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Cambodian (Khmer) Music & Chinary Ung Jessica Auxillos Cambodia Demographics • • • • • Population: 14,952,665 (July 2012 est.) Ethnic groups: Khmer 90%, Vietnamese 5%, Chinese 1%, other 4% Religions: Buddhist (official) 96.4%, Muslim 2.1%, other 1.3%, unspecified 0.2% Land Mass: 176, 520 sq. km (109.36 miles)- 2011 census Languages: Khmer (official) 95%, French, English Cambodian Culture • • • Thailand and India Southeastern Asia, bordering the Gulf of Thailand, between Thailand, Vietnam, and Laos The majority of Cambodians follow Buddhism which originates in India Khmer Music • • • • • • • significant component in religious and traditional ceremonies such as weddings or temple celebrations consists of polyphonic stratification pentatonic (five-tone) scale built linearly, devoid of harmony in the western sense Embellishment and ornamentation music passed on from teacher to student from memory Melody, rhythm, and texture is emphasized Pinpeat • • • • • • • one of the oldest Khmer music ensembles most prominent type of music in Cambodia Classical repertory accompaniment of court dance, masked play, shadow play, and religious ceremonies repertoire known as phleng skor (drum music) or phleng laim (dance music) Each piece is associated with a particular ‘action’ with prescribed drum patterns used to support an action on stage Reamker Instruments • • • • • • • • mostly string and percussion roneat ek (xylophone) roneat dek (high-pitched metallophone) kong tauch (high-pitched circular frame gongs), kong thomm (lowpitched circular frame gongs) sampho (small double-headed barrel drum), skor thomm (large doubleheaded barrel drums) kong chhing (small finger cymbals) sralai (quadruple-reed oboe) chamrieng (vocals) Reamker • • • • • Epic poem, masked play Khmer adaptation of the Ramayana (Indian epic narrative) Pinpeat repertoire:phleng skor (drum music) or phleng laim (dance music) each piece associated with a particular action with prescribed drum patterns used to support action can be seen most strongly in the Reamker where the music supports the story http://www.youtube.com/watch?v=-JBVonZVmdA Chinary Ung • • • • • • • born in Cambodia Cambodian-American Composer studied at the University of Fine Arts in Phnom Penh, E-flat clarinet 1964- came to the United States and continued his clarinet studies at the Manhattan School of Music received PhD in 1974 Teachers: Chou Wen-Chung & George Crumb University teaching “If East is yellow and West is blue, then my music is green.” Chinary Ung’s Music • • • • • • • • result of personal/cultural crisis-family passed in the Khmer Genocide devoted nearly a decade to studying and performing Cambodian music able to integrate this into his own personal style western instruments music based on asian pentatonic scales pitch bending and microtones similar to the music of the east heterophonic texture prominent work: Spirals Spiral VI • • • • • • • • • Sixth work in a metaphorical spiral through a multiple series of manipulations Shows the integration of cambodian and western elements rapid series of intervals outlining a diminished seventh-C-sharp this pattern is heard once more toward the end with a softer perfect fifth interval and a cadence on G. progression of pitches that function as harmonic spheres,outlines a diminished fifth heterophonic texture exotic sonorities –different from the traditional Western notation Playing near or over the bridge, occasional note bending, and the use of high harmonic glissandos are part of this exotic mix constantly changing, expanding, or contracting, and has been described as having a “floating” feeling http://www.allmusic.com/album/release/luminous-spirals-chamber-music-of-chinary-ung-mr0002870459 Similarities and Differences Chinary Ung’s Spiral VI ●flows more freely ●Uses western instruments-mostly wind ●Glissando Both ●pentatonic (fivetone) scale ●Pitch bending ●Microtones ●Polyphonic stratification/heteroph -onic texture Cambodian epic: Reamker ●mostly percussion ●has a consistent beat/rhythm ●used to support an action on stage Works Cited Multi-Cultural Focus: http://www.bmop.org/explore-bmop/musicians/chinary-ung http://www.indexmundi.com/cambodia/demographics_profile.ht http://asiasociety.org/arts/performing-arts/music/khmer-music http://www.delsolquartet.com/?section=bio-group-3 http://jinja.apsara.org/2007/01/instrumental/ http://kingdomofwonderangkor.blogspot.com/2010/09/cambodia-traditional-music-instruments.html http://www.umbc.edu/eol/cambodia/histcmus.htm http://asiasociety.org/countries/traditions/reamker http://www.ppu.org.uk/genocide/g_cambodia1.html http://www.hmh.org/ed_Genocide_Cambodia.shtml http://www.kwintessential.co.uk/resources/global-etiquette/cambodia.html http://musiced.about.com/od/othermusicgenres/a/Non-Western-Music.htm Works Cited (cont.) Western Composer: http://www.encyclopedia.com/doc/1G2-3429900078.html http://www.edition-peters.com/composer/Ung-Chinary http://audaud.com/2012/04/music-of-chinary-ung-vol-3-spiral-xi-mother-and-child-spiral-ixmaha-sathukar-soloists-bridge/ http://www.fullerton.edu/arts/events/2012-2013events/february.htm http://www.icareifyoulisten.com/2012/09/5-questions-to-chinary-ung-composer/ http://www.newworldrecords.org/liner_notes/80619.pdf Media: http://www.youtube.com/watch?v=-JBVonZVmdA http://www.allmusic.com/album/release/luminous-spirals-chamber-music-of-chinary-ungmr0002870459