The Myanma Saung and the African Kora distinctly differ geographically, thus are more unlikely to have direct influence on one another. They also vary in the way they are constructed. Both instruments have different number of strings, therefore producing a different variety of ranges. Despite their differences, there are many more similaries between the Myanma Saung and the African Kora.
The African Kora and the Myanma Saung have their own scale and tuning system that has been altered over the years to fit the western European music format. Both music of the two instruments are taught aurally. Cultural music is created after the creation of the instruments. Both music of the Myanma Saung and the African Kora have a use of microtones, horizontal harmony (harmony in the form of single note progression). Both instruments are plucked strings.
There are also similar societal functions between the African Kora and the Myanma Saung. Both the Myanma Saung and the African Kora are often used as accompanying instruments for vocal music.
African Kora and Myanma Saung as Solo Instruments
Short Analysis on Ballaké Sissoko na Kora
The Ballaké Sissoko na Kora embodies a simple melodic contour. The melody is often embellised using repetitive trills or note bending to improve ornaments. Furthermore, the melodic phrases are often repeated for emphasis. At 0:45, there is a sign of vertical harmony (harmony in the form of multiple notes played simultaneously). This selection is an example of how the Kora is tuned to a western European major key. The form is hard to identify because the selction is only an except. There is a distinct melodic contour that can be recognised. The tempo is moderately slow, andante, and in simple quadruple. There are also open harmonisation, such as the use of fifths and octaves.
Short Analysis on Full Moon Night
The Full Moon Night has a melody that is often embellished by using repetitive trills or note bending to add embellishments. There is an open chord harmonisation throughout the piece. At 1:28, there is a sign of vertical harmonisation. The melodic phrases of Full Moon Night are often repeated for emphasis. The piece is homophonic, specifically melody with accompaniment. It has a free meter, and is moderate in tempo.
Similaries between the Ballaké Sissoko na Kora and Full Moon Night
Both selections are homophonic, generally melody with accompaniment. The melody is often embellished using repeitive trills and/or note bending for additional ornaments. Both instruments in their respective selections resolved to tuning that matched the western European music system. The melodic phrases in both selections are also repeated frequently but in various forms (i.e. variations through improvisation).
African Kora and Myanma Harp as Accompaniments to Vocal Music
Short Analysis on "Kora - Idrissa Cissoko"
In this selection, there is a lengthy instrumental introduction. The instrumental introduction introduces the melody, which will further be restated in the vocal melody. Since the Kora is this case acts as an accompaniment, the selection is homophonic, specifically melody with accompaniment. As stated earlier, the African Kora adopts the Western European music system, and in this particular selection, there is use of the major scale.
Short Analysis on "Glory of the King - Burmese Classical Music"
Glory of the King also begins with the accompaniment of the Saung. As the vocalist enters, the tempo is altered, and the accompanies occasionally plays the same melodic line and the vocalist. The accompaniment consists of a series of ascending and descending notes revolving around the scale. As stated earlier, the Myanma Saung has also developed tuning that fell within the category of the Western European music system. This selection adopts a major scale.
In both cases, the two selected pieces offer an instrumental introduction. Both selections are homophonic, specifically melody with accompaniment. In both selections, the tuning of the instrument has been altered to fit the Western European tuning system. Also, the instrumental introduction in both selections provide a synopsis of the vocal melody, similar to a double exposition in the Western classical period concerto form.
