Burma : A Handbook of Practical Information - Khamkoo

MUSICAL INSTRUMENTS 353
generally composed for some opera. As the taste for the
opera has varied with the progress of the age, the character
of the songs keeps in harmony with it. Conservative
customs, ai'e, however, still observed at the opening and
alternating scenes, the entrance and exit of the king.
The music is then uniformly tlie same, particularly where
royalty is represented. The playing of the orthodox
tunes is superstitiously observed, for it is thouglit that
deviation from this ancient custom would bring down the
anger of the nats on the performers. These tunes are
distinguished by their solemn and majestic style, and called
Yodaya, literally meaning Siamese, but which now signifies
that particular style. The music of the opera, how-
ever, differs little in character from that of the conceit in
funeral wakes. With the Burmese the recitativo introduction
seems indispensable, even in their private parlour
concerts. To the European guest invited to any such
performances this preliminary is sometimes an intolerable
bore. The preponderance of appoggiatura; is a peculiar
feature of their style, which renders it difficult for the
unaccustomed European ear to eliminate the notes of the
plain melody. While the ancient melodies, now more and
more confined to the early morning performance of a
funeral concert, retain their native beauty and simplicity,
the present - day music of the Burmese is becoming
affected by homogeneous svn'roundings, so that pieces
sandwiched with catches from Cliinese, Indian, and English
airs are the furore of the up-to-date Burmese.
The only instrument which gives the name of tone or
pitch is the clarion. There is no doubt this instrument is
of very ancient pattern. The cylinder is made of a black,
hard wood, in which seven finger-holes, and one thumbhole
at a little above the 7th hole, are bored. The sound
is produced by a mouthpiece, made of palm leaves, tied
securely to a metal tube fixed to the upper end of the
cylinder. The lower is fitted with a loose metal bell,
which hangs loosely by a red string. The keynote begins
at the 4tli hole, and is invariably in A, the standard pitch.
The holes are bored at regulated distances to produce the
tones of the gamut, thus: the 1st tone on the 4'th holcj
the 2ud on 5th, the 3rd on 6th, the 4th on 7th, 5th ou