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 ?an B?u (monochord) ?an 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
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.