1.	Southeast Asia 
a.	Vietnam, Thailand, Indonesia.
b.	150 different ethnic group. They were ruled, and colonized, like vietam was colonized by france so there is a lot of influence. 
2.	Southeast Asia Map
a.	
3.	Background Preparation
a.	Mainland and Island
b.	Buddhism - Islam
c.	Tropical climate varies greatly from north to south.
d.	Rice is the main staple of this region.  Because its hard to access rice fields are grown on hillsides and are planed and harvested by hand. 
e.	Bamboo & bronze, very important recourses of the region.  Important in music because a lot of instruments out of.  Bronze has been around along time 2000 b.c.e. made out of copper tin.
4.	Vietnam
a.	Site 1: Upland Bronze Gongs
b.	Site 2: Tài Tử Chamber Music
5.	Arrival: Vietnam
a.	Upland - Lowland Culture
b.	Chinese influence 
c.	Vietnam War, was very devastating war for Vietnam – communism was in power from 1950-1990.
6.	Site 1: Upland Bronze Gongs  -- bronze plate like instruments,  has a handle and you hit it like a gong.  Played like a hand bell choir each member only plays when their pitch is required. 
a.	First Impressions
i.	Repetitive ringing
b.	Aural Analysis
i.	Interlocking construction
c.	Strong tonal center
d.	Simple duple meter
7.	Cultural Considerations
a.	large cooperative ensembles
b.	Particular to upland ethnic groups
c.	Often accompanies dance 
d.	Common at festivals and funerals.
e.	There is no music theory so pitches and scales have no name. 
8.	Site 2: Tài Tử Amateur Chamber Music –these instruments look a lot like Chinese instruments. 
a.	First Impressions
i.	“Flexible” feeling--  because of frequent tone bending.
b.	Aural Analysis
i.	Small string ensemble
ii.	Frequent tone bending
iii.	Heterophony – same melody but with some differences. 
1.	The Vietnamese guitar has scooped frets and the string are loose so that you can bend the pitches more.  Not represented in the music supplied.
2.	The (Dan co) fiddle has a bow. 
3.	(Dan tranh) is like a zither.
4.	(Dan kim)  Lute like instrument.
IV. improvised in the beginning then played to a composed piece taught be rote. 
9.	Cultural Considerations p141
a.	Talented, amateur music
i.	Entertainment settings.
ii.	Like the Chinese shiatsu.  And are all ameture. 
b.	Entertainment music
c.	Often includes vocalist
d.	“Talented” amateur music
10.	Thailand  used to be called siam, and is a constitutional monarchy.  (constutional, means the government still is democratic but still have royalty)
a.	Site 3: Classical Piphat
b.	Site 4: Lam Klawn
c.	Site 5: Phleng Luk Thung
11.	Arrival: Thailand
a.	Formerly Siam (until 1932)
b.	Cultural regions 19 Million people. Tonal language, (different tones have different meanings.)
i.	 Central (Bangkok)
ii.	 North (Lanna)
iii.	 Northeast (Isan)
iv.	 South
c.	Predominantly Buddhist
d.	Thai is a tonal language
12.	Site 3: Classical Piphat
a.	First Impressions
i.	Organized chaos
ii.	“Duck call” and “ching”
b.	Aural Analysis
i.	Melodic & rhythmic percussion (has melodic and rhythmic components to it.)
ii.	Pi nai (Pee NI) (quadruple reed aerophone) 
iii.	Seven equidistant tones per octave(western is 12 pitches)
13.	Thai Classical Instruments
a.	Khong wong yai (gong circle) idiophone
b.	Ranat ek (leading xylophone)idiophone
c.	Thon ramana (goblet & frame drums)menbaniphone, and idiophone
d.	Chap lek (large cymbals)idiophone
e.	Krap sepha (wood clappers)idionphone
f.	Ching (small cymbals)idiophone
g.	Left 2: Pi (reed aerophones)
h.	 Right 3: Khlui (flutes)
14.	Temple Analogy
a.	Polyphonic stratification
i.	Consists of layers of different melodies. 
b.	Layered Roof
i.	Melodic percussion & pi
c.	Pillars
i.	Ching - aural conductor 
d.	Foundation
i.	Drums, small percussion
15.	Cultural Considerations
a.	Wai Khru - Teacher Honoring Ceremony like (guru) 
16.	Arrival: Northeast Thailand
a.	Culturally Lao
b.	Rice economy
c.	Isan influence  (Isan a term reffering to a northeast culture and it’s music) Primerily flat land weather variation that are good for the rice harvest. 
17.	Site 4: Northeast Thai Lam Klawn
a.	First Impressions
i.	Peppy poets
ii.	Happy “harmonica”
b.	Aural Analysis
i.	Khaen - mouth organ. Sounds very blue grassy like a harmonica, the song in class was a courtship song in which the man sing then the woman. 
ii.	Lam - poetic song
iii.	Repartee
c.	A reed instrument seen throughout asia,
d.	
18.	Cultural Considerations
a.	Maw lam
i.	Professional poets
b.	Festival and ritual entertainment
19.	Site 5: Phleng Luk Thung
a.	First Impressions
i.	Old-fashioned “country” pop
b.	Aural Analysis
i.	Mix of modern and traditional instruments
c.	Derived from lam
i.	saw bip (fiddle)
phin (lute)
khaen (mouth organ
20.	Cultural Considerations
a.	Traditional “crossover” music.. ty pop sounds very western with 4/4 time and  12 pitch structure. Little bit of modeality. 
b.	Bangkok boom
c.	Stage shows
21.	Indonesia
a.	Site 6: Javanese Court Gamelan
b.	Site 7: Balinese Gamelan Gong Kebyar
22.	Arrival: Indonesia
a.	More than 13,000 islands
b.	Most populous Islamic nation, more than the middle eastern countries because of the populations. 
c.	More than 300 languages
D.   Focus for many ethnomusicologists & composers
23.	Site 6: Javanese Court Gamelan
a.	First Impressions
i.	Metallic music with “misty” interlude
b.	Aural Analysis
i.	Mostly metallophones
ii.	“Soft & Strong” styles 
iii.	Colotomic structure
24.	Colotomic Structure
a.	Principal Melody
i.	Rack gongs and large metallophones
b.	Periodic Punctuation
i.	Marked by Hanging Gongs
c.	Embellishment
i.	Small metallophones
ii.	Mist” of the music
iii.	
25.	Cultural Considerations
a.	Islam
b.	Court Music
c.	Tranquility you might expect a concoffeny of sound but actually sonds quite serine and the dance accompanies it. 
d.	Dance.. on the student site there is a video.
26.	Site 7: Balinese Gamelan Gong Kebyar
a.	First Impressions
b.	Dynamic
shifts of mood
27.	Aural Analysis
a.	Starts and stops
b.	Sectional solos
c.	“Superhuman speed”
d.	“Shimmer effect”
28.	Cultural Considerations
a.	Hindu
b.	Offering
to deities
c.	Dynamic dance 
d.	Shadow puppets