Tai Yai’s Musical Performing Culture of Glong Gon Yao, Glong Mong Seong and Stringed Musical Instruments in Shan State, the Republic of the Union of Myanmar (Kyaing Tong City)

Abstract

          The objective of this research is to study the ensemble practices, performance methods and melodic patterns. Twenty six informants were interviewed within a duration of 12 months. The research identified the ensemble practice of combining Klong Kon Yao drums with medium-size cymbals and an even number of Mong (small, flat gongs) – predominantly six gongs. This practice differs from other regions where an odd number of Mong is preferred. Klong Kon Yao ensembles are popular for Fon Nok and Fon Toh dances, Kah Pan Klong and ritual processions. Klong Kon Yao drum melodies are characteristically performed with diminished rhythms, shortened notes and shortened with accentuated rhythms.  Mong Soeng drums are combined with large cymbals and 3-9 Mong into an ensemble. It is popularly played by groups of housewives in a ritual procession with slow and drawn-out beats. Tor Yor Horn’s tunes are played both in 4-note and 5-note intervals. The first ensemble practice is that of combining Tor Yor Horns with other types of ethnic musical instruments. Short lyrics in four groups of notes are played and regulated by the melody. The performance methods of repetition of groups of melodies, repetition of notes and repetition of the first phrase of a melody were practiced. The second ensemble practice involves the use of Tor Yor Horns to accompany Jard Tai ensemble in a singing performance in which 12 notes in long, liberated and gliding rhythms are played. Five Tor Yor Horns’ playing techniques were identified: vibrato, non-embellishment, coupling, finger trilling and quick, shortened notes.