The King of Musical Instrument or "Myanmar SaungnGauk"
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A "harp" is called Saung in Myanmar. Also known as the saung-gauk, Burmese harp, Burma harp, or Myanmar harp is an arched harp used in traditional Burmese music. The saung is regarded as a national musical instrument of Burma. There basically was 2 types: Byat Saung and Saung Gauk (bent harp). There almost is nobody who can play byat saungs these days.
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A "harp" is called Saung in Myanmar. Also known as the saung-gauk, Burmese harp, Burma harp, or Myanmar harp is an arched harp used in traditional Burmese music. The saung is regarded as a national musical instrument of Burma. There basically was 2 types: Byat Saung and Saung Gauk (bent harp). There almost is nobody who can play byat saungs these days.
Artist U Marlar (Mandalay\Myanmar)
History
The Burmese harp is a very ancient instrument. The saung may have been introduced as early as 500 AD from Southeastern India, based on archaeological evidence, namely in the form of Burmese temple reliefs that depict a long-necked harp very similar to depictions found in Bengal. The earliest archaeological evidence of the harp is at the Bawbawgyi temple of the Sri Ksetra kingdom of the Pyu people, near present-day Pyay (Prome). At that site, there is a sculptured decoration where the arched harp with about five strings appears in a scene where musicians and a dancer are depicted. This site has been dated to the early eighth century. Contemporary Chinese chronicles from the same period cite Pyu musicians playing the arched harp. The harp has survived continuously since that time, and has been mentioned in many chronicles and texts. The current Burmese word for the harp "saung" has been recorded in Bagan temples, as well as in pictorial representations.
The Burmese harp is a very ancient instrument. The saung may have been introduced as early as 500 AD from Southeastern India, based on archaeological evidence, namely in the form of Burmese temple reliefs that depict a long-necked harp very similar to depictions found in Bengal. The earliest archaeological evidence of the harp is at the Bawbawgyi temple of the Sri Ksetra kingdom of the Pyu people, near present-day Pyay (Prome). At that site, there is a sculptured decoration where the arched harp with about five strings appears in a scene where musicians and a dancer are depicted. This site has been dated to the early eighth century. Contemporary Chinese chronicles from the same period cite Pyu musicians playing the arched harp. The harp has survived continuously since that time, and has been mentioned in many chronicles and texts. The current Burmese word for the harp "saung" has been recorded in Bagan temples, as well as in pictorial representations.
The earliest song-poem texts in Burmese date to the early 14th century, although the music has not survived. It is conjectured that this song-poem was harp music since text refers to the siege of Myinzaing, and "Myinzaing" is one of the classical tunings and musical forms in use today.
The harp benefited from the cultural renaissance of the Konbaung era (1752–1885). When the Burmese king Hsinbyushin sacked Ayuthaya, he brought back with him many Siamese courtiers. The captured Siamese actors and musicians fueled new forms and experiments in harp music. The most significant innovator was the talented courtier Myawaddy Mingyi U Sa (1766–1853), who adapted repertoires of Siamese music into Burmese, rewrote the Siamese Ramayana, called Ramakien, into the Burmese Enaung-zat, composed harp music for it, and developed a whole new genre of harp music called "Yodaya" (the Burmese word for Ayutthaya). U Sa was responsible for increasing the number of harp strings from seven to thirteen, such that the notes spanned two and a half octaves, from C3 to F5. The last Konbaung court harpist, Maung Maung Gyi, added the 14th string. Ba Than, a post-independence harpist, created a 16-string saung.
In the 18th century the instrument was introduced to Qing Dynasty China, becoming known as zonggaoji (总稿机, a transliteration of "saung-gauk").
