About Us
Established in 2010

 

Myanmar American Musical Arts Society was founded to promote Myanmar musical arts in the United States. Like all others, the Myanmar Americans also brought their inherited cultural treasures here. As our community grows over the years, we have more enthusiasts who are eager to promote the Myanmar musical arts so that every citizen can enjoy our music. We are also creating outstanding music icon by amateurs music lovers. Bring any of your musical project and let us have a chance to help you.

 

 

 

Dr. Zaw Min Oo

President
Dr. Zaw M. Oo
   
Mu Mu Win

Secretary

Mu Mu Win

   
Dr. Chyne Chong Tan

Finance Committee Chairman

Dr. Chyne Chong Tan

   
Dr. Zaw Aung

Finance Committee Co-Chairman

Dr. Zaw Aung

   
Dr. Wai Wai Soe

Treasurer

Dr. Wai Wai Soe

   
Aung Phyo Thant

Media Technical Advisor

Aung Phyo Thant

   
Hnin Haymar

Artist Liaison

Hnin Haymar


 

Mission Statements
Purpose of Myanmar American Musical Arts Society

 

1. To promote Myanmar music and traditional dance in the United States, and eventually internationally.


2. To provide opportunities for recognition of outstanding Myanmar musicians in the United States.


3. To encourage young Myanmar American artists to prevent the loss of traditional Myanmar music and dance.


4. To share our culture through our distinguishing music and dance.


5. To lobby for stronger copyrights protection for music artists in Myanmar.
 

 

 



image


image
 

 

We are working for Myanmar Traditional Musical Arts.

Myanmar Saing



Good to know !
At the core of Myanmar/Burmese traditional music is the Mahagita or “Great Music” – a collection of verses and memorized song forms passed through generations for the last three hundred years. The various genres of these songs form a pedagogic tool introducing techniques of embellishment, and arranging melodic patterns in improvised sections known as "Ti Kwet" or "Le' Son" (Becker). The musical lines tend to be monophonic with occasional supporting intervals (9ths, 4ths, 5ths predominant) at pivotal phrase points. Melodic phrases weave between lower and higher registers of the octave. As more western instruments were folded into a Myanmar/Burmese musical context, their Burmese properties were discovered and quickly developed.   (Sagaing Hla Shwe)

Click to Contact Us