PART I: Cambodia
Example I: Chapei Dang Veng (long-necked lute)
Text: “. . . The thunder is rumbling while the sun is rising. . . . Certainly a lightning struck a fly’s head. This is a story of uncle Pouk from Owal forest, he is capable of sitting down and gamble his way for fortune along with A- Pok, A Pech who are in the process of betting, also Grand father Mao, a twisted foot in squatting position. Pou Ouk is now paying the winners, anxiously, Mi Touch insisting to be paid first.”
Open the following link and listen to the recording (or use the attached file name ”
Chapei Dang Veng.mp4″):
https://iad.cdn.nv.instructuremedia.com/originals/o-5CdSzSws3jtQ5TL1RmvNrYVc7AHovajN/transcodings/t-5CqJr5wqp7yqm8rMkEUz42gXDR5nWU81.mp4?&Expires=1644462155&Signature=LM2peGbJ3LgcG5tCfzLhSOnoUsiKf1yiR0VDCJrlwuiVktCFVS78pSuyX4pmdEZdiczOiIPWSFEKThKS-EsTU23b40TFK1vc3b4nmg7KmWOf~ar2shzh8~xZ9Uk93XT2F6KL36LJzJzyHdV3wkMtl84-uoIShufF1aVD-pMsBqbUZEaQKnrhKSVmqI9VD~gzy5leCF~mJipGMpoG4wC0A4dDHd8q3Ok40f567MIXcxQIscdo-XNRP0jM0mcralOf3FIPSzefzmoUg1S1UFbXP1YUZKvI1GimPL-4MnoW9X6GsgorNgq8VyBK85Kg7Z1F8m9GjIGLdBCR3TSyZuE0pA__&Key-Pair-Id=APKAJLP4NHW7VFATZNDQ
After listening to the above recording of Chapei Dang Veng, answer the following questions”
Question 1: Describe the aesthetic use of Khmer rhyme, syllables, phonemes and words in this sung text. (100-200 words, 5 points)
Question 2: Using the same recording as above, describe the role of the lutist/vocalist in the Khmer society. (100-200 words, 5 points)
Example II: Pin Peat: Ro
Open the following link and listen to the recording (or use the attached file name ”
Pin Peat_Ro.mp4″):
https://iad.cdn.nv.instructuremedia.com/originals/o-ZkT2kdLovcJp1QQsVWBWGsN8xX6uNjG/transcodings/t-ZxvBJtMrLngnqPKfv6w9yPJeRsv5FVQ.mp4?&Expires=1644462359&Signature=ppZqMlTNE1oa4lFy3pWtVOBG5LrvJCLnH2KaEai0r3TAox-JqZcbGGOaeWtvurBr-pauAyqj4gMMwGeEIeR6j~envK7EwwyZxL5rHGDD1vUGgPetf8G~4D8q-0YHN-wqT7HJDBzZjTaEZkdfQdBPqh9X1cr9yyA43pxPQsEO~1bVTZ-mb9Pp3rmsl8e791XyUapDaEu7G9hZBngKBm5xhkXmsoP9H3PzSpzRXZe0L48PCa9sA17j6~T7csWb8LrHG~4XUpvu334~7gsGF0t8FE65ktTxcv1fjsKAF0gE-KM-OFhjkWnx0o~SWlcxo4hJiNg2L1~ysb9Ty9eTCJc81w__&Key-Pair-Id=APKAJLP4NHW7VFATZNDQ
After listening to the recording of the Pin Peat Ensemble, answer the following questions:
Question 3: Describe three instrumental lines and their functions. (100-200 words, 5 points)
Question 4: This piece has no meter (“senza misura”). In light of this, what do you think would be the “guiding light” for all performers to hold the musical flow in a convincing manner? (100-200 words, 5 points)
PART II: Myanmar
Pattala
Open the following link and listen to the recording (or use the attached file name ”
Pattala.m4a”):
https://iad.cdn.nv.instructuremedia.com/originals/o-4AGfpazaEDCb1wWR7LeecC3Q7JGEsoAc/transcodings/t-4AXDX21X7XgU1vXgtyZV6LJF1Aq3GiAw.mp4?&Expires=1644462416&Signature=eoTER6aWtsc0DWYqmAjMuJyeBBCw3lBt6X-3PyrSgHrBs2tmm5w~n4wVxLLaxcP3~FPdbenAfbUQvD-BTfVkmiqEnFUG9UzyI-4yX5~1iWU0qpEOoSf1kXsyBf5QI-U~tQwqgCOL-3Aa9FMd66BJQGVG78tQ-ITzYOp6f0LmxlhkdXWzgh0rGwz~x7BWj2FksGOu30uEiUibGYePl~KbmnTUj8AhDVN8KGNdZ7whs-5P~WVxuUtEHYz8Bgbl5s85k-X3EYQ~GCqJs6cLtl~PmG0FWx-DxUspOBZuTavXIiwFDac2gG3K~30zWGpSqMu-adXCPJ52qckG0mE0hgFOSw__&Key-Pair-Id=APKAJLP4NHW7VFATZNDQ
Question 5: In this recording, the Pattala’s line is becoming more and more elaborated as the music goes on. Describe some of the techniques used in this example to elaborate the Pattala’s line. (100-200 words, 5 points)
Saung Gauk
Open the following link and listen to the recording (or use the attached file name ”
Saung Gauk.m4a”):
https://iad.cdn.nv.instructuremedia.com/originals/o-4AMafmAPBG32k22sWaigmmcR5D5B7vVU/transcodings/t-4AXzN4cAWNnMFWGat6Y7t7X1Yp1vY6cu.mp4?&Expires=1644462580&Signature=AsijoZMmPEH9EJRgmw4uPM5SEno2gdbiFZEIOn~XPBL5XZgjAhOonxjSIyngR1I-Ok-ep9qCcmkEvr03Fxl9Q3Q6hRyGVSwB9gl55kO9dB8y9mBjTOtKbJsn8yxkT88jbUF1z3BYbF9U9le4~rZw6Uor-OlM2rkVkjUiyRnNtty2jZCWOLWnPeGDRMiXeYhM~VagBXG24Ie25dYjvqcHt3585H2ku1x7w4XtfiUct0E6rQatlm0giLWskqR3cYsLn6QlYDLbJeyK1sjH~1~NYosGpzpX0kxh5jFZbpmFl1ZRJMmI46cv0XAZNPb4gPLPY2-pnpNqKwfyR9F~7EaSuQ__&Key-Pair-Id=APKAJLP4NHW7VFATZNDQ
Question 6: Describe the role of the Saung Gauk in relation to the vocal line in this recording. (100-200 words, 5 points)
Burmese Piano
Open the following link and listen to the recording (or use the attached file name ”
Burmese Piano.m4a”):
https://iad.cdn.nv.instructuremedia.com/originals/o-4AFecXh9f7E9CqqvpkXHXtbwzAaTSYfY/transcodings/t-4AQx3m7FyVqMC1BE7Lr4CSPw8nWMBTr2.mp4?&Expires=1644462707&Signature=hUz07ceQCC204Vy-jRujMV~Qi8EtlauNZMBIxaop5FWR4c7cYE4bZDi~JkbdnzeqkGHUn~wz8bHbK49YmyUeCX5zFvqz~Ymsgq0RG3VMR2zIyKQbM-heW1Xct~OyLtSw1WhFIMe461pzBhbz08eqC5gMy3HPei67QfQE5fxusa8vKpYXSbzaEiHxQbly-qUWAKIZe9ODe6qHQLsZNWjIDrk8WUw3G7WI1NWUrGETOvq8~nH3DEYIfdIit4hqo0JbIppFoAoIgYVIq3yNP3s80Us6biKCTRx5wmrIIOSfCALS21G4ZzVdKcMItUTmz-QDuUwpZyLYPUB7IXj8tEW~yA__&Key-Pair-Id=APKAJLP4NHW7VFATZNDQ
Question 7: In this Burmese piano piece, a song-like melodic line is embedded in the fast, elaborated passage. Describe how you would “retrieve” this embedded melodic line. (100-200 words, 5 points)
PART III
Question 8
After reading the following sharp exchanges between scholars regarding Southeast Asia, discuss George Coedes’ and Paul Cravath’s opposed views about the autochthones (indigenous) of Southeast Asia. In addition, feel free to present an alternative viewpoint or describe your own view as an outsider—or, as the case may be, an insider—of the Southeast Asian cultures. (400-500 words, 25 points)
“It is interesting to note that even in prehistoric times, the autochthonous peoples of Indochina seem to have lacking in creative genius and showed little for making progress without stimulus from outside.” (George Coedes)
“The thesis rejects the orthodox view of an historical “Indianisation” of Southeast Asia in favor of emphasizing a continuity of indigenous cultural forms and ritual from pre-Angkorean times.” (Paul Cravath)
“Southeast Asia has been identified, on the basis of superficial similarities, with India.”
“Hinduism and Islam were a thin, easily flaky glaze on the massive body of Indigenous civilization.” (Wilhelm G. Solheim)
HINTS/ KEY WORDS/KEY POINTS should be used
Musical terms:
– roneat ek (ek=one in Khmer): high xylophone
– roneat thung: low xylophone
– low circle-knob gongs
– sralai: Cambodian wind instrument
– senza misura (=without measure / meter)
– diad (=two notes sounding together)
– saung gauk (=Burmese harp)
– rubato (=“robbed time” / no strict tempo)
Other musical descriptions:
– hidden melodic line
– cyclical
– variation / variational writing
– sense of elasticity of repeated notes
– descending melodic line / pattern
– juxtaposition
Example of form/structure of an excerpt:
Intro – A – A’ – B – extension of B – C – D
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