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THAILAND TRADITIONAL MUSICS

Thailand retains cultural connections with the two great centers of Asian civilizations, India and China. Though Thailand was never colonized by Western powers, pop music and other forms of European and American music have become extremely influential. The two most popular styles of traditional Thai music are luk thung and mor lam; the latter in particular has close affinities with the Music of Laos. Aside from the Thai, minorities of Laotians, Lawa, Hmong, Akha, Mien, Lisu, Karen and Lahu peoples have retained traditional musical forms. Thailand retains cultural connections with the two great centers of Asian civilizations, India and China. Though Thailand was never colonized by Western powers, pop music and other forms of European and American music have become extremely influential. The two most popular styles of traditional Thai music are luk thung and mor lam; the latter in particular has close affinities with the Music of Laos. Aside from the Thai, minorities of Laotians, Lawa, Hmong, Akha, Mien, Lisu, Karen and Lahu peoples have retained traditional musical forms. Since ancient times, the Thai people have known how to make musical instruments or to copy the patterns of others and adapt them to their own uses. In fact, there are several kinds of musical instruments which the Thais apparently devised before they came in contact with the culture of India, which was widespread in Southeast Asia before they migrated there. Later, when the Thai people were establishing their kingdoms and had come into contact with Indian culture, particularly with Indian instruments which the Mon and Khmer cultures had absorbed first, they assimilated this musical culture into their own. From this contact, the Thais created several new kinds of musical instruments such as the phin, sang, pi chanai, krachap pi, chakhe, and thon, which are mentioned in the Tribhumikatha, one of the first books written in Thai, and on a stone inscription from the time of King Ramkhamhaeng of the Sukhothai period. Some songs of the Sukhothai period are still sung at present, such as Phleng Thep Thong. During the Ayutthaya period the instrumental ensemble was composed of four to eight musicians. Songs became much longer and singing technique was improved. Many Ayutthaya songs were composed in a form of musical suite called Phleng Rua, which was a series of songs. Poets contributed lyrics in the form of short stories, mostly from the Ramakian. Many Ayutthaya songs are still employed in Thai plays today.

In the beginning of the Bangkok period, after a long period of war, there was a remarkable revival of Thai arts, especially music and drama. The size of the instrumental ensemble was enlarged to 12 musicians and several masterpieces of Thai literature were produced as theatrical performances accompanied by music. Beautiful lyrics written by contemporary poets were fitted into melodies of the Ayutthaya period. All Thai musicians in the past received their training from their teachers, through constant playing and singing in their presence. With nothing else to rely upon except their own memory, it was only through much hard work that they gained their technical experience and practical knowledge in playing and singing. Later when Thailand began to have contact with Western European nations and the United States, the Thais adopted such Western instruments as the bass drum, the violin, and the organ. To save the national music from extinction, modern Thai musicians are trying to devise a system in which this traditional music can be rendered into Western notation and later edited. According to a book written by Sir Hubert Perry, entitled "Evolution of the Art of Music": "The Thai scale system is...extraordinary. It is not now pentatonic, though supposed to be derived originally from the Javanese system. The scale consists of seven notes which should by right be exactly equidistant from one another; that is, each step is a little less than a semitone and threequarters. So that they have neither a perfect fourth nor a true fifth in their system, and both their thirds and sixths are between major and minor; and not a single note between a starting note and its octave agrees with any of the notes of the European scale...Their sense of the right relations of the notes of the scale are so highly developed that their musicians can tell by ear directly a note which is not true to their singular theory. Moreover, with this scale, they have developed a kind of musical art in the highest degree complicated and extensive". In all, there are about 50 types of Thai musical instruments, including many local versions of flutes, stringed instruments, and gongs used for all kinds of occasions: festivals, folk theater, marriages, funerals, and social evenings after harvesting. The best known Thai musician for both the revival and conservation of the Thai music are Montree Tramote and Khunying Phaitoon Kittivan. Both of them were also awarded the status of "National Artists" in Thai music. Her Royal Highness Princess Maha Chakri Sirindhorn is an accomplished performer of several Thai classical musical instruments. She has become an active leader for the movement to revive interest in the rich cultural

value of Thai music among the younger generations. The Western classical music tradition was introduced to Thailand before the turn of the century. Its development was nurtured by Phra Chen Duriyang, who had studied the stringed instruments and piano with his German father. Phra Chen established Thailand's first orchestra in the Royal Entertainment Department and taught many young Thai musicians. By the late 1920's, other small orchestras had been established as part of the branches of the Thai armed services, and in 1934 Phra Chen's orchestra was transferred to and became the nucleus of the Fine Arts Department. Thai musicians have shown marked improvement in style and technique over the years and they have taught a new generation of musicians. Following a drive spearheaded by the musicians, the Bangkok Symphony Orchestra was established in July 1982 and gave its first public concert in November of that year. Popular Western music, introduced in the 1950's, was also widely accepted by the Thai people and today there are a large number of modern groups, some producing music that combines elements of both pop and traditional Thai. Music plays an important part in the life of the Thai royal family. His Majesty King Bhumibol Adulyadej is an internationally-recognized jazz musician with numerous original compositions to his credit, one of which was featured in a Broadway show in the 1950's. The crowning success for His Majesty's music came in 1964 when NQ Tonkunstler Orchestra played a selection of his composition at the Vienna Concert Hall. There were also broadcast throughout Austria where they enjoyed resounding success. Two days later, the world's renowned Institute of Music and Arts of the City of Vienna conferred its Honorary Membership upon His Majesty the King in recognition of his outstanding musical achievements. He became the 23rd Honorary Member of the Institute since its establishment in 1817, and the first Asian composer to receive this honour. Up to now, the music world has recognized His Majesty the King as one of the great living composers. His works will surely keep his place among those of the great masters of music and will not only delight the present day audience but it will also do so for generations to come. The Music Association of Thailand, whose objectives are to promote Thai music and safeguard the welfare of musicians, is under the royal patronage.

Classical music Thai classical music is synonymous with those stylized court ensembles and repertoires that emerged in its present form within the royal centers of Central Thailand some 800 years ago. These ensembles, while being deeply influenced by Khmer and even older practices and repertoires from India, are today uniquely Thai expressions. While the three primary classical ensembles, the Piphat, Khrueang sai and Mahori differ in significant ways, they all share a basic instrumentation and theoretical approach. Each employ the small ching hand cymbals and the krap wooden sticks to mark the primary beat reference. Several kinds of small drums (klong) are employed in these ensembles to outline the basic rhythmic structure (natab) that is punctuated at the end by the striking of a suspended gong (mong). Seen in its most basic formulation, the classical Thai orchestras are very similar to the Cambodian (Khmer) pinpeat and mahori ensembles, and structurally similar to other orchestras found within the widespread Southeast Asian gong-chime musical culture, such as the large gamelan of Bali and Java, which most likely have their common roots in the diffusion of Vietnamese Dong-Son bronze drums beginning in the first century FACE. Traditional Thai classical repertoire is anonymous, handed down through an oral tradition of performance in which the names of composers (if, indeed, pieces were historically created by single authors) are not known. However, since the beginning of the modern Bangkok period, composers' names have been known and, since around the turn of the century, many major composers have recorded their works in notation. Musicians, however, imagine these compositions and notations as generic forms which are realized in full in idiosyncratic variations and improvisations in the context of performance. While the composer Luang Pradit Phairau (1881 1954) used localized forms of cipher (number) notation, other composers such as Montri Tramote (19081995) used standard western staff notation. Several members of the Thai royal family have been deeply involved in composition, including King Prajatipok (Rama VII, 18831941) and King Bhumibol Adulyadej (1927), whose compositions have been more often for jazz bands than classical Thai ensembles. Classical Thai music is polyphonic and follows similar conventions to American Folk and Dixieland Music. Each instrument improvises within

accepted idioms around basic lines of harmony or melody called paths. Rhythmically and metrically Thai music is steady in tempo, regular in pulse, divisive, in simple duple meter, without swing, with little syncopation(p. 3, 39), and with the emphasis on the final beat of a measure or group of pulses and phrase (p. 41), as opposed to the first as in European-influenced music. The Thai scale includes seven tempered notes, instead of a mixture of tones and semitones. Five of seven pitches are used as the principal pitches in any mode, introducing nonequidistant intervals

Musical Ensembles Traditional Thai musical ensembles can be performed at the Palace or at the houses of wealthy band owners, or to accompany some sacred rites and performances. There are several classes of traditional Thai musical ensembles such as: the Khrueang Sai Ensemble (string ensemble), the Pi Phat Ensemble and the Mahori Ensemble. During the reigns of King Rama V and King Rama VI of the Rattanakosin Period, musical ensembles were developed by adopting some elements of Western standard size such as the Phin (lute) of the Northeast and Salo of the North. Another important group of Thai musical instruments are the chrodophone or wind instruments which are commonly used in folk and standard music. Most of these instruments are made of wood, such as the different classes of Pi (oboe), which give varieties of sounds. Some have been developed from the neighbouring countries, like the Pi Chava (Javanese oboe), Pi Mon (Mon oboe) and Pi Nae (Burmese oboe). Some are used in the performance of folk music; for example, Pi Kalo of the South, Pi Chum of musical instruments to become the novel string-musical ensemble. At present, Maha Duriyang, a musical ensemble, for instance, consists of hundreds of musical instruments played by musicians from various educational institutions, all over the country. It annually presents a special performance before the royal seat of H.R.H. Princess Maha Chakri Sirindhorn.

Three Musical Essemble of Thailand Piphat The most common and iconic Thai classical music that symbolizes the dancing of the Thailand's legendary dragons, a midsized orchestra including two xylophones (ranat), an oboe (pi), barrel drums (klong) and two circular sets of tuned horizontal gong-chimes (khong wong lek and khong wong yai). Piphat can be performed in either a loud outdoor style using hard mallets(Piphat mai khaeng; ) or in an indoor style using padded hammers(Piphat mai nuam; ). There are several types of piphat ensembles ranging in size and orchestration, each kind typically being associated with specific ceremonial purposes. The

highly decorated piphat ensemble that features the ornately carved and painted semicircular vertical gong-chime is traditionally associated with the funeral and cremation ceremonies of the Mon ethnic group. Different versions of the piphat ensemble are employed to accompany specific forms of traditional Thai drama such as the large shadow puppet theater (nang yai) and the khon dance drama.

Khrunang sai The Khruang Sai orchestra combines some of the percussion of wind instruments of the piphat with an expanded string section including the saw duang (a high-pitched two-string bowed lute), the lower pitched saw u (bowed lute) and the three-string jakhe (a plucked zither). In addition to these instruments are the khlui (vertical fipple flute) in several sizes and ranges, a goblet drum (thon-rammana) and, occasionally, a small hammered Chinese dulcimer (khim). The khrueang sai ensemble is primarily used for instrumental indoor performances and for accompanying the Thai hoon grabok (stick-puppet theater), a genre deeply influenced by Chinese puppetry styles. Accordingly, the addition of Chinese-sounding string instruments in the khruang sai ensemble is imagined, by the Thai, to be a reference to the probable Chinese origins of this theater form.

MAHORI The third major Thai classical ensemble is the Mahori, traditionally played by women in the courts of both Central Thailand and Cambodia. Historically the ensemble included smaller instruments more appropriate, it was thought, to the build of female performers. Today the ensemble employs regular sized instrumentsa combination of instruments from both the Khruang Sai and Piphat ensembles but excluding the loud and rather shrill oboe pi. The ensemble, which is performed in three sizessmall, medium and largeincludes the three-string saw sam sai fiddle, a delicatesounding, middle-range bowed lute with silk strings. Within the context of the Mahori ensemble, the so sam sai accompanies the vocalist, which

plays a more prominent role in this ensemble than in any other classical Thai orchestra. While Thai classical music was somewhat discouraged as being unmodern and backward looking during Thailand's aggressively nationalistic modernization policies of mid-20th century, the classical arts have benefited recently from increased governmental sponsorship and funding as well as popular interest as expressed in such films as Homrong: The Overture (2003), a popular fictionalized biography of a famous traditional xylophone (ranat ek) performer. TRADITIONAL O FOLK MUSIC OF THAILANAD
Luk thung[

Luk thung, or Thai country music, developed in the mid-20th century to reflect daily trials and tribulations of rural Thais. Pongsri Woranut and Suraphol Sombatcharoen were the genre's first big stars, incorporating influences from, Asia. Many of the most popular artists have come from the central city of Suphanburi, including megastar Pumpuang Duangjan, who pioneered electronic luk thung. The late 90's saw a commercial resurgence of Luk Thung, and the modern electrified, popinfluenced version of the genre remains the country's most popular music form.
Mor Lam

Mor lam is the dominant folk music of Thailand's north-eastern Isan region, which has a mainly Lao population. It has much in common with luk thung, such as its focus on the life of the rural poor. It is characterized by rapidfire, rhythmic vocals and a funk feel to the percussion. The lead singer, also called a mor lam, is most often accompanied by the khaen, also known as khene. There are about fifteen regional variations of mor lam, plus modern versions such as mor lam sing. Some conservatives have criticized these as the commercialization of traditional cultures.
Kantrum[

The people of Isan are also known for kantrum, which is much less famous than mor lam. Kantrum is played by Khmer living near the border with Cambodia. It is a swift and very traditional dance music. In its purest form, cho-kantrum, singers, percussion and tro (a type of fiddle) dominate

the sound. A more modern form using electric instrumentation arose in the mid-1980s. Later in the decade, Darkie became the genre's biggest star, and he crossed into mainstream markets in the later 1990s. POP AND ROCK MUSIC OF THAILAND By the 1930s, however, Western classical music, showtunes, jazz and tango were popular. Soon, jazz grew to dominate Thai popular music, and Khru Eua Sunthornsanan soon set up the first Thai jazz band. The music he soon helped to invent along with influential band Suntharaporn was called pleng Thai sakorn, which incorporated Thai melodies with Western classical music. This music continued to evolve into luk grung, a romantic music that was popular with the upper-class. King Bhumibol is an accomplished jazz musician and composer.
Phleng pheua chiwit

By the 1960s, Western rock was popular and Thai artists began imitating bands like Cliff Richard & the Shadows; this music was called wong shadow, and it soon evolved into a form of Thai pop called string. Among the groups that emerged from this period was The Impossibles. The '70s also saw Rewat Buddhinan beginning to use the Thai language in rock music as well as the rise of protest songs called phleng pheua chiwit (songs for life). The earliest phleng pheua chiwit band was called Caravan, and they were at the forefront of a movement for democracy. In 1976, police and right wing activists attacked students at Thammasat University; Caravan, along with other bands and activists, fled for the rural hills. There, Caravan continued playing music for local farmers, and wrote songs that would appear on their later albums. In the 1980s, phleng pheua chiwit re-entered the mainstream with a grant of amnesty to dissidents. Bands like Carabao became best-sellers and incorporated sternly nationalistic elements in their lyrics. By the 1990s, phleng pheua chiwit had largely fallen from the top of the Thai charts, though artists like Pongsit Kamphee continued to command a large audience.
String

String pop took over mainstream listeners in Thailand in the 90s, and bubblegum pop stars like Christina Aguilar, Bird Thongchai

McIntyre and Asanee-Wasan became best-sellers. Simultaneously, Britpop influenced alternative rockartists like Modern Dog, Loso, Crub and Proud became popular in late 1990s. In 2006, famous Thai rock bands include Clash, Big Ass, Bodyslam and Silly Fools. The late 90's saw pop overshadowed by the remarkable commercial resurgence of Luk Thung, but modern Luk Thung has also adopted some elements from the pop acts. Heavy Metal Heavy Metal music in Thailand was very popular in early 90s'.many band in this era play Heavy Metal such like H-Rock, Stone Metal Fire, I-Scream, Uranium, Big Gun Indie A group of independent artists and records which produces music for noncommercial purpose also found in Thailand

HISTORY OF THE ROYAL ANTHEM OF THAILAND


The Royal Anthem was created to honour His Majesty the King of Thailand. The origin of this musical piece could be dated back to 1871 when His Majesty King Chulalongkorn (RAMA V) visited Singapore and the British Military band played "God Save the Queen" to welcome His Majesty. On the same trip, His Majesty traveled further to Battavia (Java in Indonesia) where the Dutch inquired what music should be played to welcome hime. Thus, on his return to Siam, His Majesty instructed his classical Thai song masters to create the music to be used in royal welcoming ceremonies. The musicians chose the Sarasern Phabarami which was written in the reign of King Rama I. However, realizing that Thai traditional music could not be easily arranged to be played by the western marching band and having been impressed with the God Save the Queen, His Majesty asked Mr. Hevutzen, a band instructor at the Royal Thai Calvary, to compose a musical piece of similar style. Keeping in mind both the English work and the Sarasern Phabarami, Mr Hevutzen blended the styles and themes of the two pieces together and the result was the song which had been used ever since as the Royal Anthem. The lyrics were written by His Royal Highness Prince Narisaranuwadtiwong. And the music was later arranged for four voices. The words of the Royal Anthem were later modified upon the command of King Vajiravudh (King Rama VI) and have since remained unchanged.

THE ROYAL ANTHEM OF THAILAND We, subjects of Our Excellent Lord, bend our heads and minds in deepest homage to Your Majesty whose merits are boundless Great Descendent of the Celestial Line, Sovereign Monarch of Siam, may your greatness extend in time. Your bounteous care shelters our heads. Your merits harbour us in happiness. May every hope in Your Majesty's heart be realized in every way as in this loyal wish to our Sovereign King. Chaiyo (Bravo) Unofficial translation by Khungying (Dama) Chamnongsi Rutnin

Traditional Thai music has characteristics of both art and science. It has unceasingly been developed and finally become a vital element of the Thai way of life. According to archaeological evidence, several instruments such as the bronze Mahorathuek (ceremonial kettle drum), stone bell, and metal windbell that produced sounds had been used in every region of the country. These instruments were not originally created to entertain but rather to produce signals for communication and some were employed in performing important sacred rites. It has been claimed that these are musical instruments which have been passed down to the present generation since prehistoric times. The development of Thai music resulted in two genres: - Folk music is performed in diverse unique styles in various regions of the country; and - Traditional music, which has a style that closely resembles the style from the earlier generation, continues to enjoy popularity until today. This has been formally endorsed as a branch of National Arts. There are several categories of traditional Thai music which have been handed down from generation to generation. Traditional Thai music is known for its many rules and it has several styles in the performance of musical ensembles which have been much improved during the Rattanakosin Period. Musical performance varies depending on the occasions, for example, the accompaniment of rites, entertainment, performances, and competitions. Because of its rules, Thai music has a strong foundation and continues to flourish. In this globalizing world, Western music has been popular and predominant in Thai society, however, attempts have been made to preserve traditional Thai music as a National Art. Although international music is popular among the young generation, the pride of traditional Thai music in it several aspects is upheld. It has been taught and regularly performed in many famous institutions of higher education. It has been included and studied in other branches of knowledge such as anthropology and history. Besides this, high technology has been adopted to preserve and disseminate traditional Thai music like the physical science to measure and compare the musical scales and the computer to arrange teaching programs. Traditional Thai music has already been taught in some educational

institutions in several countries such as Kent University, Ohio, U.S.A. It is clearly enjoying popularity and stimulating interest among international communities.

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