The Knowledge of National Artist: Mr. Chiras Ardnarong

This research is about the knowledge of national artist, Mr. ChirasArdnarong. This knowledge isstored by the Office of National Culture. The knowledge and Thai classical music works of Mr.ChirasArdnarongare invaluable and are stored to contribute to and propeleducation about Thai culture inthe Thai classical music society and also to propagate Thai culture to the public and to disseminate itinternationally.The objectives of this research are as follows1. To study the history and works of classical Thai musician Mr. ChirasArdnarong.2. To synthesize the knowledge of classical Thai musician Mr. ChirasArdnarong.3. To disseminate the knowledge of classical Thai musician Mr. ChirasArdnarong.From the research it was found that Mr. ChirasArdnarongwas bornon 16thNovember 1931 at thehome of his father inBang ChangSub-district,Sam Phran, Nakhon Pathom Province, Thailand.Now,Mr.ChirasArdnaronglives at 1056/6 Soi Sut Sakhon, Phran Nok Road, Ban Chang Lo, BangkokNoi, Bangkok, Thailand.He was born into a Thai classical music family and spent time with theirband,which is a reason for his musical talent. Mr. ChirasArdnarong’sknowledge of music extends to theknowledge of songs, the knowledge of practice, the knowledge of adoption and the knowledge of integration(Theory of knowledge). The researchers have published research work as a book to send to theOffice of the National Cultural Commission that can be studied and used as a reference. Theyalso heldaseminar about the academic knowledge ofMr.ChirasArdnarongin December 2009, which is another wayto disseminate the knowledge ofMr.ChirasArdnarong.Mr. ChirasArdnarong is a knowledgeable personin Thai classical music and the manyinner workingsof Thai classical music such as in practice, in administration, and in composition (Music). He also transmitsand continues the knowledge of Thai classical music to young people and those who are interestedin Thailand. As well as this, he createsgreat works of Thai classical music

Pipat Traditions in Music Culture in the Mekong River Basin: Practice and Phenomena in the Early 21st Century

“Pipat”, or “Pinpeat” in Cambodian and “Pinpat” in Lao, is a specific word used to define a traditionalensemble from the musical culture of the three countries. The instruments in the ensemble mostlyconsist of melody making, punctuating instruments. Pipat music has long been used during theatricalperformances, royal ceremonies and ritual functions. The compositions played are highly regarded andconsidered sacred.There are many common elements between the Pipat Traditions in the three countries mentionedabove, for example, the instruments used in the ensemble are similar in name and physical appearance.The differences between repertoires from the different regions, while obviously recognizable by themusicians, have not been closely studied in terms of their interrelationships. Research needs to be undertakento find out and understand more about this shared tradition. The results would serve as the agentthat links their present interrelationship to their history and finally their individual origins. The purposesof this research were:1. To clarify and explain the phenomena of the contemporary Pipat traditions in the three countries.2. To interpret the role and status of the contemporary Pipat traditions in the society in the threecountries.3. To find out the interrelationships between the Pipat traditions in the region from the point of viewof instruments, repertoires, theories, and performance practices.Results found that the present phenomena and situation of the Pipat tradition in the three countriesappears to be different. The Pipat tradition in Thailand seems to be more active than in Cambodia andLaos. From an insider’s point of view, the concerned authorities do not give adequate support or raisecultural issues to the national agenda in a practical way. Research and academic work is mostly conductedby scholars in educational institutions. The sustainable policy in cultural affairs is not clearlyseen on a national level as the policies change with changes in personnel. The Pinpeat tradition in Cambodiahas support from organizations and NGOs. However, the Pinpeat tradition has lost the majority ofmusicians and so encouraging the younger generations into Pinpeat music must be pursued. The Pinpatin Laos needs urgent revival. A vast number of Pinpat music repertoires have been lost along withinstruments and musicians. Authorities need to monitor the transition from the old to the revolutionarytradition and help preserve the old tuning system

Pipat Traditions in Music Culture in the Mekong River Basin: Practice and Phenomena in the Early 21st Century

“Pipat”, or “Pinpeat” in Cambodian and “Pinpat” in Lao, is a specific word used to define a traditionalensemble from the musical culture of the three countries. The instruments in the ensemble mostlyconsist of melody making, punctuating instruments. Pipat music has long been used during theatricalperformances, royal ceremonies and ritual functions. The compositions played are highly regarded andconsidered sacred.There are many common elements between the Pipat Traditions in the three countries mentionedabove, for example, the instruments used in the ensemble are similar in name and physical appearance.The differences between repertoires from the different regions, while obviously recognizable by themusicians, have not been closely studied in terms of their interrelationships. Research needs to be undertakento find out and understand more about this shared tradition. The results would serve as the agentthat links their present interrelationship to their history and finally their individual origins. The purposesof this research were:1. To clarify and explain the phenomena of the contemporary Pipat traditions in the three countries.2. To interpret the role and status of the contemporary Pipat traditions in the society in the threecountries.3. To find out the interrelationships between the Pipat traditions in the region from the point of viewof instruments, repertoires, theories, and performance practices.Results found that the present phenomena and situation of the Pipat tradition in the three countriesappears to be different. The Pipat tradition in Thailand seems to be more active than in Cambodia andLaos. From an insider’s point of view, the concerned authorities do not give adequate support or raisecultural issues to the national agenda in a practical way. Research and academic work is mostly conductedby scholars in educational institutions. The sustainable policy in cultural affairs is not clearlyseen on a national level as the policies change with changes in personnel. The Pinpeat tradition in Cambodiahas support from organizations and NGOs. However, the Pinpeat tradition has lost the majority ofmusicians and so encouraging the younger generations into Pinpeat music must be pursued. The Pinpatin Laos needs urgent revival. A vast number of Pinpat music repertoires have been lost along withinstruments and musicians. Authorities need to monitor the transition from the old to the revolutionarytradition and help preserve the old tuning system

A Study of Rumsuad : Yadmit Sit Kru Klaew,Tambon Bangpid Amphur Lamngob Trat Province

The proposes of this research were to1. Study the history and culture of “Yadmit Sit Kru Klaew Rumsuad” folk play.2. Study the style of “Yadmit Sit Kru Klaew Rumsuad” folk play.The results were founded that1. “Rumsuad” folk play of Trat province was started in Ayutthaya period. It was developed fromSuad Phra Malai in the funeral. After that it was developed as Suad Kareuhat and became to “Rumsuad”folk play in the last night of the feneral. The objectives of “Rumsuad” folk play were to stay with thedeceased and reduce the sadness. “Yadmit Sit Kru Klaew Rumsuad” folk play is the old workgroup thatalso show the original style by use of a folk music. It differences from present time of Rumsuad thatchange the display to modern .2. The proponents’ clothing of çYadmit Sit Kru Klaew Rumsuadé folk play is black. The womanhave a colorful scarf on their neck. The instruments of “Rumsuad” folk play are Thon (drum) , Ching andGrap. They start with “WaiKhru” chapter, “Bok Ban” chapter, “Lamroung or Lamnok” chapter, themost popular chapter by using the Thai music rhythm and dance follow the songs from literature such asLaksanawong, SungThong, Phra Apaimanee etc. And before the dayspring, they will bring the case ofPhra Abhidhamma to “Suad Phra Malai” chapter and “Sung Ptet” chapter to send the deceased to theheaven at the last part.Key words: Rumsuad, Yadmit Sit Kru Klaew, history and culure, folk pla

The Study of Hom-rong Ta-yoi Diaw Song

This research presents the study of Hom-rong Ta-yoi diaw song, which had objectives 1) to study thehistory of Hom-rong Ta-yoi diaw song and 2) to analyze the components of Hom-rong Ta-yoi diaw song.As a result, the findings can be summarized as followed;Part 1: The study of the history of Hom-rong Ta-yoi diaw songKru Samran Kerdphol was a resident of Ayutthaya province. He started study Thai music with KruJamrat Kerdphol and Kru Sangwian Kerdphol. Later, he studied with Kru Petch Jannad, Kru TiebKonglaithong, Kru Chad Sunthornwatin, Kru Chor Sunthornwatin, and Kru Ard Sunthorn. Kru SamranKerdphol had composed Hom-rong Ta-yoi diaw song on 1996. Since he discovered that Grao overturewas composed, he composed Hom-rong Ta-yoi diaw song to performed against Grao overture and passedon to his students in the Phatthayarat Piphat ensemble to perform for Her Royal Highness PrincessMahachakri Sirindhorn in 1999. After that, it was passed on to the students in College of Music, MahidolUniversity and performed in many important events.Part 2: The analysis of the components of Hom-rong Ta-yoi diaw songHom-rong Ta-yoi diaw song was a Thai verse overture, which had both slow and middle speed beatsand used Song Mai rhythm. It was suitable to be performed by double Piphat ensemble. In addition, therewere many performing techniques including whole band Thirty-second notes, Sixteen note melody, roundmelody, and solo. This song had a complete and thorough performance pattern. Therefore, the potentialof the performer could be fully exposed.Kru Samran Kerdphol used the structure of Ta-yoi diaw song to compose Hom-rong Ta-yoi diawsong with 4 scales, which were C scale, D scale, F scale, and G scale. The scale that occurred the mostwas G scale with 164 paragraphs. The followings were C scale and F scale with 52 and 15 paragraphs,respectively. In addition, the least was D scale with 6 paragraphs. Moreover, improvising the melody ofRanad ek using the significant notes of main melody and constantly using passing notes created harmonymelody. Although the solo of each instrument was performed in a short duration only once, theuniqueness of each instrument was still presented completely.Key words: Hom-rong, Ta-yoi diaw song, history, component

A Study of Benjarong Dhanakosate's Solo Sawdung on Sarathee Sam Chan

The objectives of this research are to (1) to study the history, creation and teaching of BenjarongDhanakosate. (2) to study Benjarong Dhanakosate’solo Sawdung on Sarathee Sam Chan.The results are founded that1. Kru Benjarong Dhanakosate is a Thai music teacher who has ability to play both Sawdung andSaw-U. Kru Benjarong could solo Sawdung proficiently by studying with Kru Blai Wannakhaejorn andKru Blang Wannakhaejorn. Besides these, Kru Benjarong is expert in playing and singing the song forpuppetry performance. Kru Benjarong has transferred the skills about how to play Sawdung and Saw-Uand taught the foundation for students in various educational institutions without hiding her knowledgeKru Benjarong is honored as a national artist at the field of performance arts (Thai music) in 1998.2. Sarathee Sam Chan is the kind of Prob kai song. Sarathee Sam Chan has three sections, section 1has 4 Na Tub rhythm, section 2 has 4 Na Tub rhythm and section 3 has 5 Na Tub rhythm. There is thesimilarity of melody in the end of section 2 and section 3. Sarathee Sam Chan has the various melodicforms and scales of the song consist of Fa scale, Do scale and Te scale. The relation of the ending tonein main melody and solo melody is mostly related to each other. Moreover, there are various solo technicsof Sawdung used in Sarathee Sam Chan.Key words: Benjarong Dhanakosate’s solo Sawdung, Savathee Sam Chan, history creation and teachin

A Study of Porn Pirom’s Compositions

    The purpose of this thesis is to study the biography of Porn Pirom and his songs. The study was conducted by analyzing 6 songs comprising 4 Lookthung songs which are 1) Bua Toom Bua Barn, 2) Narm Tar Lar Srai, 3) Kratom Thong Kwao, 4) Jum Jai Jark and 2 Lae songs which are 1) Dao Look Kai Part 1 and Part 2, 2) Wung Mae Look Aorn Part 1 and Part 2    The result of the study showed that the original name of Porn Pirom was Mr. Boonsom Meesomwong. He had 11 brothers and sisters and he was the eldest. He married Mrs. Rabiab Parknam and had a son named Mr. Rangsun Meesomwong. Mr. Porn Pirom’s great performance of many aspects of music included singing and composing which can be seen from his works. His songs, Bua Toom Bua Barn composed and sung by Porn Pirom himself and Dao Look Kai, were awarded The Gold Record Awards in 1966. He had been ordained in 1981 at Wat Rattanachai (Wat Jin), Ayutthaya province and passed away on 5th December 2010.    Before the ordination, he had composed many songs according to the styles following:    Lookthung Composition     1. The forms of Lookthung are sectional and binary    2. The composition of Lookthung is arranged in octameter    3. As for the rhythm, the song has major rhythm and is developed to new version.    Lae Composition    1. The lyrics are composed spontaneously and sung only one time The composition comprises elegant and beautiful words. For example, Dao Look Kai was arranged in Ratchniklueng genre, having rhyming words at the end of its stanzas (the fourth line of each stanza)    Music is one of inborn gifts accompany humans unawarely. It is both Science and Art which nourishes, pleases our lives, and relieves our tensions both directly and indirectly. It is also a tool for training and instructing our spirits to be happy, calm and relaxed. Music is unavoidably a part of our lives probably because it is also a part of entertainments in our customs, cultures and believes. It is in children lullabies, songs for working, songs for ceremony, songs for the memory of god, and more. Natural sounds like wind blowing, birds singing, water flowing and falling, are able to please us can be counted as a kind of songs as well. These sounds have also inspired humans in creating various types of music such as Jazz, Pop, Classic, Folk, and Country, by using techniques, creativity, principles, understanding, and elaboration.    Porn Pirom was multi-talented as he was a Likei leading actor, a movie narrator, a Chinese play actor, and a very distinguished composer since he composed more than 500 Lookthung and Lae songs, and he had been very famous in the period of 1957 to 1972. In his compositions, he used both very beautiful and elegant words, and external and internal rhymes. He was excellent at using words accurately in his compositions, and also, was praised for being a great singer. He had been awarded The Royal Gold Record Awards for 3 times for “Bua Toom Bua Barn” (1966), “Dao Look Kai” (1966), and “Klab Therd Look Thai” (1971) respectively. He had had a chance working with Kru Boonyang Ketkhong and Kru Jamnian Srithaiphan and attending a Music and Dance Contest of Radio Broadcast of Thailand as per the policy of Prime Minister of Field Marshal Por.Piboonsongkhlarm on behalf of Ketkongdamrongsil Group in the story of “ Golden Ax and Land” and finally he was given a winner award in B.E.2500 (1957).    Porn Pirom was famous and talented in various fields, and also his songs were very distinguished with beautiful lyrics consisted of moral lessons. Although, he was a successful singer and composer, no one has ever studied and collected data, information, and evidence regarding him before. Therefore, it is agreed to study and collect information concerning his personal life and careers with a purpose of being knowledge in the field of Singing Arts in the future

A Study of Suwit Bawonwattanaûs Solo Organ on Khaek-Mon Sam Chan

A study on solo organ Khaek-Mon Sam Chan by Master Suwit Bawonwattana has the objective ofstudying the background of string instrument concurrently with the organ mixed musical ensemble ofVacharabanleng Ensemble, as well as the biography of Master Suwit Bawonwattana and analysis of hissolo organ music along with string instrument ensemble called Vacharabanleng Ensemble (formerly“Techasenee Ensemble”). During the World War II, the string musical instrument synchronized withorgan ensemble called Techasenee was organized and run by Master Juar Seniwongse Na Ayudhaya,who is the first ensemble supporter during the time from A.D. 1954 - 1957, the following supporter isKhun Suwit Bawonwattana who managed the ensemble during the year of 1957- 1999, and the nextsuccessor is Khun Yubha Vacharanak, who subsequently changed the musical ensemble from Techasenito Vacharabanleng.The biography of Master Suwit Bawonwattana is that he was born from a family with the father whowas an ardent musician in string musical instrument, a well-trained in Saw-duang (treble fiddle) andviolin. Khun Suwit has inherited the musical talent from his father, he was interested in music since theage of 7, he was trained to play treble fiddle by Master Pew and at the age of 11, he was trained to playKhim (Chinese cembalo) by Master Prom and when at teenage he was trained by Master Phut Nanathapholto play Khim solo for the song of Lao Pan, Phya Soke, Nok Khamin, Saradhi and so on. Khun Suwit wasalso accepted by the great Thai musical master, Phya Prasan Duriyasap, the Chief of Musical Departmentunder the King Rama VI reign. He has also trained on Saw Ou (alto fiddle) by Master LuangPhailoa Siang Saw, trained on Saw Sam Sai (three-string fiddle) by Master Devaprasit Pathayakosol,trained on organ by Master Juar Seniwong Na Ayudhaya. Master Devaprasit was the successor chief ofthe Thai musical band Techaseni following Master Juar Senewong Na Ayudhaya.In regard of the solo organ for Khaek Mon song, it needs to play organ musical instrument by flickingand striking organ, there is also other technique that the player should practice to play with eight tonemovement in concurrent with using the feet to produce sound through the organ valve. Playing musicalorgan with the eight tone movement is one of the technique, there are other tactics such as flicking,striking for example, which is lesser used than the eight tone movement, particularly for those whowants to use these techniques must be good at music lingering, one of frequently used tactic of playingmusical organ.Key words: Suwit Bawonwattana’s solo organ, Khaek-Mon Sam Chan, biograph

PIPAT TRADITION IN MAINLAND SOUTHEAST ASIAN NATIONS: TRADITIONAL MUSIC IN THAILAND AND CAMBODIA

Pipat tradition would be referred to a type of traditional music which was once court music in Thailand.  At present, the tradition is abundantly in practice in central Thailand.  The details of Pipat tradition are discussed briefly in different perspectives in order to understand the whole panorama of the present Pipat tradition phenomena. In the post-genocidal war era, Pinpeat still prevails and retains its strength culturally.  It can be reflected from widespread, intensive practice of the tradition in ritual or ceremony, as part of Cambodian way of life. The emergence of Donti Puenmuang has a great effect to the court Pinpat tradition in many facets