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MUSIC 2.

GERONG-UNISON MALE-CHORUS *CONSTITUTIONAL MONARCHY


-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

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