Home to Fascinating Myanmar
Traditional Arts & Crafts Handicrafts Costumes Dances Musical Instruments Universities of Culture Painting
The site will contain tons of information on its people, its beautiful tourist destinations, where to go and eat, which supermarkets offer the best prices and so on.  
    Culture & Arts /   Advertisements

Musical Instruments


Brass Gong Circle (Kyei waing)
The gong is tuned by adjusting the amount of beeswax attached inside the boss. The brass gong player is generally the number two man in the ensemble. The brass gong was called the "nari-sara" in Bagan days.

Conch Shell
The painting shows two musicians and two dancers, and one of the musicians is playing a conch shell. The conch shell is also mentioned in the list of musical instruments taken to China in 80 A.D by a Pyu culture delegation.

Cymbals (Lingwin)
The two cymbals are clashed against each other to produce the full sound, or the edges are hit against each other to produce a softer sound. When the sound of clashing cymbals is not interfered with it is called an open sound.

Drum Ensemble (Saing Waing)
The drum ensemble has the circumference of 15' 10" and a total height of 3'8". The part between the ground and the slats is called the pedestal. The length of cane strap which keeps the slats and hung drums upright is called pillow.

In preparing the tube for a flute the lowest hole is perforated two-thirds of the way up the instrument. The six other holes are perforated at distances according to the diameter of the bamboo.

Framed Gongs (Maun Sain)
Early framed gongs consisted of seven gongs tied and framed together. The gongs of the upper frame were tuned to the fifth, first and seventh degrees while the lower four were tuned to the second, first, seventh and second degrees.

The harp is portrayed in the interior of the Ananda Zedi built by King Kyanzittha in A.D.1084 - 1113. In one portrayal, the Bodhisatta Prince Siddhassa is being entertained by harpists, while in another portrayal the harpists are asleep with their harps beside them.

Horizontal Drum (Sakhum)
The left head is feminine and tuned to the fifth degree while the right head is male and tuned to the fourth degree, using tuning dough. Sometimes no dough is added to the male side.

Long Drum (Bjo:)
The bjo is played during novitiation ceremonies. It is played on the night prior to the ceremony until the dawn, and on the arrival of the monks who will perform the ceremony.

Pot-Drum (Ozi)
The pot-drum is also the chief instrument for the lively pot-drum dance. The dancer would pass the pasoe between his legs and tuck it at the back, exposing a trouser-type dress beneath, which covers the knees.

Principal Drum (Patma)
When the patma is played together with the large cymbals, it sounds its most effective. Just as in modern orchestras, the patma supports other instruments with emphasis and accent called 'pama che'.

Royal Drum (Si daw)
The advent of the sidaw ensemble induced the creation of the sidaw dance. The two big drums are hung side by side on a beam. The two dancers moved gracefully and swayed gently to strike the drums with their fists in time with the beat.

Shawm (Hne)
Historically, the hne or shawm is found portrayed on the wooden door of the northern building on the platform of Bagan's Shwezigon Zedi.

Short Drum (Sito)
The short drum is also played during the anyein, a non-dramatic performance of dance and comedy stints. The sound of the short drum is melodious and joyful, and it comes to the fore during truth-revealing scenes and duet dances in grand drama.

Six Drums (Chauklon Pat)
The six drum collection did not exist during the dynasty of the Konbaung Kings, and it was not until 1900 AD that the six drums were added to the patma corner.

Double Headed Slung Drum (Dobat)
The double-headed slung drum can be played on both sides. The left side of the drum is called the female side and the opposite side is the male side. The female side is tuned to the fundamental (taya) while the male side is tuned to the dominant (tayo). The female side requires more tuning dough.

Timing Bells and Bamboo Block (Si-Wa)
The mellifluous bells and timing block are seen in ensembles. The hollow timing block is about 8 inches in length and is struck with a smooth wooden striker, and the bamboo clapper is of slit bamboo.

Tuning Dough (Patsa)
The dough is made by kneading steamed rice and wood ash. To achieve perfect tuning dough, drum musicians prefer to use the best quality rice combined with the finest grade of wood ash.

Xylophone (Pattala)
The Myanmar xylophone attained international recognition through written articles. The author F.A. Neilly, in a book about Thailand, wrote, "The Thai xylophone is derived from the Myanmar xylophone which the Myanmar play exceedingly well.