Characteristics of performing Thai melodies related to the nature of water

Abstract

This article is part of a thesis based on the Doctor of Fine and Applied Arts at Chulalongkorn University with the subject of “DOCTORAL MUSIC COMPOSITION: PHLENG TUB RAUNG WITHEE CHEEWEE NATHEE SIAM”. It presents the characteristics of performing Thai melodies related to the nature of water. By using a qualitative research method, we analyzed and synthesized data from 5 books. Interviews were conducted with 4 experts in the field of Thai music and presents the research findings using the Selective Approach. Using the guidelines of Associate Professor Pichit Chaisaree to analyze the result, we found four types of music related to water which consists of 1 song in Pleng Homrong, 2 songs in Pleng Na Phad, 3 songs in Pleng Sam Chan and 18 songs in Pleng Kret. Of the 7 scales used in the Na Phad songs, the Thang Nai scale is usually used as the main scale. As for Pleng Homrong, Pleng Sam Chan, and Pleng Kret songs, the Thang Peang Aw Bon scale is the most commonly used scale. There are also some other keys which include: Thang Peang Aw Lang, Thang Chawa and Thang Nok. The second thing we found is that the melodic contour of water songs most often incorporate a melody alternating from up to down and vice versa. Most commonly, the phrase ends with a downward trajectory. Thirdly, we found that the nature of the melody that depicts calm waters often ends in the tonic. However, if the music is depicting turbulent waters or the water that is not smooth, the ending is usually left in something that resembles an imperfect cadence or an ambiguous ending. It also appears in the form of question and answer and interpose a new composition called the “Look Lor Look Khut” melody and overlaps a characteristic melody that shows the nature of the wind that influences the water to make waves and the sound of waves by hitting the rock. This is reflected in the Thai traditional masterpiece called “Homrong Kluen Kra Tob Fung”.