The music of Burma (or Myanmar) has similarities with and is related to many other musical traditions in the region, including Chinese music and Thai music.

Traditional music from Burma is melodious, generally without harmony, and usually in 4/4 time (na-yi-se) or 2/4 (wa-let-se) or 8/16 (wa-let-a-myan). There are "the segments combined into patterns, combined into verses, combined into songs [that] make Burmese music a multileveled hierarchical system...The Burmese musician manipulates the various levels of the hierarchy to create the song..." (Becker 1969, p. 272)

Orthodox Theravada Buddhism frowns upon music as being decadent, but the Burmese monarchy as well as infusion of different regional music styles, created several classical traditions of Burmese music. The oldest influences may perhaps come from China, which shares a similar pentatonic musical scale as classical Burmese music. Other influences include Mon music (called Talaing than or "sounds of the Talaing [Mon]"), particularly in the Mahagita (မဟာဂိတ), the complete body of classical Burmese music. A prevailing one is called yodaya (ယိုးဒယား), which is essentially a class of Burmese adaptations to songs accompanied with the saung gauk and come from the Ayutthaya kingdom (modern-day Thailand) during the reigns of Bayinnaung (1551–1581) and Hsinbyushin (1753–1776), which brought back a variety of cultural traditions including the Ramayana. The primary indigenous form is called thachin (သချင်း).

Burma ⁱ/ˈbɜrmə/ BUR-mə, also known as Myanmar ⁱ/ˌmjɑːnˈmɑr/ MYAHN--MAR, is a country in South Asia and Southeast Asia. It is bordered by India, Bangladesh, China, Laos and Thailand. One-third of Burma's total perimeter of 1,930 kilometres (1,200 mi) forms an uninterrupted coastline along the Bay of Bengal and the Andaman Sea. At 676,578 km² (261,227 sq mi), it is the 40th largest country in the world and the second largest country in Southeast Asia. Burma is also the 24th most populous country in the world with over 60.28 million people.

Burma is home to some of the early civilizations of Southeast Asia including the Pyu and the Mon. In the 9th century, the Burmans of the Kingdom of Nanzhao, entered the upper Irrawaddy valley and, following the establishment of the Pagan Empire in the 1050s, the Burmese language and culture slowly became dominant in the country. During this period, Theravada Buddhism gradually became the predominant religion of the country. The Pagan Empire fell due to the Mongol invasions (1277–1301), and several warring states emerged. In the second half of the 16th century, the country was reunified by the Taungoo Dynasty which for a brief period was the largest empire in the history of Southeast Asia. The early 19th century Konbaung Dynasty ruled over an area that included modern Burma as well as Manipur and Assam. The country was colonized by Britain following three Anglo-Burmese Wars (1824–1885).

Franz Waxman (24 December 1906 – 24 February 1967) was a German-American composer, known for his bravura Carmen Fantasie for violin and orchestra, based on musical themes from the Bizet opera Carmen, and for his musical scores for films.

Waxman was born Franz Wachsmann in Königshütte (Chorzów) in the German Empire's Prussian Province of Silesia (now in Poland). At the age of three Waxman suffered a serious eye injury involving boiling water tipped from a stove, which permanently impaired his vision.

Waxman orchestrated Friedrich Hollaender's score for the 1930 film The Blue Angel and then wrote original scores for several German films. With the Nazis in power from 1933, he worked briefly in France, composing the music for Fritz Lang's French version of Liliom, but arrived in the United States by 1935. He was commissioned to write the score for Bride of Frankenstein, his first American film, by director James Whale, who had admired his score for Liliom.

Franz Waxman worked with the director Alfred Hitchcock in four films, including Rebecca (1940), Suspicion (1941), The Paradine Case (1947), and Rear Window (1954). Bernard Herrmann, Franz Waxman, Louis Levy, and Dimitri Tiomkin are the only composers who often worked with Alfred Hitchcock. Although Miklós Rózsa wrote most of the music for Spellbound (1945), some of Franz Waxman's music was also used, especially the scene where Gregory Peck and Ingrid Bergman are skiing. Franz Waxman had two Academy Award nominations for his scores with Alfred Hitchcock: Rebecca and Suspicion.