1. See R. Garfias, "Preliminary Thoughts on Burmese Modes," Asian Music. VIII, (I) (1975) pp. 39-49.
2. See R. Garfias "Speech and Melodic Contour Interdependence in Burmese Music," College Music Symposium. V, 21:1 (Spring, 1981) pp. 33-39.
3. I can clearly recall that as part of my own research into Burmese music, I studied the patt waing, or drum circle. At first the teacher stood inside the drum circle and demonstrated each left and right hand stroke combination. After some time, without realizing it the teacher now stood outside the drum circle as I played and he merely recited the patterns which I was able to interpret as single and combined left-right strokes on the drum.
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