The Research Revealed of The Role for Thai Cultural Music Society, “ Ratanakosin Overture”

Authors

  • ฐิระพล น้อยนิตย์

Keywords:

Homrong, relation, song, Ratanakosin

Abstract

The purposes of this research were to study 1) the role for the culture of ThaiClassical Culture in society 2) the background and the structure 3) the rhymingcomparison between the melody and the poem’s pattern 4) the relation in the couple rhyming 5) the belief in number 9 and number 8 6) the melody’s rhythmic-pattern.The results of the research revealed that Homrong Ratanakosin Samchan Song was a memorial song to celebrate 200 years of Rattanakosin that was composed by Mr.
Montri Tramot who was a representative from Find Art Department to cooperate with Bangkok Bank. Moreover, it was played to celebrate the capital in the cross concert band at Sanam Luang. The background and the structure of this song was assumption that the first bit of song was from Saburong Song with two-level-rate which was used Natub Probkai with nine rhythms. In the second bit was from a garland-song called
Tranimit which had eight rhythms, then to be multiplied to three-level-rate. It brought on the rhyme among the rhythms, the sentences, the bit of lines and the phrases: like the poem’s pattern. The relation in the couple rhyming was found that the melody of each rhythm, sentence and a bit of line was joined to another beautifully that called Khusanit (Tight-Pair), Khusanor (Melodious-Pair), Khusahne (Attractive-Pair), Khusanan (Joyfully-Pair) and Khusanom (Intimate-Pair). Besides, each rhythm was mainly used Sol (G) Scale and implied to the sound-stage of the last sound (Luktok) It was believed that number 9 and number 8 were auspicious. In the first piece of this song had 9 rhythms which referred to those nine kings in Chakri Royal Dynasty reigned
Rattanakosin. The ninth king was His Majesty King Bhumibol Adulyadej.In the second piece had 8 rhythms which referred to the gods in eight directions that called “Ausadatis” Sentence – a bit of line – phrase was the melody’s rhythmic-pattern of the first piece and the second piece which were the same and the difference. The
researcher also found that the composer could join the melody by using musicalewords as Sabad, Sado, Gward, Luk Lo, Luk Khud and Luk Luam in various patterns beautifully.

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References

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Published

2019-09-04

How to Cite

น้อยนิตย์ ฐ. (2019). The Research Revealed of The Role for Thai Cultural Music Society, “ Ratanakosin Overture”. Research and Development Journal Suan Sunandha Rajabhat University, 8(3), 24. Retrieved from https://so05.tci-thaijo.org/index.php/irdssru/article/view/214550