Answer:

A general musical division exists between the urban and rural areas of Southeast Asia. Urban centres comprise the islands of Java and Bali and places in Thailand, Laos, Cambodia, and Myanmar, where big ensembles of gong families play for court and state ceremonies. Rural areas include other islands and remote places, where smaller ensembles and solo instruments play a simpler music for village feasts, curing ceremonies, and daily activities. In cities and towns influenced by Hindu epics such as the Ramayana and Mahabharata, shadow and masked plays and dances utilizing music play important communal roles, while in less urbanized areas, in lieu of musical plays, chants and songs in spirit worship and rituals are sung in exclusive surroundings—a ritual procession on the headwaters of Borneo, a drinking ceremony in the jungles of Palawan, a feast in the uplands of Luzon.

In both regions the physical setting is usually the open air—in temple yards and courtyards, under the shade of big trees, in house and public yards, fields and clearings. Many musical instruments are made of natural products of a tropical environment, and their sounds are products of this milieu. The music of buzzers, zithers, and harps is thus akin to sounds heard in the tropical vegetation of Southeast Asia. In Bali, for example, special ways of chanting and sounds of the jew’s harp ensemble (genggong) imitate the croaking of frogs and the noise of animals.

Explanation:

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