Tai Yai Musical Performative Culture of Percussive Instruments (Drum), and Stringed Instruments in Shan State of the Republic of the Union of Myanmar (Taunggyi Province).

Abstract

This research is based on a fieldwork carried out in Taunggyi province in Shan state of Myanmar. It aims to study the principles of ensembles, musical practices, and performance methods as well as melodic patterns of klong kon yao (a conical long drum), klong mong seong (a two-headed barrel drum), and tor yor horn (a fiddle). The research findings show a klong kon yao ensemble combining a klong kon yao with different sizes of cymbals and 5-7 small and flat gongs. The tunes made by each mong (flat gong) is an interval fifth apart. Drum patterns accompany a bird dance (fon nok) are varied giving signals to dancers. There are four syllabic calling used in thamnongtham melodies which are performed in a procession. In regard to klong mong seong, only one musician who could play this drum was found. The klong mong seong ensemble consists of klong mong seong large cymbals and mong. Drum patterns are an alteration of left and right hand beating on the strong beats. The research findings also show that a fiddle ensemble is called a jad thai ensemble. Tor yor horn can be played both as an accompaniment to a singing performance and in an ensemble. Its playing techniques include vibrato, non-embellishment, fingering, trilling, gliding, three-note coupling and short phrases. Four distinctive characteristics of melodic phrases include the followings: (1) combination of long and short melodic phrases; (2) a sentence with additional ending; (3) transposition of melodic phrases; and (4) melodies with European musical accents.