Musical Instruments
The music of Burma has a surprisingly distinctive sound in comparison to its
Southeast Asian neighbours. There are two styles of Burmese music, an outdoor style
often described as raucous, and an indoor style described as elegant, chamber music
(Miller 1998: 363). Restrictions to Burma have done little to assist in the research of
Burmese music, which has received much less attention than other Southeast Asian
counterparts such as Java.
The RAMM has a broad collection of instruments and beaters (82 pieces in all) that
are used in both styles of Burmese music. Much of the collection (approximately 70
pieces) was donated by the Lwin family (a family of Burmese origin that lived in
Tiverton) in 2000. Many of the instruments donated were played by the family at a
concert at the Horniman Museum, London to celebrate Burmese Independence Day in
1965. Photographic images actually document the family playing many of the
instruments, so it is valuable to see that much of the orchestra has been used
authentically. A start on interpreting the collection was initiated through the use of the
museum’s ethnography website www.molli.org.uk. However, research completed
under this project has provided further depth into the use of each instrument within
Burmese orchestras and a greater understanding of the collection as a whole, and its
significance. A research trip to the Horniman Museum in London, which has an
excellent musical instrument section proved to be most informative. The Pitt Rivers
Museum in Oxford, and the Laura Boulton Collection, Indiana University U.S.A.,
both have extensive Burmese orchestras. The orchestra at the RAMM in relation to
these collections is on a par in terms of depth, and diversity, and is historically
significant in terms of instruments that are no longer in use in Burma.
Outdoor Ensemble Instruments – ‘hsainwain’
Instead of describing for instance every drum of the drum circle I have given an
example of each instrument. (There are accents on the Burmese words which cannot
be added, and therefore have always been left out).
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‘Pat-waing’ – Drum circle
‘Kyi-waing’ - Gong circle
‘Yakwin’ – Cymbals
‘hne’ – Oboe
‘Pat-waing’ – Drum Circle
The RAMM collection has 11 Drums. These drums would be played as part of a drum
chime known as a ‘Pat-waing’. A ‘Pat-waing’ consists of 21 tuned drums suspended
from the inside of a circular wooden frame. The drums are suspended vertically
within the frame so that the musician plays on the upper heads only. The drums are an
asset to the collection in that the basic makeup of a ‘Pat-waing’ can be observed.
Each individual drum, which is made out of wood, has heads on both ends of the
instrument. The drum is encased with cords of either natural fibre or rawhide.
The drums are tuned by applying a mixture of cooked rice and ash to the painted
brown circle on the upper head. There is no evidence of this being applied to the
drums in the RAMM collection. The tuning method, which is the same in India,
suggests that the ‘Pat-waing’ drum circle may be one of the few Indian musical
instruments that survived the period of Indian influence in South-east Asia.
The ‘Pat-waing’ drums are used for playing melodies rather than rhythmic patterns.
The drum-circle, which is the leading instrument of the ‘hsaing-waing’ ensemble, is
rarely found outside Burma.
‘Kyi-waing’ – Gong Circle
The RAMM collection has 17 metal knobbed gongs and a gong circle otherwise
known as a ‘Kyi-waing’ (or in some cases ‘Kyi-naung’). Each gong consists of a
raised central boss, and a deep rim. There are four holes in which string/cord is thread
through for attachment. A ‘Kyi-waing’ normally consists of 21 gongs horizontally set
on a circular wooden frame, however amongst the Mon people of lower Burma, the
instrument occurs in another form, with small knobbed gongs suspended form a Ushaped upright circular frame.
It is proposed that the widespread diffusion of knobbed gongs in S.E. Asia testifies to
the antiquity of the blacksmith’s craft. In Kachin state this is further emphasised by
the myth that they can trace their origins back to an ancestor who was a smith (Sadie
2001:568).
‘Yakwin’ – Cymbals
The RAMM collection has 6 cymbals (3 pairs) each made out of brass with a raised
central boss. Each pair shows evidence of brightly coloured cord having been placed
through the centre of each cymbal for holding. Some of the cords have been decorated
with pink pom-poms. The cymbals can also be known as ‘lagwin’ or ‘hkwet-hkwin’.
‘hne’ – Oboe
There are 2 oboes in the RAMM collection. One is highly ornately decorated, whilst
the other is completely plain. In this report the ornately decorated oboe will be
documented (82.2001.21). The oboe has a conical body and a large flared bell (‘hnegyi’), which would be loosely attached at the end. The conical tube is made of
‘acacia’, or another hardwood bored through the centre. The oboe has seven
equidistant finger holes and a thumbhole at the back. The body and bell have been
lacquered, covered in gold leaf and inlaid with pieces of green and clear glass.
The ‘hne-gyi’ would be attached to the ‘hne’ by a cord, which is usually red and tied
at the top of the instrument. There are two ridges at the top of the pipe, which stop the
bell from slipping. The bell hangs at an angle, is loosely attached and does not affect
the pitch, however, players feel that it improves the tone (Sadie 1994:224).
Indoor Ensemble Instruments
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‘Saung-gauk’ - Harp
‘Patala’ - Xylophone
‘Mi-gyaung’ – Crocodile Zither
‘Hun-tayaw’ – Burmese Fiddle
‘Palwei’ – Duct Flute
‘Walet-hkok’ - Clappers
‘Saung-gauk’ – Harp (50.1925)
‘Saung’ means harp and ‘gauk’ means bent, which is what this instrument literally is,
a bent harp. The body of this harp, which is made out of carved wood is boat shaped
and lacquered with the effect of black gloss. The wooden arch is made from the
central root of the ‘acacia’ tree. A strip of deerskin has been stretched across the open
top of the instrument to act as a vibrating membrane. There are two sound holes either
side of the bridge and the deerskin has been ornately decorated with fig motifs in
inlaid glass. The instrument has thirteen strings, which would have originally been
made of hand-twisted silk. The long curved neck sits on the musicians left shoulder.
There is another harp in the collection, (accession number: 290.1911, 19th Century,
Burma, donor C.E. Pitman), but its condition requires attention. Harp 50.1925 can
also be dated to 19th/20th Century.
The harp is the mainstay of Burmese chamber music and in the days of the Burmese
kings was the most popular instrument in the palace. A similar example can be seen in
the Laura Boulton Collection, Indiana University, U.S.A.
(www.indiana/edu/mathers/collections/music/burma).
Patala’ - Xylophone (287.1911)
This xylophone was donated in 1911 by C.E. Pitman. A provenance of Myeik
(Mergui), Burma was noted and it can be dated to late 19th Century. The wooden
sound box of this ‘Patala’ is boat shaped and positioned on a stand. The box has been
decorated with gold flower and leaf motifs, the box being edged with a thin red rim.
The bamboo keys, of which there are twenty, are suspended from the frame by two
red cords passing through holes drilled in their ends. The keys are struck by two clothcovered beaters.
The ‘Patala’ is used the accompany singers or during ‘anyein’ performances, a theatre
genre that originates within the royal court.
‘Mi-gyaung’ – Crocodile Zither (288.1911)
This ‘Mi-gyaung’ was donated in 1911 by C.E. Pitman. A provenance of Myeik
(Mergui), Burma was noted and it can be dated to late 19th Century. The instrument
consists of a wooden box zither carved in the shape of a crocodiles head, tail and feet.
The instrument has two strings and five moveable raised frets on the flat belly.
(Originally, this instrument would have had three strings and 8-10 raised moveable
frets on the flat belly). The zither has been decorated in raised relief (possibly using
‘thayo’ technique) in red, green and gold pigment. There are eight sound holes located
at various points on the body.
This instrument is important to the collection because it is no longer in use by the
Burmans, however it is still associated with the Mon (an ethnic group in Southern
Burma). A similar example can be seen in the Laura Boulton Collection, Indiana
University, U.S.A.
‘Hun-tayaw’ – Burmese Fiddle (289.1911)
This instrument was donated in 1911 by C.E. Pitman. A provenance of Myeik
(Mergui), Burma was noted and it can be dated to late 19th Century. Due to the date
and size of the instrument it is suggested that this instrument is actually the older
bowed Burmese fiddle known as a ‘hun-tayaw’ that has now completely disappeared
from Burma rather than being a violin, which the Burmese have since adopted. As
yet, no other comparisons have been found, however the descriptions in current
literature (see Sadie 2001:572) and the date of donation would indicate that the piece
is a ‘hun-tayaw’.
The instrument is made of wood, with the underside being lacquered in a black gloss,
and the edge decorated in gold leaf. The handle and bridge surface have been
lacquered or coated in red pigment and decorated with gold leaf. A bird has been
ornately carved into the wood at the head of the fiddle. A small bow accompanies the
instrument however the strings are of poor condition.
‘Palwei’ – Duct Flute (82.2001.23)
This instrument was part of the collection donated by the Lwin family and therefore
dates to 20th Century. A ‘Palwei’ is a duct flute, which is made out of a bamboo tube.
There are seven finger holes graduating in size, a thumbhole, and a small membrane
covered hole, which is not used in playing. There are two ‘Palwei’ in the RAMM
collection (82.2001.22 & 23). It is an instrument that is especially used in musical
pieces that have a rural character.
Other examples of ‘Palwei’ can be seen in the Laura Boulton Collection, Indiana
University, U.S.A.
‘Walet-hkok’ – Clappers (82.2001.15-20)
The ‘Walet-hkok’ have been included in this section however they are also played in
the ‘hsaing-waing’. There are six clappers in the RAMM collection, which are made
from pieces of split and hinged bamboo. The clappers range in size.
Other examples of clappers can be seen in the Laura Boulton Collection, Indiana
University, U.S.A.
Conclusion
The musical instruments acquired and held by the RAMM are a worthy addition to the
Burmese collection as a whole. What makes the collection significant is that much of
the orchestra was utilised by the Lwin family and has therefore been used as a
working collection. The potential for utilising this quality is immense in terms of the
museums outreach services.
The second asset to the collection is that there are pieces donated in the early 1900’s
that are no longer used in Burma. They provide a valuable contribution towards the
history of musical traditions in Burma, which no longer exist.
The significance of the collection in relation to other collections in England and
abroad is important. The Pitt Rivers, Oxford, the Horniman, London and the Laura
Boulton collection, Indiana all have valuable collections. However, the collection at
Exeter is significant in terms of representing a broad spectrum of Burmese orchestral
instruments, both for outdoor and indoor ensembles. Although other collections may
have instruments that are of better quality or of an older age, the collection at Exeter
has not only older pieces that are no longer used in Burma, but pieces that have a vast
amount of teaching and outreach potential for the Southwest as a whole.