208:) invited Naing to give a performance. After visiting England, he came to Los Angeles along with Asian and European musicians. His intention was to stay for a short while and go home. But when he was at UCLA, he was amazed that Burmese music did not exist there. He saw musical instruments from many countries, but not a single Burmese musical instrument—not even a harp or a xylophone. He was inspired to introduce Burmese music to America and to help the Burmese community in the United States. In 1999, he went into exile in the United States.
339:. Hsaing musicians served the Burmese royal court in the past, and continue to perform in concerts of Bala Hsaing (instrumental music), Zat Hsaing (music for dance-drama troupe performances or Zat Pwe), and Nat Hsaing (performances for the propitiation ceremonies of Nat spirits or "Nat Pwe").
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musicians, Burmese players "look at one another and listen to the tune and play accordingly... even though they might play the same piece of music, the next time they play it differently." When asked if it sounds anything like jazz, he laughed and said, "No, it's totally different."
169:. He remembers that, at the age of four years, he would sit and watch his older brother struggle to play during a lesson. He learned to play quite well just from observing his father and brother. From then on, his father decided that Naing would study the
188:. Then he won first prize at the Burmese Era 3000 competition and some other prizes as well. His mother wanted very much for him to be a musician, but his father did not because of the hardships of a traditional musician's life.
139:, a traditional Burmese drum-circle instrument; the player sits in the middle of a horseshoe-shaped shell made of elaborately carved wood and decorated with gold leaf. He is the only known American-based
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was in 1975 at the Asia
Society. It was led by Naing's father, U Sein Chit Tee, who performed in Malaysia, Thailand, Singapore, the former Soviet Union, the United Kingdom and the United States.
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Many of the instruments and sets which have been shipped from Burma belong to Naing's family. He has slowly been building a career as a
Burmese musician.
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to Sein Chit Tee, the director of the
Burmese national hsaing orchestra, and Aye Kyi, a dance instructor. The last Burmese orchestra to play in
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traditional music and dance (Burmese orchestra) for the first time in almost 30 years. This performance was organized by Rachel Cooper of the
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The leader of the Hsaing Waing plays a set of 21 pitched drums hung on a circle frame known as the "pat waing". The most famous
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Naing started learning the classical
Burmese repertory at six years of age. He won second prize at a
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called his music "an exhilarating tease, defying expectations of symmetry or steady tempo."
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percussion/gong ensemble for centuries, has been central to musical and dramatic arts in
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From 1985 to 1999, Naing directed Burma's national saing orchestra.
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Naing performed with
Western musicians for the first time with the
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528:"MUSIC REVIEW; A Delight in Sheer Sound to Break Down Boundaries"
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515:(Thesis thesis). State University of New York at New Paltz.
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Naing's father was teaching his elder brother to play the
564:"WORLD MUSIC REVIEW; From Myanmar, Sounds That Surprise"
380:"The Burmese Classical Music Tradition: An Introduction"
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in New York City. In
February 2002, he appeared at the
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In 1999, the
University of California at Los Angeles (
453:"Like Father, Like Son: Burmese Sounds in New York"
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637:, Vol. 4, P. 251 "Saing Saya" - printed in 1962.
488:"Interview with Master Musician Kyaw Kyaw Naing"
131:known for introducing Burmese folk music to the
177:, and his brother would specialize in vocals.
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266:On December 13, 2003 at the Asia Society in
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425:"Bang On Performances by Kyaw Kyaw Naing"
293:), is steeped in the Burmese tradition.
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302:As of 2005, Naing lived in Sunnyside,
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316:Bang on a Can Meets Kyaw Kyaw Naing
283:Bang on a Can Meets Kyaw Kyaw Naing
600:"Relearning Rhythm, Burmese-Style"
263:with the Bang on a Can All-Stars.
184:(bamboo xylophone) competition in
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431:. February 2005. Archived from
281:In 2004, he released an album,
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223:. He has since performed with
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526:Midgette, Anne (2002-02-12).
227:and toured with a group from
219:invited him to a workshop at
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378:Lu, Hsin-chun Tasaw (2009).
350:(1882-1942) who traveled to
598:Sisario, Ben (2005-01-09).
562:Pareles, Jon (2003-12-15).
451:Sisario, Ben (2003-12-11).
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31:. There is no family name.
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257:Brooklyn Academy of Music
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135:. He is a master of the
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668:American male musicians
509:Hummer, Alyson (2019).
253:Bang on a Can All-Stars
217:Bang on a Can All-Stars
346:musician/composer was
234:Naing said that, like
285:, with special guest
635:Burmese Encyclopedia
384:Fontes Artis Musicae
604:The New York Times
568:The New York Times
532:The New York Times
457:The New York Times
296:The New York Times
120:; born 1964) is a
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492:Asia Source
310:Discography
156: 1964
143:proponent.
133:world stage
657:Categories
617:2023-03-26
581:2023-03-26
545:2023-03-26
470:2023-03-26
358:References
352:Ratanagiri
247:to America
147:Early life
89:Instrument
81:Occupation
25:given name
612:0362-4331
576:0362-4331
540:0362-4331
465:0362-4331
396:0015-6191
348:Sein Beda
344:pat waing
327:musicians
268:Manhattan
245:pat waing
171:pat waing
167:pat waing
137:pat waing
96:Pat waing
404:23512133
186:Mandalay
129:musician
84:Musician
19:In this
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272:Burmese
182:pattala
122:Burmese
114:Burmese
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318:(2004)
304:Queens
192:Career
175:patala
141:hsaing
71:Genres
23:, the
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291:ETHEL
215:from
65:Burma
608:ISSN
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236:jazz
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51:Born
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