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 flyàhead. 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./p>

https://drive.google.com/file/d/1DEg_cWFsJ9p9yyB6Iifw9XUx3vgtG3l_/view?usp=sharing

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

https://drive.google.com/file/d/1_T6M3RoGv6ocYIoJoe42d9LJGp1pD3Sf/view?usp=sharing

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 (ånza misuran In light of this, what do you think would be the õiding light&or all performers to hold the musical flow in a convincing manner? (100-200 words, 5 points)

PART II: Myanmar

Pattala

https://drive.google.com/file/d/1qDSN9uHSRIxbkjt-g0M4-1EE56QJm8Ip/view?usp=sharing

Question 5: In this recording, the Pattalaàline is becoming more and more elaborated as the music goes on. Describe some of the techniques used in this example to elaborate the Pattalaàline. (100-200 words, 5 points)

Saung Gauk

https://drive.google.com/file/d/1nkI149Smig2wgW4gtKOty35SgBalSq8E/view?usp=sharing

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

https://drive.google.com/file/d/1PaV2S8m6jAWvzbdyW565lW2ZGWWtGxND/view?usp=sharing

Question 7: In this Burmese piano piece, a song-like melodic line is embedded in the fast, elaborated passage. Describe how you would ¥trieve4his 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!nd Paul Cravathàopposed views about the autochthones (indigenous) of Southeast Asia. In addition, feel free to present an alternative viewpoint or describe your own view as an outsiderò, as the case may be, an insideræ the Southeast Asian cultures. (400-500 words, 25 points)

t 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)

(e thesis rejects the orthodox view of an historical ndianisation/f Southeast Asia in favor of emphasizing a continuity of indigenous cultural forms and ritual from pre-Angkorean times.(Paul Cravath)

ïutheast Asia has been identified, on the basis of superficial similarities, with India./p>

)nduism and Islam were a thin, easily flaky glaze on the massive body of Indigenous civilization.(Wilhelm G. Solheim)