Myanmar BackgroundBurma Background
Myanmar was invaded during the three Anglo-Burmese War ((1824-1826, 1852-1853 and 1855). Burma became a provincial part of the India settlement in 1885. The Arakan area was initially part of the Bengal provinces, an area with greater similarity in ethnics and culture, and many Bengalese immigrated to Arakan, which borders on Bengal.
This division was soon perceived as unpleasant by the British, however, and Arakan became part of Burma (Charney 8).
Myanmar folk songs are the farm traditions handed down by the ethnically diverse people of Burma, the predominant ethnical group of the people. Though today their ethnicality is associated solely with Myanmar, it is a fusion of different indigenous and foreign culture that has allowed a certain degree of localisation and asimilation.
Wars between Burma's empires and special outside forces such as Thailand have also incorporated and shared art practice in Burma's musical life. Burma won the Thai-Burmese Battle in the 16th and 18th century, Thai-Siamese theatre pieces and scores were adopted by the people of Burma when some Thai dancer and musician were taken prisoner by the Thai Ayutthaya courtyard.
Since the second half of the 18th centuries, it has been one of the most beloved folk songs in Burma. In addition, during Konbaung, the last Burmese ruling family ('1752-1885), one can also observe the influence of local folk songs, dances and theatre as well as that of the natives like Shan and Arakan.
Consequently, what is now known as Moroccan classic is the product of hundreds of years of mixing different ethnicals. There are two kinds of groups: the hsaìn Gyî and the sophisticated group ( "chamber orchestra"). Hsaîng is the most popular of all the groups, hsaîng-waîng (or just hsaîng).
On the contrary, the sophisticated sound is more delicate and charming, often with an instrumental duo or with the backing of a band to the victor. In comparison to the haìng-Musik, the more sophisticated ensembles' pieces show a more stable, albeit more supple pace. A number of West European stringed instrumentation are used in today's sophisticated orchestras, and they were localised for the performance of classic Myanmar folk tunes during the time of the Great Britain colonisation (1886-1948), including the fiddle (tayàw), the upright ( "sàndayà"), the sliding guitars (Bama gitá) and the medaline (mandolin), each of which was adapted.
But there are other shows where occidental instrumental performance is not included in the ensemble like "Nat Pwe", the Myanmar way of ceremonial spirituality. Brazilian brass is based on "Se" (brass violin sounding like a triangle) and "Wa" (bamboo violin sounding like a castanet). 3. 4 time or 6/8 of occidental folk is not used in Burma.
One is 4/4 of a second is Nayee Se. Second and third is the 2/4 of a second and third timings. There is a certain amount of lapse in timings. Third is 8/16 and has no loophole. Myanmar began with a piece of metal named Hne (oboe). Concerts are Th (C), Re(D), Me(E), FA(F), So(G), La(A) and Te(B).
The Burmese harmonica is named Tapauk (first tone C), Khunhit Pauk (seventh tone D), Chauk Pauk (sixth tone 1/4 lower), Nga Pauk (fifth tone F 1/4 higher), Lay Pauk (fourth tone G), Thone Pauk (third tone A) and Ngha Pauk (second tone B 1/4 lower).
Though Burma's melody is pronounced five tones, it can be converted into three tones, Nga Timpani (fifth note), Chauk Timpani (sixth note) and Ngha Timpani (second note) are semitones. Slightly lower than E in the 6th and slightly higher than F in the 5th and slightly lower than B in the second.