Traditional Southeast Asian Bamboo Flutes Studies on Origins and History Research Proposal
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Traditional Se Asian Bamboo Flutes: Studies on Origins and History
The study investigates the bamboo flutes found in Southeast Asia, as well as their history and origin. The earliest known extant bamboo flute, a chi, or ancient Chinese flute, from the Zhou Dynasty, discovered in the tomb of Marquis Yi of Zeng, dates from 433 BC. Southeast Asian bamboo flutes, diverse in shape and size, vary in the way musicians play them. During the ethnography, a qualitative study, the researcher utilizes an extensive literature review to explore the development of bamboo flutes in SEA and examines the link between these instruments and music, as well as traditions from and beyond Asia.
As the study focuses on the flutes from three main areas: Mainland SEA, Maritime SEA, and Pacific region of SEA, the researcher examines the origins of three kinds of flutes, the researcher compares traditional flutes from other cultures such as Chinese, Indian, Central Asian, Australian, Hawaiian, Saudi Arabian, Native Indians and African.
The cultural mapping of these flutes serves as guide in following the routes of the flutes from one location to the other. To establish relationships, the researcher compares the musical traditions of bamboo flutes of Southeast Asian countries to each other, as well as how these flutes vary from one country to another vis-a-vis society and ethnomusicology.
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for $19.77 Music-making serves as integral part of human culture and society. Consequently, the study of the history of the Southeast Asian flute and its performance may significantly contribute to learning more about the development of this fascinating musical culture. It may also enhance the understanding of various cultures as it identifies and tracks links between different cultures. In this sense, the Southeast Asian bamboo flute constitutes a valuable index of cultural intermingling throughout time. The researcher notes that society, the context and the historical influences affect the instrumental development of the flute.
TABLE of CONENTS
ABSTRACT
ii
vi
CHAPTER I
INTRODUCTION
1
2
Design of the Study
3
Research Problem
5
Objectives
5
Scope and Limitations
6
Significance of the Study
14
Research Methodology and Philosophy
15
CHAPTER II
19
Southeast Asia
19
Kinds of Flutes
26
The Bamboo Flutes from Southeast Asia Mainland
40
Hawaii
43
Musical Elements
44
Ensembles
45
CHAPTER III
48
Transverse, Side-blown Flutes
48
Vertically Blown Flutes
Nose Blown Flutes
Bamboo Flute Tradition vis-a-vis
62
Religion in SEA
62
Bamboo Flute Tradition vis-a-vis
62
Hinduism Influences in Bali, Malaysia, Borneo and Kalimanta
69
Muslim Influences in Southeast Asian Flutes
71
CHAPTER IV
77
Socio-economical Background of SEA
76
Development of Flutes
76
Transverse Flutes of Proto-Australoids
81
CHAPTER V
CONCLUSIONS
REFERENCES
APPENDICES
LIST of FIGURES
Figure 1.1: 18,000 BCE, SEA Map
8
Figure 1.2: Contemporary Map of Southeast Asia
9
Figure 1.3: 1st Century BC Silver Route: Asia and Europe
10
Figure 1.4: Hinduism before the Fourth Century in SEA
13
Figure 2.1: Southeast Asia Facts
23
Figure 2.2: Rice Paddy Field in the Lowland Philippines
25
Figure 2.3: Six Modern Types of Flutes
27
Figure 2.4: Kingflutes
28
Figure 2.5: Chinese Vertical Flutes
31
Figure 2.6: Filipino flutes
32
Figure 2.7: 10 Sao Truc Flutes
41
Figure 2.8: Ohe Hano Ihu Flute
42
Figure 3.1: Different Types of Vertical Flutes
52
Figure 3.2: Xiao Vertical Bamboo Flute
54
Figure 3.3: Lanoh Nose Flute and Fangufangu
56
Figure 3.4: Tongali Flute (Philippines Nose Flute
58
Figure 3.5: Map of Locations with Similar Flutes
64
Figure 3.6: Papua New Guinean Tribes
66
Figure 3.7: Indonesians of the Irian Jaya Province
66
Figure 3.8: Rukai tribe of Taiwan
67
Figure 3.9: Buffalo Flute with Buffalo-Horn Cone
70
Figure 3.10: Magindanaon Ring Flute Player
71
Figure 3.11: Old Yemeni Flautist
72
Figure 4.1: "Walking Stick Flute" Played by Mouth
82
Figure 4.2: "Walking Stick Flute" Played by Nose
83
Figure 4.3: Kmhum Higlanders With Transverse Nose Flutes
84
Table 1.1: Basic Human Needs and Cultural Responses
16
CHAPTER I
INTRODUCTION
"When an instrument is introduced to a different geographic area, the new instrument that develops there generally retains some connection to its predecessor: A similar name or function, a shared physical characteristic, or an association with a particular social class"
("Wind Instrument," Dissemination Section, ¶ 1).
Bamboo in Music
Jin, who began playing a bamboo instrument during the second grade, grew up with bamboos growing all around him. In the Web publication, "Kingflute," Jin reports that when a child, his family lived in a bamboo house. He played with toys built of bamboo. He reports: "My mom used to cook 'Labong; (bamboo shoots) for food which is particularly popular during rainy seasons in our province" (Bambooman, the Author and his passion… Section, ¶ 1). Today, Jin sleeps on a bamboo bed and owns a garden set constructed of bamboo.
The bamboo orchestra, "Pangkat Kawayan," the music center across Jin's street, mesmerized him, he said, when he, in the second grade, moved with his family to the city. "I remember listening to this bamboo orchestra practice every other afternoon," Jin recounts, "and watch my sister Cora play "Bumbong" (bamboo horns). & #8230;the conductor, Mr. Toledo, gave me the chance to play bamboo bass" (Bambooman, the Author and his passion… Section, ¶ 3). At that moment, Jin began his quest to become a bamboo musician. He performed for individuals who served as head of states and prominent people in America, Australia, Japan, Hong Kong, and numerous other countries in a number of performing arts centers; continuing to play in this bamboo orchestra until he earned his college degree.
Any where Jin sees items made of bamboo, he stops to admire them. He particularly appreciates the musical sounds that evolve from bamboo. "Words can't describe my admiration, love and dedication to bamboo," Jin stresses. During this thesis, with an appreciation for bamboo similar to that Jin displays, the researcher examines traditional Southeast Asian bamboo flutes; simultaneously reflecting on their origins and history.
Some individuals commonly believe that bamboo flute traditions in Southeast Asia either originated in China or that indigenous people invented them. The earliest known extant bamboo flute, a chi, or ancient Chinese flute, from the Zhou Dynasty, discovered in the tomb of Marquis Yi of Zeng, dates from 433 BC.
The Chinese transverse flute, Chi, a six-holed membrane bamboo flute, however, does not depict the most common type of flute found in Southeast Asia (SEA). Although some similarities exist between SEA flutes and Chinese flutes, this observation may be used to disprove or argue the claim that SEA flutes evolved purely from Chinese descent.
Southeast Asian bamboo flutes, diverse in shape and size, also vary in the way musicians play them. Rather than merely attributing this diversity solely to differences between tribes, one may further explore the development of bamboo flutes in this region through a more detailed examination of the link between these instruments and music, as well as traditions from and beyond Asia.
Some Chinese researchers assert that Chinese flutes may have evolved from of Indian provenance.
In fact, the kind of side-blown, or transverse, flutes musicians play in Southeast Asia have also been discovered in Africa, India, Saudi Arabia, and Central Asia, as well as throughout the Europe of the Roman Empire. This suggests that rather than originating in China or even in India, the transverse flute might have been adopted through the trade route of the Silk Road to Asia. In addition to these transverse flutes, Southeast Asians possessed the kind of long vertical flutes; similar to those found in Central Asia and Middle East.
A considerable amount of similarities exist between the vertical flutes of Southeast Asia and flutes from Muslim countries. This type of flute possibly came from Persians during the ninth century; during the religious migration to SEA. Likewise, the nose-blown flute culture, common to a number of traditional African tribes, may also be found in certain ethnic groups found in Taiwan, the Northern Philippines, Indonesia, and Malaysia. The diversity of playing styles noted in the various locations; those being transverse, vertical and nasal, reveals that the various performing behaviors of Southeast Asia may have not experienced a direct lineal descent from China. Instead, the various performing behaviors of Southeast Asia may have been adapted from the musical histories of a number of cultures throughout the centuries.
This thesis specifically contributes to significant research in this century; challenging commonly-held beliefs in the process, as it explores the multiple origins of three different styles of traditional bamboo flutes found in Southeast Asia. The data in this thesis draws on a diverse array of materials relating to flutes from a number of countries and regions, including China, India, Java and Bali of Indonesia, Malaysia, Vietnam, Borneo, Turkistan (Central Asia), Middle East, the Philippines, Australia, South Pacific and Oceania, Africa and Europe. Implementing this broad scope allows for a synthesis that enables the researcher and the reader to envision the eclectic cultural background informing the development of these instruments.
1.1. Design of the Study
The study investigates the bamboo flutes found… [END OF PREVIEW] . . . READ MORE
The study investigates the bamboo flutes found in Southeast Asia, as well as their history and origin. The earliest known extant bamboo flute, a chi, or ancient Chinese flute, from the Zhou Dynasty, discovered in the tomb of Marquis Yi of Zeng, dates from 433 BC. Southeast Asian bamboo flutes, diverse in shape and size, vary in the way musicians play them. During the ethnography, a qualitative study, the researcher utilizes an extensive literature review to explore the development of bamboo flutes in SEA and examines the link between these instruments and music, as well as traditions from and beyond Asia.
As the study focuses on the flutes from three main areas: Mainland SEA, Maritime SEA, and Pacific region of SEA, the researcher examines the origins of three kinds of flutes, the researcher compares traditional flutes from other cultures such as Chinese, Indian, Central Asian, Australian, Hawaiian, Saudi Arabian, Native Indians and African.
The cultural mapping of these flutes serves as guide in following the routes of the flutes from one location to the other. To establish relationships, the researcher compares the musical traditions of bamboo flutes of Southeast Asian countries to each other, as well as how these flutes vary from one country to another vis-a-vis society and ethnomusicology.
Buy full
paperfor $19.77 Music-making serves as integral part of human culture and society. Consequently, the study of the history of the Southeast Asian flute and its performance may significantly contribute to learning more about the development of this fascinating musical culture. It may also enhance the understanding of various cultures as it identifies and tracks links between different cultures. In this sense, the Southeast Asian bamboo flute constitutes a valuable index of cultural intermingling throughout time. The researcher notes that society, the context and the historical influences affect the instrumental development of the flute.
TABLE of CONENTS
ABSTRACT
ii
Research Proposal on Traditional Southeast Asian Bamboo Flutes Studies on Origins and History Assignment
List of Table and Figuresvi
CHAPTER I
INTRODUCTION
1
2
Design of the Study
3
Research Problem
5
Objectives
5
Scope and Limitations
6
Significance of the Study
14
Research Methodology and Philosophy
15
CHAPTER II
19
Southeast Asia
19
Kinds of Flutes
26
The Bamboo Flutes from Southeast Asia Mainland
40
Hawaii
43
Musical Elements
44
Ensembles
45
CHAPTER III
48
Transverse, Side-blown Flutes
48
Vertically Blown Flutes
Nose Blown Flutes
Bamboo Flute Tradition vis-a-vis
62
Religion in SEA
62
Bamboo Flute Tradition vis-a-vis
62
Hinduism Influences in Bali, Malaysia, Borneo and Kalimanta
69
Muslim Influences in Southeast Asian Flutes
71
CHAPTER IV
77
Socio-economical Background of SEA
76
Development of Flutes
76
Transverse Flutes of Proto-Australoids
81
CHAPTER V
CONCLUSIONS
REFERENCES
APPENDICES
LIST of FIGURES
Figure 1.1: 18,000 BCE, SEA Map
8
Figure 1.2: Contemporary Map of Southeast Asia
9
Figure 1.3: 1st Century BC Silver Route: Asia and Europe
10
Figure 1.4: Hinduism before the Fourth Century in SEA
13
Figure 2.1: Southeast Asia Facts
23
Figure 2.2: Rice Paddy Field in the Lowland Philippines
25
Figure 2.3: Six Modern Types of Flutes
27
Figure 2.4: Kingflutes
28
Figure 2.5: Chinese Vertical Flutes
31
Figure 2.6: Filipino flutes
32
Figure 2.7: 10 Sao Truc Flutes
41
Figure 2.8: Ohe Hano Ihu Flute
42
Figure 3.1: Different Types of Vertical Flutes
52
Figure 3.2: Xiao Vertical Bamboo Flute
54
Figure 3.3: Lanoh Nose Flute and Fangufangu
56
Figure 3.4: Tongali Flute (Philippines Nose Flute
58
Figure 3.5: Map of Locations with Similar Flutes
64
Figure 3.6: Papua New Guinean Tribes
66
Figure 3.7: Indonesians of the Irian Jaya Province
66
Figure 3.8: Rukai tribe of Taiwan
67
Figure 3.9: Buffalo Flute with Buffalo-Horn Cone
70
Figure 3.10: Magindanaon Ring Flute Player
71
Figure 3.11: Old Yemeni Flautist
72
Figure 4.1: "Walking Stick Flute" Played by Mouth
82
Figure 4.2: "Walking Stick Flute" Played by Nose
83
Figure 4.3: Kmhum Higlanders With Transverse Nose Flutes
84
Table 1.1: Basic Human Needs and Cultural Responses
16
CHAPTER I
INTRODUCTION
"When an instrument is introduced to a different geographic area, the new instrument that develops there generally retains some connection to its predecessor: A similar name or function, a shared physical characteristic, or an association with a particular social class"
("Wind Instrument," Dissemination Section, ¶ 1).
Bamboo in Music
Jin, who began playing a bamboo instrument during the second grade, grew up with bamboos growing all around him. In the Web publication, "Kingflute," Jin reports that when a child, his family lived in a bamboo house. He played with toys built of bamboo. He reports: "My mom used to cook 'Labong; (bamboo shoots) for food which is particularly popular during rainy seasons in our province" (Bambooman, the Author and his passion… Section, ¶ 1). Today, Jin sleeps on a bamboo bed and owns a garden set constructed of bamboo.
The bamboo orchestra, "Pangkat Kawayan," the music center across Jin's street, mesmerized him, he said, when he, in the second grade, moved with his family to the city. "I remember listening to this bamboo orchestra practice every other afternoon," Jin recounts, "and watch my sister Cora play "Bumbong" (bamboo horns). & #8230;the conductor, Mr. Toledo, gave me the chance to play bamboo bass" (Bambooman, the Author and his passion… Section, ¶ 3). At that moment, Jin began his quest to become a bamboo musician. He performed for individuals who served as head of states and prominent people in America, Australia, Japan, Hong Kong, and numerous other countries in a number of performing arts centers; continuing to play in this bamboo orchestra until he earned his college degree.
Any where Jin sees items made of bamboo, he stops to admire them. He particularly appreciates the musical sounds that evolve from bamboo. "Words can't describe my admiration, love and dedication to bamboo," Jin stresses. During this thesis, with an appreciation for bamboo similar to that Jin displays, the researcher examines traditional Southeast Asian bamboo flutes; simultaneously reflecting on their origins and history.
Some individuals commonly believe that bamboo flute traditions in Southeast Asia either originated in China or that indigenous people invented them. The earliest known extant bamboo flute, a chi, or ancient Chinese flute, from the Zhou Dynasty, discovered in the tomb of Marquis Yi of Zeng, dates from 433 BC.
The Chinese transverse flute, Chi, a six-holed membrane bamboo flute, however, does not depict the most common type of flute found in Southeast Asia (SEA). Although some similarities exist between SEA flutes and Chinese flutes, this observation may be used to disprove or argue the claim that SEA flutes evolved purely from Chinese descent.
Southeast Asian bamboo flutes, diverse in shape and size, also vary in the way musicians play them. Rather than merely attributing this diversity solely to differences between tribes, one may further explore the development of bamboo flutes in this region through a more detailed examination of the link between these instruments and music, as well as traditions from and beyond Asia.
Some Chinese researchers assert that Chinese flutes may have evolved from of Indian provenance.
In fact, the kind of side-blown, or transverse, flutes musicians play in Southeast Asia have also been discovered in Africa, India, Saudi Arabia, and Central Asia, as well as throughout the Europe of the Roman Empire. This suggests that rather than originating in China or even in India, the transverse flute might have been adopted through the trade route of the Silk Road to Asia. In addition to these transverse flutes, Southeast Asians possessed the kind of long vertical flutes; similar to those found in Central Asia and Middle East.
A considerable amount of similarities exist between the vertical flutes of Southeast Asia and flutes from Muslim countries. This type of flute possibly came from Persians during the ninth century; during the religious migration to SEA. Likewise, the nose-blown flute culture, common to a number of traditional African tribes, may also be found in certain ethnic groups found in Taiwan, the Northern Philippines, Indonesia, and Malaysia. The diversity of playing styles noted in the various locations; those being transverse, vertical and nasal, reveals that the various performing behaviors of Southeast Asia may have not experienced a direct lineal descent from China. Instead, the various performing behaviors of Southeast Asia may have been adapted from the musical histories of a number of cultures throughout the centuries.
This thesis specifically contributes to significant research in this century; challenging commonly-held beliefs in the process, as it explores the multiple origins of three different styles of traditional bamboo flutes found in Southeast Asia. The data in this thesis draws on a diverse array of materials relating to flutes from a number of countries and regions, including China, India, Java and Bali of Indonesia, Malaysia, Vietnam, Borneo, Turkistan (Central Asia), Middle East, the Philippines, Australia, South Pacific and Oceania, Africa and Europe. Implementing this broad scope allows for a synthesis that enables the researcher and the reader to envision the eclectic cultural background informing the development of these instruments.
1.1. Design of the Study
The study investigates the bamboo flutes found… [END OF PREVIEW] . . . READ MORE
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