The International Symposium on Creative Fine
Art
Wednesday December 16,
2020 at Phranakhon Si Ayutthaya Rajabhat University, THAILAND
Composition of Lao
Classical Music, Pla Thong, Through The Play of String Orchestra
บทประพันธ์ทำนองเพลงลาวเดิม บทเพลงปลาทอง โดยการบรรเลงของวงเครื่องสายสากล(String Orchestra)
Mr.Yongyuth Eiamsa-ard First author1,
Liberal Arts Students Department of Anthropology Faculty of Fine Arts Srinakharinwirot
Corresponding author: E-mail: yongyuta@g.swu.ac.th
Introduction
Classical music of Laos was originally a musical in the
former Lao royal court. Currently, there is a change in the
framework of the Democratic Republic. The original Lao band is consisted of two
types of bands: Pi-Phat Band and Mahori
Band.
I
have restored the original Lao song,
Pla Thong, which nowadays is no longer played. By taking the field survey of
anthology which can be transformed into a song in a major xylophone instrument.
Kru Boonthiang Srisakda and I developed a fine melody by composing the
harmonies by the String Orchestra, based
on international music theory, choir singing, and the orthodox theory.
Objectives
1. to restore the
melodies and songs of Lao classical music
2. to develop and create the Lao classical music through the play of string orchestra.
Clarifying Creative
Cognition
The Pla Thong song is a type
of traditional Thai songs, with the 3 different speeds of rhythm. The nature of
the melody is a musical show. The method of composing the chorus using
counterpoint technique (Counterpoint), which is to direct two or more lines to
chase each other, each of which is horizontally independent(Melody). But at the
same time, there is a proper vertical harmonic sound. Harmony is one of the
most flourishing songwriting techniques of the Baroque era, writing melody that
coordinates the relationship properly in terms of melody rhythm and chorus. The
highlight of the composition is the composition of the main melody and pairing
the music genre to harmonize between the main music genres. The instruments
alternate lyrics for the melody.
Result
The feedback of the creative
production can possibly be enhancing and moving forward to the future success
or being the guideline of the integrating project.
1. The researcher has restored and
developed the original Lao melodies.
2. The researcher has recorded the melody that has restored and developed the original Lao melody as a standard by recording it as a universal note
3. The researcher has also performed to distribute the original Lao melody
String Orchestra
Discussions and Suggestion
The Development and Creation of Original Lao
Melodies, Pla Thong
In order to arrange and
develop the original Lao music by performing with an international string orchestra, the researcher has chosen to develop the
original Lao melodies from the
original handbook of Lao songs and the original Laotian Song of Rangsri Sutthamma 1974. Pla Thong song is the Playng
Thao (the traditional Thai song with the 3 different
speeds of rhythm: Chan Dio (deminution melody), Song Chan
(medium melody) and Sam Chan (augmented melody) as shown in Table 1. Therefore,
the researcher had an idea to use a harmonic arrangement using counterpoint
writing techniques. (Counterpoint) by dividing the main play piece and matching
the music lines to harmonize between the main melodies, alternating instruments
played for the melody as shown in Figure 1 to Figure 32.
Table 1 From, Musical
|
A |
B |
C |
D |
|
Sam Chan (augmented melody) |
Song Chan (medium melody) |
Chan Dio (diminution melody) |
Conclusion |
The measures 1-9 of Pla Thong song; start to perform the main melody by viola among the measures1 - 5, then violin line 1 between the measures 6-7, turn to perform the main melody. And among the measures 8-10, switch to violin line 2 as the main melody after violin 1.
The measures 9 - 12; violin line 2, viola line and violin line, alternately perform the main melody as cello line and double bass performs the melody in a rhythmic scheme.
Figure 2 Notes
of Pla Thong song, measures 13-16 by Yongyuth Eiamsa-ard
The measures 13 – 16; violin line 2 and cello line get paired to perform the main melody. Violin and viola lines get paired together to perform the tune with the previous main melodies, and double bass line performs the melody in a rhythmic scheme.
Figure 3 Notes
of Pla Thong song, measures 25-28 by Yongyuth Eiamsa-ard
The measures 17 – 28; with
violin line 1 and violin line 2 , perform the main melody by connecting the
song sentences until arriving at the measure 27, viola is reconciled to perform
the main melody instead of cello and double bass performs a melody as a rhythm
scheme.
Figure 4 Notes of Pla Thong song, measures
29-32 by Yongyuth Eiamsa-ard
The
measures 29 – 32; violin line 1 and cello line are paired to perform the main
melody. Where the violin line 2 is aligned to perform the main melody instead
in the measure 31. Viola and double bass perform the melody in a rhythmic
scheme and choir chords.
Figure 5 Notes
of Pla Thong song, measures 41-44 by Yongyuth Eiamsa-ard
The measures 35 – 44; violin line 1 and viola line get paired up for counterpoint. Counterpoint is a harmonious melody and harmonies in both the horizontal (Melody) and vertical (Harmony) performed about the time. For example, for the 37th measure, the violin 2 gets paired with the cello line to perform the counterpoint with violin paired with viola .In the 38th measure ,perform counterpoint up to the measure 44 the double bass performs the melody in a rhythmic scheme.
Figure 6 Notes
of Pla Thong song, measures 49-52 by Yongyuth Eiamsa-ard
The measures 45 – 50; violin line 1, violin line 2 and viola perform a melody as a counterpoint between a single instrument In performing a melody. For example, the measure 45, viola line performs counterpoint with a violin line 2. In the measure 46, violin performs a melody to harmonize with the violin 2. In the same music measure, cello and double bass perform the melody in a rhythmic scheme and harmonics.
The measures 52 – 60; violin line 1, cello line , viola line and violin line 2 alternately perform the main melody by connecting the parts of the song movements together into short movements for the double-bass line perform the melody in a rhythmic scheme.
Figure 7 Notes
of Pla Thong song, measures 65-68 by Yongyuth Eiamsa-ard
The
measures 59 – 68; cello line, viola line, violin line 2 and violin line 1 perform
the main melody by continuing to receive a short sentence of the song, alternately
performs the main melody of the song. Double bass line performs the melody in a
rhythmic scheme
The style of arrangement for performing by the international stringed instruments still maintains the style of Playng Thao ,the original Thai song with the three different speeds of rhythm; Sam Chan ( the slowest speed of rhythm), Song Chan (neither fast nor slow speed of rhythm), and Chan Dio (the fastest speed of rhythm). With the main modifications from the main melody of Rangsri Sutthammna’notes, the researcher maintains the characteristic of the original Playng Thao so the measures 1 - 68, the slowest speed of rhythm (Sam Chan), and the measures 69-104 are the moderate speed (Song Chan) of rhythm as the quarter note has a speed value of 55.
Figure 8 Notes
of Pla Thong song, measures 73-76 Yongyuth Eiamsa-ard
The
measures 70 – 76; viola line performs the main tune in the 73rd measure. The violin
1 is added to perform the main melody instead of the viola and continues with
the violin line 2 to respond to the main melody In the 75th measure. The cello line
and double bass line perform the melody in a rhythmic scheme and chords.
Figure 9 Notes
of Pla Thong song, measures 85-88 by Yongyuth Eiamsa-ard
The measures 77 – 86; cello line, viola line, violin line 2 and violin line 1 perform the main melody by continuing to receive a short movement of the song and alternately performs the main melody of the song.The double bass line performs the melody in a rhythmic scheme.
The measures 87 – 95; cello line, viola line, violin line 2 and violin line 1 perform the main melody by continuing to receive a short movement of the song ,alternately performs the main melody of the song ,and double bass line performs the melody in a rhythmic scheme.
Figure 10 Notes
of Pla Thong song, measures 101-104 by Yongyuth Eiamsa-ard
The
measures 96-104; violin line1 follows the main melody first, then cello line, viola
line, violin line 2 perform the main
melody by continuing to receive a short movement of the song , and alternately
performs the main melody of the song Double bass line Perform the melody in a
rhythmic scheme.
The
fastest speed song (Chan Dio), the measures 105-124, by reducing the tempo down
the quarter note with a speed value of 55 is like the traditional Playng Thao with the reduction in the rhythm, and the
lengths of melodies descend together and to finish the song by notes of
Conclusion.
Figure 11 Notes
of Pla Thong song, measures 113-116 by Yongyuth Eiamsa-ard
The measures 106 – 114; viola and cello lines pair up with the main melody ,switching to viola gets paired with violin line 2 to continue the main melody, and finally change to the violin line 2, paired with violin 1 to continue the main melody. Double bass line performs rhythmic melody.
Figure 12 Notes of Pla Thong song, measures 13-16 by Yongyuth Eiamsa-ard
The
measures 115 - 119 ; violin 1 with viola pair up to perform the main melody , and
the cello line 2 and cello line are matched to
continue the main melody, and do this alternately until the end of the movement.
Then, double bass line performs rhythmic melody.
Figure 13 Notes
of Pla Thong song, measures 121-124 by Yongyuth Eiamsa-ard
The
measures 120 – 124; violin 1 with violin
2 get paired to perform the main melody,
then switch to violin 2 with viola to continue
performing the main melody from the original, cello and double bass perform the
melody in a rhythmic scheme and choir chords.
Figure 14 Notes
of Pla Thong song, measures 125-137 by Yongyuth Eiamsa-ard
The
measures 125 -137 is the Conclusion part. The last verse is a short, fast tempo,
which is equivalent to the rhythm
Naa Tap Song - mai of Kreung Chan (the short movement), which to
shows that the end of the Pla Thong song.
Suggestion
1.The compositions for the
original Lao Mahori orchestra played in conjunction with the String Orchestra.
2. Original Lao music
recitals from Luang Prabang and Champasak.
3.Compositions of royal
music of Laos, Cambodia, and Thailand
References
Dararat Mettarikanon.
(2014). Historical writings in biographies in Laos during 1975-2010: Status
of Knowledge. (1st edition). Khon Kaen. Khon Kaen University Press.
Boonthiang Srisakda,
teacher at the National Art School of Lao PDR. interviewed on 15 July 2018.
Bandit Sanasid, teacher at
the National Art School of Lao PDR. interviewed on 15 July 2018.
Wanthon Petmungkhun,
teacher of Khok Wua Intersection, Luang Prabang. interviewed on April 7, 2017.
-----------------------------------------------------------------
ไม่มีความคิดเห็น:
แสดงความคิดเห็น