Certain forms are peculiar to special classes, like priests, traveling beggars or dancing-girls.
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Fig. 17.—Hindu Sarungi.
The characteristic instrument is the
'vina,' which is made in various ways,
usually with a cylindrical body of wood
or bamboo reënforced by 1-3 gourd resonators,
and having 6-7 wire strings,
played normally as a zither or lute, but
sometimes with a bow. This shades off
into the 'sitar,' which is a true lute, and
many other related forms. Among the
numerous viols, the 'sarinda' or 'sarungi'
is typical.
Music in the several countries of
southeastern Asia presents perplexing
features in which Chinese, Hindu and
Mohammedan elements are mingled.
In Burma and Siam the connection
is rather with India, while in Java
the Chinese pentatonic scale is apparently
dominant. Korea, of course,
is connected with Japan and China.
In each case there is a national system,
often of great
elaboration, but the
details are comparatively
unclear.
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Fig. 18.—Burmese Soung.
More or less characteristic instruments are, in
Burma, the 'soung,' a 13-stringed harp with a boat-shaped
body and a gracefully curved neck; in Siam,
the 'ranat,' a good xylophone (to which there are
analogues in China
and Japan); in Java,
the 'galempong,' resembling
the Chinese
'kin;' and in Korea,
the 'kamounko,' corresponding
to the Japanese
'koto.' But in
each country there are
many other instruments
of different
classes.
