Myanmar Music SongThe Myanmar Song
The name Maha Gita means great or royal song with the repertoire that refers to'Thachin Gyi' or even great songs.
Music of Myanmar
The" Minstrel of Myanmar " music group is the meaning of an orchestra from the West. The orchestra consists of 21 reels (pat-lone) placed in a round sequence, with the conductor of this orchestra in the middle. It is a very fast hand movement, in a round off posture to create the music.
A group of six drums, comprising a round cylinder, a medium-sized cylinder, a couple of brass bowls, two pairs of clapper bamboos (wa-let-khot), an instrumental recorder (hne) and a set of timekeeping devices, known as " See " (two small brass bowls, for the fingers) and " Was " (very small bobbins, only for the fingers).
These are some parts of the Myanmar Orchestra. ?at; story: Peter; show: zat-pwe; Myanmar music game: mindtha; main role: mindthami; main role: ngo-gyin; lament: nha-par-thwar. duet dance and song: lun-khan. tragic scene. There' s no other country in the world that loves so much enjoyment, laughing and theatre as Myanmar.
To a Myanmar. from the time he is forced into the oceans. his first wah-wah is accompanies by singing (music of the orchestras that is performed to commemorate every event). and throughout his entire lifetime trip. everything that happens to him. or everything he does is accompanies by singing; this continues. until he abandons the oceans by performing the painful touch of the Monkey King's Lament, which is the song of fu-neral music.
With no the benefits of ssing is a favorite Myanmar dialect to describe any boring incident or something unattractive or unannounced. An unannounced arrival is often described as an arrival without the advantage of ssing. Myanmar zat-pwe's work is one of the most subtle and intangible works of artistic expression and the attempt to explain it is like trapping a ray of the lunar ray to analyse its powers over lover and poet.
Well-established in the country's tradition, Zat-pwe has many customs and practices that are not easy for an occasional viewer to understand. Myanmar's monarchic passport has given the Zat-pwe the magnificent music and lieder as well as courtyard plays of great poetical beaut. The whole thing is a marvelous play that has been produced through the collaboration of artists, but the artists themselves are very personal... Everyone expresses himself so freely that one wonders about the impromptu co-ordination that is attained.
We cannot look at Zat-pwe through colored glasses of international production....... what a fault I made... when I looked at it with my own eye, obscured by unadulterated thoughts I had collected... after I scanned through antique Greeks' plays. There is the nha-par-thwar sequence. with a minthe and six or eight minthemi' s who sing and dance; it's hardly respectable because it's like throwing Mintha's Cassanova activity into the face of the people.
Taking back everything I have said, I am humbled and content to realize that I have been blindfolded to the beauty of Zat-pwe, which I recently found after thirty years of turning my back on myanmar tradition of chat. Today, zat-pwe is still wrongly interpreted and much wrong is done to drive out decades of weed-land.
Scenes in the old age were a duett. Dance and sing with a minthe and a mintheami. The artists launched new rides, hence a minora with many minor hamis in the crowd. Every Minthami's dance and sing in the Nha-Par-Thwar scenery symbolizes different aspects of female charms and the mintha reacts to each act with different sentiments.
He not only has to do the duo dancing and singing, but also the endless diversity of his mind hamis in a subtile way. But when a smaller actor stages it, it becomes nothing more than a shameless deception a Cassanova who unashamedly exposes his moors and produces the worse side of man's lower-intuition.
It was only then that I remembered how I had loved it both on zat-pwe and on the records on the faithful phonograph equipped with a grooved orb. I' ve found that ngo-gyin is not a painful lament, as titcmRu suggested. Most of the dialogues are entirely or partially chanted to the orchestra's music and ngo-gyin is something if not entirely. similar to the opera style of the West.
A theatrical and musical arts of ngo-gyin deserve a broad approach with regard to the lyrics of great artists. Ar H with the help of Daw Ah Mar's novel and colorful snipes, which I could take up from my recent re-discovery by Shwe-Mahn Tin Maung's zat-pwe. Someday I am hoping to present the ngogyin in a more fruitful way.
It is enough for the present to say that the arts of ngo-gyin like nha-par-thwar need a truly savvy performer to produce its belles. I lamented the absence of realisticism is one of the many errors I made in judging zat-pwe. what I now realize is a silly thing; for. who wants realisticism in the amazing make-up loving environment that has been achieved through music?
Had I not been willing to put myself in an empire of "abolition of unbelief", I should not have gone to a. zat-pwe in the first place. Myanmar is thoroughly in tune with the country's nature and I trust that I will ever be Myanmar enough to savour its beauty that the tradition cannot spoil.
That the rousing music of nat-ka-daw dancing, which usually opens a zat-pwe, won't make my mind beating to its melody. And Naga does not fill me with a sense of wonder and understanding of the mortal longings symbolised by these mythological beasts.