Table of Contents

Foreword
Preface
CD Track List

1: Diversity and Commonality
Three Vignettes
Vignette 1: The Erawan Shrine
Vignette 2: Amputee at Angkor
Vignette 3: A Spirit Festival
Cultural Influences on Southeast Asia
Present Day Nation-States
Burma/ Myanmar (Union of Myanmar)
Thailand (Kingdom of Thailand)
Cambodia (Kingdom of Cambodia)
Vietnam (Socialist Republic of Vietnam)
Organizing Mainland Southeast Asia
Religion in Mainland Southeast Asia
Theravada Buddhism
Theravada Buddhist Chant
The Three Gems
Vietnamese Buddhism
Conclusions
2: Classical Traditions, Court Traditions, National Traditions
What is 'Classical' Music in Southeast Asia?
Major Court Ensembles
Burma/Myanmar
The Saing Waing Ensemble
Burmese modes and tuning
Burmese chamber music
Thailand and Cambodia
Piphat (Thai), Pinn Peat (Khmer)
Wai Khru
Apsara dance
Other Thai and Khmer Ensembles
VIETNAM
Vietnamese instruments
?àn B?u (monochord)
?àn tranh (zither)
Conclusion
3: Diversity and Regional Variation
The Concept of Ethnicity in Southeast Asia
Language Families
Musical differences between groups
Ethnic Diversity in Burma/Myanmar
Vignette: A pagoda festival
Music and Society in the Northeast, Isan region of Thailand
Singers in Laos and Singers in Thailand
Hmong in Vietnam, Laos and Thailand
Music and Language among the Hmong
The Qeej
Conclusion
4: Music and Political Turmoil
From the Top Down: Colonialism, Independence and Nation Building
Anthems
Classicization: The creation of nation through art music.
Counter State Musics: From the People Up
Vietnam
Cambodia
Burma/ Myanmar
Conclusions
5: Globalization and Local Adaptation
Globalization
Western conceptions and stereotypes
The Long History of Globalization
The Burmese in Ayutthaya
Modernizing Thailand
French influenced Vietnam
Music notation and globalization
Thai and Burmese Notation
Global Instruments and Mass Media
Changing Contexts
Immigration and Diaspora
Case Studies in Cambodian American Music
praCH
Dengue Fever
Where Elephants Weep
Revolution on the Internet
Conclusion

Glossary
References
Resources
Index

About the Author

Gavin Douglas is Associate Professor of Ethnomusicology at The University of North Carolina at Greensboro. He has conducted research throughout mainland Southeast Asia with particular attention to Burma/Myanmar and has published his findings in numerous articles and encyclopedia entries. In addition to writing about music he plays guitar, Irish flute, and Burmese harp.