ANGULAR HARP *BANGKOK-CAPITAL AND LARGEST CITY;KRUNG -CONTAINS WITH SOFT SOUND;NATIONAL INSTRUMENT OF THEP MAKA NAKHON(SIMPLY KRUNG THEP) INSTRUMENTS:METALLOPHONES(METAL),XYLO MYANMAR *LANGUAGE:THAI OR SIAMESE PHONES,KENDANG,GONGS, *PATTALA-BURMESE XYLOPHONE *OFFICIAL RELIGION:THERAVADA,BUDDHISM BAMBOO FLUTES,BOWED AND PLUCKED *MAHAGITA-EXTENSIVE COLLECTION OF *CURRENCY:BAHT(THB) STRINGS CLASSICAL SONGS *NATIONAL ANTHEM:PIENG CHAT THAI(THAI -VOICE MUSIC-ORNAMENTATION NATIONAL ANTHEM) 1.PESINDHEN-FEMALE SOLOIST SINGER MALAYSIA *ROYAL ANTHEM:SANSOEN PHRA 3.KHRUEANG SAI-MUSICAL ENSEMBLE IN THAI *CATEGORIES OF VIETNAMESE MUSIC BARAMI(GLORIFY HIS PRESTIGE) CLASSICAL MUSIC;STRING INSTRUMENTS 1.IMPERIAL COURT MUSIC-MOST POPULAR OF *MOTTO:CHAT,SATSANA,PHRAMAHA THIS KIND IS NHA NHAC;PERFORMED IN HONOR KASAT(NATION,RELIGION,KING) LAOS OF THE GODS AND SCHOLARS IN TEMPLES *SIAM *LAO PEOPLE’S DEMOCRATIC REPUBLIC CLASSICAL MUSIC: *KINGDOM OF THAILAND *PART OF INDOCHINESE UNION(FRENCH A.DAI NHAC-GREAT MUSIC *COUNTRY AT THE CENTER OF THE INDO INDOCHIN A) B.TIEU NHAC-SMALL MUSIC CHINESE PENINSULA IN MAINLAND SOUTHEAST *WAT PHA THAT LUANG VIENTIANE-FAMOUS (THESE TWO ARE PERFORMED AS CHAMBER ASIA LANDMARKS MUSIC FOR KING) *BORDERS: *INFLUENCED BY INDIA,CAMBODIA,THAILAND 2.FOLK MUSIC-EXTREMELY -NORTH:MYANMAR;LAOS *LAO KINGS-TRADITIONALLY INCLUDED DIVERSE;PERFORMED BOTH IN AND -EAST-LAOS;CAMBODIA MUSICIANS AND A TYPICAL ORCHESTRA OUT;INFLUENCED BY WESTERN ELEMENTS -SOUTH-GULF OF THAILAND;MALAYSIA IMPROVISED SONGS 3.RELIGIOUS AND CEREMONIAL MUSIC- -WEST-ANDAMAN SEA;MYANMAR *LAO ORCHESTRA(TWO CATEGORIES) PERFORMED IN RELIGIOUS RITUALS OR AT *KNOWN FOR BEING SOLE NATION 1.SEP NYAI-SIMILAR TO PIPHAT OF FUNERALS *MUANG THAI(LAND OF FREE) THAI;INSTRUMETS THAT ARE STRICTLY *AYUTTHAYA RUINS PERCUSSIVE BUT ALSO INTEGRATES THE USE OF SINGAPORE *THAI MUSIC-CONGLOMERATION OF ASIAN AN OBOE *REPUBLIC OF SINGAPORE INFLUENCES;MUSICAL PRINCIPLES AND 2.SEP NOI-MAHORI OF *INDEPENDENT REPUBLIC IN SOUTHEAST ASIAN ELEMENTS:CHINESE MUSIC;BASED ON FIVE THAILAND;INCORPORATES THE USE OF SEVERAL *CULTURAL LIFE:REFLECTS ITS COLONIZATION TONE OR SEVEN TONE SCALE SYSTEM KHENE(LARGE BAMBOO MOUTH ORGAN;MOST BY THE BRITISH EMPIRE AND ITS DIVERSE *MUSICAL INSTRUMENTS-INDIAN AND POPULAR FOLK MUSIC IN LAOS) POPULATION INDONESIAN STRINGS AND GONG CHIMES *TRADITIONAL MUSIC-MOR LAM;BASED *FOLK MUSIC:REFLECTS THE CULTURE AND *INSTRUMENTS: AROUND KHENE TRADITION OF SPECIFIC GROUPS 1.RANAT-THAI XYLOPHONE *ETHNIC GROUPS THAT MADE A PROMINENT 2.KHONG WONG LEK-GONG CIRCLE USED IN VIETNAM PLACE IN MUSICAL WORLD OF THAI CLASSICAL MUSIC *SOCIALIST REPUBLIC OF VIETNAM SINGAPORE:CHINESE,INDIAN MALAYS, AND 3.TAPHON-TRADITIONAL DRUM OF THAILAND *EASTERN COAST OF INDOHINESE PENINSULA TAMILS 4.THON-SMALL GOBLET DRUM *nhac Viet Nam-ETHNIC MUSIC THAT WAS *MINORITY ASIAN ETHNIC GROUPS (MADE A 5.KLONG THAT-DRUM THAT PROVIDES RHYTHM ORIGINATED FROM THE KINH(PEOPLE OF MARK IN FOLK IN PIPHAT ENSEMBLE VIETNAM);ALSO USED TO ADRESS THE MUSIC CULTURE):CANTONESE,HOKKIEN,MALAY 6.CHING-SMALL BOWL SHAPED FINGER OF ANY NUMEROUS ETHNIC MINORITIES BANGWASAN CYMBALS *EARLY MUSIC THEORY-BASED UPON OR *WESTERN INFLUENCED PERFORMANCES BY *INSTRUMENTAL ENSEMBLES ADAPTED TO THE PREVAILING CHINESE THEORY THE SINGAPORE SYMPHONY ORCHESTRA AS 1.PIPHAT-FEATURES WIND AND PERCUSSION *MAJORITY OF INSTRUMENTS IN ROYAL WELL AS ETHNIC MUSIC PERFORMANCES INSTRUMENTS COURT-CHINESE ORIGIN MAINLY BY THE SINGAPORE CHINESE 2.MAHORI-THAI CLASSICAL ENSEMBLE WHICH *VIETNAMESE MUSIC-INDIAN ORCHESTRA WAS TRADITIONALLY PLAYED BY WOMEN IN INFLUENCES;IMPROVISATION PRELUDES OF THE COURTS CHAMBER MUSIC(RAO-SOUTH;DAO- -XYLOPHONES;GONG NORTH);ONOMATOPEIA IN DRUM PLAYING HEALTH 1.DETERMINE THE PROBLEM COMMON STI *SEX-BIOLOGICAL BASIS OF BEING 2.EXPLORE THE ALTERNATIVES *AIDS MALE/FEMALE 3.CONSIDER THE CONSEQUENCES *CHLAMYDIA *GENDER-PREFERENCE/SOCIAL CONCEPT ON 4.IDENTIFY YOUR VALUES *GENITAL HERPES HOW MEN/ WOMEN SHOULD THINK,FEEL AND 5.DECIDE *GENORRHEA ACT 6.EVALUATE *SYPHILIS *GENDER ROLE-SETS OF ACTIVITIES THAT *PUBLIC LICE(CRABS) SOCIETY CONSIDERS AS APPROPRIATE FOR MAN *VIRGIN-WHO HAS NOT HAD SEXUAL AND WOMAN INTERCOURSE AIDS *PHYSICAL SELF-LOOK AS A MAN OR WOMAN *VIRGINITY-QUALITY/STATE OF BEING CHASTE *ACQUIRED IMMUNE DEFICIENCY SYNDROME *MENTAL SELF-THINK AS A MAN/WOMAN *STAYING VIRGIN UNTIL MARRIAGE KEEPS YOU: *PATHOGEN *SOCIAL SELF-INTERACT WITH OTHERS 1.PHYSICALLY-FREE FROM PREGNANCY AND *HUMAN IMMUNODEFFICIENCY VIRUS(HIV) *EMOTIONAL SELF-THINK ABOUT YOURSELF VENEREAL DISEASES EFFECTS: AND OTHERS 2.EMOTIONALLY-FREE FROM EXPLOITATION BY *IMMUNE SYSTEM FAILURE *ETHICAL SELF-VALUE YOUR RELATIONSHIP OTHERS *ILLNESS LEADING TO DEATH *HEALTHY SEXUALITY-TAKING HIGH SENSE OF 3.SOCIALLY-FREE TO DEVELOP APPROPRIATE *8-10 YRS. SIGN OF INFECTION RESPONSIBILITY FOR ALL YOUR ACTION SINCE RALATIONSHIP WITH OTHERS *INFECTIION OF INFANTS LEADING TO DEATH THIS CAN AFFECT SELF ESTEEM,DECISION MAKING,BEHAVIOUR STI HEALTHY SEXUALITY ENCOMPASSES : *SEXUALLY TRANSMITTED DISEASE/SEXUALLY -SELF LOVE-ACCEPTANCE OF YOURSELF TRANSMITED INFECTION -SELF KNOWLEDGE-UNDERSTANDING OF YOUR *COMMUNICABLE DISEASE FEELINGS AND CHARACTER *SPREAD BY PATHOGEN -SELF CONFIDENCE-AWARENESS OF THINGS *TRANSMITTED THROUGH AN EXCHANGE OF THAT YOU CAN DO WELL BODILY FLUIDS DURING SEXUAL INTERCOURSE -SELF RESPECT-REGARD FOR YOURSELF AS A *CAUSED BY BACTERIA,VIRUSES OR PARASITES WORTHWILE PERSON -SELF EXPRESSION-SHOWING INDIVIDUALITY IN SYMPTOMS OF STI EXPRESSING YOURSELF AS A MAN/WOMAN *UNUSUAL DISHARCGE FROM THE *GENDER EQUALITY-PERMIT MAN/WOMEN PENIS,VAGINA OR ANUS EQUAL EMPLOYMENT OF HUMAN RIGHTS *PAIN DURING SEX/URINATION *SEXUALITY-INTEGRAL PART OF WHAT WE DO *ITCHINESS/IRRITATION IN GENITAL AREA AND WHO WE ARE *SORES,BLISTERS,ULCERS,WARTS OR RASHES IN *SEXUAL BEHAVIOUR STANDARDS-BEHAVIOURS GENITAL AREA THAT HAVE COME TO BE ACCEPTED BY SOCIETY *DIARRHEA *DECISION-CHOICE YOU MAKE OR ACT UPON *FEVER/FLU *GOOD DECISION-DECISION IN WHICH YOU *ABBNORMAL/UNUSUAL VAGINAL BLEEDING HAVE CAREFULLY CONSIDERED THE OUTCOME *PAIN IN THE SCORTHUM OR TESTICLES OF EACH CHOICE *LUMPS/BUMPS ON THE GENITAL AREA *SIX STEPS OF DECISION MAKING