The hsaìng waìng ensemble of Myanmar (Burma) derives its name from its primary instrument, a circular drum set consisting of 21 drums suspended in a round wooden frame. The ensemble leader plays melodies on this drum, also known as the pat waìng. The frame comprises eight gold-plated sections adorned with inlaid glass pieces. Inside, the 21 double-headed drums are conical with a rounded bulge at the top, and while they have two membranes, only the upward-facing one is struck. Each drum is tuned to a fixed pitch using paste and has a range of over three octaves. Alongside the oboe, the drum serves as a leading melodic instrument in the ensemble.
Myanmar’s relative geographic isolation has allowed certain traditional instruments, such as the bow harp and drum circle, to endure from earlier periods of Indian influence in Southeast Asia, while such instruments have largely disappeared in neighboring countries. The distinctive sound character of the hsaìng waìng is strongly influenced by Indian traditions, particularly in how its drums are tuned to a fixed pitch. Unlike many membranophones that produce rhythmic beats, the drum circle in the hsaìng waìng plays melodies. The hsaìng waìng is closely connected to the orchestral traditions of the neighboring countries including Thailand, Cambodia, and Laos, as well as Java and Bali (Indonesia). These ensembles play an integral role in accompanying religious ceremonies and theatrical performances, highlighting their cultural significance in the region. They typically combine hump gongs with wind and string instruments, drums, cymbals, and other percussion instruments, often incorporating related phase structures characterized by repeating counts of four.
The oldest surviving musical instruments from Myanmar are bronze drums, likely cast in the last centuries B.C.E. and now held in private collections. The earliest descriptions of musical instruments can be found in the annals of the Tang Dynasty, which provide detailed accounts of the 35 musicians and dancers from the Pyū Kingdom who performed at the Chinese imperial court in Chang’an during the New Year celebrations of 801/802. Their ensemble included four cymbals, two iron clappers, four conch shells, two harps with phoenix heads, two zithers with crocodile heads, a lute with a dragon head, another lute with a cloud-shaped neck, five stick zithers, four flutes, a pipe, six drums, and two large and two small mouth organs, each with eight pipes. Additionally, there was a unique mouth organ featuring two elephant tusks as a calabash wind chamber, along with two mouth organs made from two or three ox horns for pipes.
Read the new entry on Myanmar in MGG Online.
The image at the beginning of the post is of Burmese musicians at the Shwedagon Pagoda in Rangoon circa 1895. Below are two images of hsaìng waìng ensembles performing. In the first, the ensemble is accompanied by three women singers.
“It’s about a woman trying to get through a concert performance, which I know something about, and she’s doing it at a time when her liver was pickled and she was still doing heroin regularly.”
