MUSICAL IDENTITY OF SOI PLAENG LAM TAD FROM THE PHO WANG TAE-MAE SRINUAN GROUP
Article Sidebar
Main Article Content
Abstract
The objective of this article was to study the musical identity of Soi Plaeng Lam Tad from the Pho Wang Tae-Mae Srinuan group. The qualitative research methodology was used. Field data were collected from February to August 2022.
The results indicated that Soi Plaeng Lam Thad is the opening song by one person appearing in the first part of Pho Phlaeng and Mae Phlaeng before the poem. The opening song of Soi Plaeng Lamthad is important because it is the main melody at the beginning that controls the song and determines the singer's pitch. Soi Plaeng Lam Thad consists of 5 melodies: Thamnong Klang, Thamnong Kraphue, Thamnong Mon, Thamnong Lao, and Thamnong Phama. The musical style is monophony. The melodic direction moves in the conjunct motion, the disjunct motion, 3 major intervals, 4 perfect intervals, 5 perfect intervals, and a stable style. The sound system is a major scale, Dorian mode, and major pentatonic. Quarter notes, eight notes, and eight-note dotted are mainly used in rhythmic patterns. The text setting is the monosyllabic word and melismatic text.
Article Details
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Each publish articles were copyright by Phranakorn Rajabhat University
Any contents which appeared in each articles in the journal were authors personal opinion. It did not relate to Phranakorn Rajabhat University and other instructors in the university. Each authors would take responsibility on their articles. If there are any mistake, the authors will take responsibility themselves
References
Charoensuk, S. (1995). Music of the Siamese. Bangkok: Dr. Sax. (In Thai)
Chowsil, W. (1998). Lam Tad. Bangkok: Faculty of Humanities and Social Sciences, Chandrakasem Rajabhat Institute. (In Thai)
Dassenaike, N. R. (2012). Sinhala folk music: its vocal traditions and stylistic nuances. (Master’s Thesis). Australain National University, Canberra. https://doi.org/10.25911/5d7636bbe1ce2
Gummere, F. B. (1961). The ballad and communal poetry. Carbondale: Southern Illinois University Press.
Jungliak, N. & Phaosawat P. (2019). The singing of Lam Tad Pho Boon Phuek Sriracha. Fine Arts Journal Chulalongkorn University, 6(2), 52-57. (In Thai)
Klumcharoen, A. (2010). Folk Songs and Plays. Bangkok: O.S.Printing. House. (In Thai)
Nakkhab, S. (2014). Ethnographic Music. Bangkok: Kasetsart University. (In Thai)
Phancharoen, N. (2008a). Classical Music, including Written Text in Thai. Bangkok: Ketkarat. (In Thai)
Phancharoen, N. (2008b). Sangkhilak and Analysis. 4th edition. Bangkok: Ketkarat. (In Thai)
Phuthet, P. (2013). Analysis of the musical composition of folk songs in Nakhon Sawan province. Sak Thong Journal (Kamphaeng Phet Rajabhat University), 19(1), 15-30. (In Thai)
Thitathan Na Thalang, S. (1996). Local stories and games: Folklore studies in Thai social context. Bangkok: Pikanet Printing Center. (In Thai)