ABSTRACT
This study aims to explore the size and scope of a eld that, if examined more closely by specialists, could throw greater light on a neglected aspect of modern Burma studies. It does not claim to be an analytical study in itself, or to propose any new musicological theories. However, to appreciate better the Western music produced between 1824 and 1948 that relates in some way to Burma, it is worth looking at it a little more closely, to see if any patterns can be identied in the 180 or so compositions surveyed. By drawing where possible on the original sheet music, and noting the specic features that have been emphasised in the cover artwork and lyrics, it is possible to devise a number of categories into which this music can be divided, and briey discussed. The methodology is still imperfect, in that it omits any analysis of the sound of the music, its compositional style, orchestration and aesthetic characteristics. However, this approach at least permits generalisations that are somewhat less impressionistic than might otherwise be the case.
