Lam Nyao and Tuei (847KB): This song is about a middle-aged man's torn fellings - he has his own family and has also fallen in love with a young woman.
In the first lam, the man tells the girl that he will remain with his wife and their love cannot be.
In the second lam, the man persuades the girl to go with him,and endure a hard life together.
Laotian music is dominated by its national instrument, the khaen (a type of bamboo pipe).
Bands typically include a singer/rapper (mor lam) and a khaen player (mor khaen) alongside fiddlers and other musicians.
Lamsaravane is the most popular genre of Laotian music, but ethnic Lao in Thailand have developed an internationally-best selling form called mor lam sing.
Lam pheun, one of the most popular varieties of the call-and-response genre lam/khap, involves the recitation of jataka tales, local legends and histories, while the regional lam siphandone features long slow passages of solo recitation believed to derive from a much earlier period.
Lam pa nyah in turn gave rise to the more theatrical lam glawn, traditionally given as a night-long performance at temple fairs, in which male and female singers perform passages of poetry interspersed with improvised repartee to the accompaniment of the khene.
The best-known genres are khap tai daeng (Red Tai) and khap tai dam (Black Tai) from the Tai ethnic minority of Samneau Province, lam meuy from the Tai Meuy ethnic minority of Borikhamxai Province and, from the Phu Tai ethnic minority, lam phu tai in Savannakhet Province and khap phu tai in Phongsali Province.
Lam mu is visually similar to Central Thai likay, but the subject matter (mainly Jataka stories) derived from lam rueang (the subgenre of lam phuen) and the music from lam tang yao.
In Isan lam was traditionally performed seated, with a small audience surrounding the singer, but over the latter half of the 20th century the introduction of stages and amplification allowed a shift to standing performances in front of a larger audience.
Lam singing is characterised by the adaptation of the [vocal line to fit the tones of the words used.[17] It also features staccato articulation and rapid shifting between the limited number of notes in the scale being used, commonly delivering around four syllables per second.
Ensembles typically include two singers (mor lam, the same term referring to the genre of music) - one male and one female -, a khaen player (mor khaen), and other instruments including fiddles, flutes and bells.
Music varies widely across Laos, with the lamsaravane style being most popular, while the city of Luang Prabang is known for a slow form called khaplam wai.
In the 1960s, Thai lam nu and lam ploen contributed to the development of lam luang, which is a form of loose song and dance, often with narrative lyrics.
Traditionally, mor lam was extemporaneous singing of gaun-type poetic verse accompanied by the khene, a free reed mouth organ; but the modern form is most often composed and uses electrified instruments.
One of the most popular styles of traditional mor lam, mor lam glawn, is a vocal "battle" between a man and a woman, who alternately improvise songs teasing and mocking one another.
Lao Music - Lao Music(Site not responding. Last check: )
Lamsaravane is the most popular genre of Laotian music, but ethnic Laotians in Thailand have developed and internationally-best selling form called mor lam sing.
They claim to find in Laos a scale which the ancient Hindus called the "celestial scale," the Gandhara grama, which is a tempered heptatonic scale, or a division of the octave into seven equal parts.
Lao folk music, known as Lam (morlam), is extemporaneous singing accompanied by the khene.
Though the beats may not be the most inventive of Wobble's career, reverting at times to proto-dub and techno, they are heavily fortified through his dense mixing style.
The throbbing aqua-dub of "Lam Tang Way" is equally potent in both female and male vocal versions.
The techno patter of "Lam Bane Xoc" and "Lam Siphandone"'s muscular bass groove, on the other hand, are kept at a respectful distance from the Laotian vocalists for results that aren't nearly as captivating.
www.music.com /release/molam_dub/1 (449 words)
International Conference on Lao Studies(Site not responding. Last check: )
Lam is generated from a coordination of lexical tones and typical melodic phrases and is quite unlike the singing of a composed melody, that called hawng.
In Laos there are at least twelve regional styles, mostly named after specific geographical locations (e.g., lamsaravane) while in Isan the classifications are based on genre (e.g., lam klawn or lam ploen).
Most forms of lam are in repartee form, that is, the alternation of male and female singers.
saravane is the most popular genre of Laotian music, but ethnic Lao in Thailand have developed an internationally-best selling form called mor lam sing.
It is still being investigated." According to Lerner- Lam, "The ground shaking that resulted from the collapse of the towers was extremely small
Jewish Congress (CJC) should be a matter of concern to everyone" and went on to condemn the CJC as "an ardent supporter of Israel, lam basts (sic) anyone who dares to criticize Israel and resorts to undermining human rights and
Laotian music is dominated by its national instrument, the khaen (a type of bamboo pipe).
Bands (mor lam) typically include a khaen player (mor khaen) alongside fiddlers and other musicians.
Lamsaravane is the most popular genre of Laotian music, but ethnic Laotians in Thailand have developed and internationally-best selling form called mor lam sing.
At half the length of its more-masculine predecessor, Lam Tang Way (Female Vocal) reprises the former with Amphayvahn Phongsavanh delivering solo voice over the same melody and rhythm.
Subtract a couple minutes and add a few traditional dub studio knockout techniques (and spliced-in bagpipes) and LamSaravane Dub revisits the first track, (as the similarly stripped-down, echoed-up Lam Tang Way Dub does with the second).
The short track is Lam Long (1:47), where a decidedly Asian songstress quavers over dancing khene chords without added beats or effects.
The khaen traditionally accompanied the singer in lam, the dominant style of folk music; there are several different styles of lam, some, such as lamsaravane, being more popular than others.
Music varies widely across Laos, with the lamsaravane style being most popular, while the city of Luang Prabang is known for a slow form called khaplam wai.
In the 1960s, Thai lam nu and lam ploen contributed to the development of lam luang, which is a form of loose song and dance, often with narrative lyrics.