ASEAN Studies: The Revival and Development of Lao Classical Music
Yongyuth
Eiamsa-ard[1], Rujee
Srisombat[2], Manop Wisuttipat[3], Niraj Ruangsan[4]
Abstract
ASEAN music education is important for learning
the history,
culture, beliefs, and identities of each member country, this research aims at studying the revival and
development of Lao classical songs: ‘Oh Lao’ and ‘Platong’, no longer played.
Form the research results, the symposium of music teachers and experts
including national artists was organized to exchange the idea to develop the
melody played by alto
xylophone and further developed by creating harmonies for performance by the
string orchestra according to the principles of international music theory,
composing and anthropological theories.
Keywords: Lao classical music, Revival and development, Cultural knowledge, ASEAN
community
The emergence of the
ASEAN Social and Cultural Community (ASCC) leads to a learning and cultural
exchange amidst diversity among its members. It is a process that can expand
cooperation between ASEAN member sociocultural connection and is an important
factor in the unification of ASEAN. The second ASEAN Socio-Cultural Community Council Meeting in Prachuap Khiri
Khan Province, Thailand in October 2009 leads to the
Cha-am Hua Hin Declaration on Strengthening Cooperation in Education to Achieve
a Caring and Sharing ASEAN Community for enhancing people's quality of life and
sustainable regional development. It stipulates that the field of education is
part of building a political and security, economic, social, and cultural
community, leading to the educational reform approach of ASEAN Member Countries
both in terms of quality education management and in terms of ASEAN Studies
Curriculum of Schools according to the Guidelines for Learning Management for
the ASEAN Community Kedchapan Kamput
(2018).
In Thailand, since
2010, the Office of the Basic Education Commission has started the pilot schools
to the ASEAN Community in primary and secondary educational institutions
covering 40 educational territories across the country under the Spirit of
ASEAN project (Kaewkumkong). There are 3 types: 1) 30 sister schools, which are
schools that provide learning about the ASEAN community that focuses on
teaching English, technology, and language of one ASEAN member country, along
with multicultural knowledge; 2) 24 Buffer Schools, which are schools that
provide learning about the ASEAN Community that focuses on teaching the
languages of ASEAN Member 1 language, which is the language of neighboring
countries that border schools such as Laos, Myanmar, Cambodia, and Malaysia,
along with multicultural knowledge and technology, as well as having an ASEAN
Studies Center that is a learning center for schools and networked schools in
Area; 3) 14 ASEAN Focus Schools, including more than 500 networked schools
participating in the project in preparation for the ASEAN Community (Kedchapan Kamput,
2018). These schools have provided an ASEAN Studies
course under the Guidelines for Learning Management for the ASEAN Community in secondary
education of the Office of the Basic Education Commission, 2011, focusing on
knowledge of the ASEAN region, language in neighboring countries, and multicultural
knowledge with the foresight of importance to promoting better understanding
with ASEAN neighbors (Kedchapan Kamput,
2018).
Learning music from
other nations in the ASEAN community is very supportive to multicultural
understanding as some local songs were composed to reflect history, culture,
belief, identities, and way of life of people in each country (Ho, 1999; Laovanich & Chuppunnarat, 2016; Reyes
& Navarro, 2016). In the digital age, multicultural music education is
integrated in the public curricula with the aims to get students learn
different cultures among ASEAN countries (Chandransu, 2019;
Nicolas, 2019). In the Basic
Education Core Curriculum of Thailand, music education is categorized in Learning
Standard of Art with the aims to educate students to obtain an understanding of
and ability in creative self-expression through music;
analysis and criticism on the values of music; free conveyance of feelings and
thoughts on music; appreciation and application of music in daily life
(Standard AR2.1) and understanding of the relationship between the music, the
history, and the culture; appreciating the musical works that represent the
cultural heritage, the local wisdom, and Thai and universal wisdom (Standard
AR2.2) (Basic Education Commission, 2008). Besides this, in the previous studies, it has played an
important role to successes of learners in society, school, intelligence and
life (Goble, 2010; Lehr, 1998; Levinowitz, 1999; Petress,
2005; Prendergast, Gouzouasis, Leggo, & Irwin, 2009). Since Thailand becomes a member of the ASEAN Community,
students are encouraged to learn culture and art among ASEAN nations through music education (Choawanan Prapakdee, 2014; Piyawan Kanthong, 2019;
Ratawan Pruksarojanakul, 2013). In order to make contribution to music education in
Thailand, there are a number of studies focusing on music in ASEAN such as the
studies of (Mitt Sapphut, 2019) on ‘Khong Wong Yai’ Melody in Lao, Krissada Sooksumnieng and
Charoenchai Chonpairoj (2017) on Lao vocal music of the southern ethnic groups. In
addition, some studies focused on communicative meaning (Sriphanaratnakul &
Cansathitporn, 2016), contemporary composition (Thambutr & Yamprai,
2018), love songs (Saran Nakrob, Panupak
Mokhasa, Jinnawat Mansa, Chattiya Khieti-navy, & Pawalai Tanchanpon, 2019) and so on. Also, in order to make contribution to the
field of study and preserve ASEAN music, the researchers were interested to the
processes of revival and development of Lao classical music. The study began
with the revival of the songs and then development of the songs played by alto
xylophone and the string orchestra according to the principles of international
music theory, composing and anthropological theories.
Research Method
This study was
carried out utilizing the qualitative research methodology. In this research, the
data were collected from the field-work, interviews, participatory and
non-participatory observation. The research methodology was as follows:
Phase 1: Collect and compile the original
Lao music of the Lao PDR: 1.1) search the original Lao songs and melodies; 1.2)
study the melodies of the songs for playing by musical instruments,
particularly alto xylophone;
1.3) make the revival of the classical Lao melodies for a performance by the
string orchestra.
Phase 2: Restore the original Lao melody as
a universal note: 2.1) organize Focus Group Discussion (FGD) to make the
revival of the selected classical Lao melodies and save them as the universal
notes.
Phase 3:
Develop the original Lao melodies for the international string orchestra: 3.1)
compose and develop the selected Lao classical music for the international
string orchestra; 3.2) arrange the event for the performance.
Phase 4:
Summarize, analyze and synthesize the body of knowledge of the above phases of
research and create the guideline for ASEAN studies or music studies.
Results
Traditional
Lao music refers to music in the royal court of Laos in the past even if
currently there is a change in accordance with the socialist conceptual
framework. Lao music was originally influenced by Khmer royal court music.
Since the reign of Chao Fa Ngum (1896 – 1916), it has developed and merged with
the music culture of the pre-existing ethnic groups, especially the music
culture of Laos, such as bringing ‘Khaen (a kind of reed mouth organ in
northeastern Thailand)’ to play in various types of bands. At present, the
original Lao band exists in large cities such as Vientiane and Luang Prabang.
In this study, the researchers have selected a fieldwork research area to
restore and develop the original Lao melody at the Lao National School of
Music, Vientiane, Lao PDR, which organizes music learning in various
disciplines such as traditional Lao folk dances; folk, and tribal basic dances,
traditional Lao music, international music (classical music) and so on. The development
of the original Lao melody for the international string orchestra
was cooperated and supported by music teachers of the National Art School Lao
PDR in the field of folk music and international music (classical music) as
mentioned in Table.1 below. So, that revival and development were successful
because of their expertise in the field of study.
Table
1. List of Music Masters from Lao
National School of Music
|
No. |
Name-Surname |
Status |
|
1 |
Bunthieng Sisakda |
Music Master (Lao PDR) |
|
2 |
Khamsaen Pilavong |
Music Master |
|
3 |
Bandit Sanasit |
Music Master |
|
4 |
Saengthong Butchadi |
Music Master |
|
5 |
Somchit Saiyasuwan (Dr.) |
National Artist |
In relations
to the search for the Lao classical songs and the original Lao melodies, there
is a succession of 63 songs from the teaching courses in folk music for seven-year
courses of students learning ‘Pīphāt’, (Lao orchestra consisting of five groups of wood and
percussion instruments or orchestra consisting chiefly of the gamelan). It was
found that there were 7 songs: ‘Pleang Si Bot’, ‘Pleang Hok Bot’, ‘Pleand Pead
Bot’, ‘Pla-thong’, ‘Soi-Mayura’, ‘Oh Lao’ and ‘Suta-Kan-Seang’ not in the
succession in the
National Art School. This corresponds to the interview data with music masters
that participated in FGD and agreed that these songs are no more played in the
current Laotian orchestra. Also, none of these songs were included in the
curriculum of the National Art School for music students in the field of folk
music of all 7-years learning programs. In the results of FGD, all participants
reached the agreement that the songs ‘Oh Lao’ and ‘Pla Thong’ should be
selected for the revival of the melody as they well represent the Lao identities.
For the other songs, they were suggested for future research due to the limited
research duration and complexity of research processes. The songs then were composed and further developed for the international
string orchestra with the following techniques: solo exposition, counterpoint,
Pizzcato and Arco, cannon, round, syncopation, slur, Pizzcato, and variation,
as demonstrated in Figure 1-3.
Figure 1.: Solo exposition of ‘Oh Lao’
Figure 2.: Counterpoint of ‘Oh Lao’
Figure 3.: Syncopation of ‘Oh Lao’
Discussion
The research on the revival and development of the original Lao melody for the international string orchestra is a revival and development of Lao art and music to society before thesis melodies disappear from society. The research results support the ASEAN studies as the songs reflect history, culture, beliefs, identities, and the way of life of the Lao people in line with the policies of the Bureau of Academic Affairs and Educational Standards (2021) that mentions the improvement of the quality of the ASEAN Studies and regional cooperation in ASEAN education focuses on a more educational approach in terms of exploring customs, culture, and art. It not only increases the knowledge of peoples but also helps to create understanding between the different races, especially the new possibilities for exploring similarities and differences between the regional community. In addition, the Learning Standard of Art in the Basic Education Core Curriculum of Thailand focuses on teaching Thai students to obtain an understanding of and ability in creative self-expression through music; analysis and criticism on the values of music; free conveyance of feelings and thoughts on music; appreciation and application of music in daily life and understanding of the relationship between the music, the history, and the culture; appreciating the musical works that represent the cultural heritage, the local wisdom, and Thai and universal wisdom (Basic Education Commission, 2008). Besides, it is also the preservation of classic music in the region.
Figure 4.: Revival of Lao Classical Songs
Figure 5.: Lao Classical Song Performance in Lao PDR
Figure 6.: Performance of ‘Oh Loa’ and ‘Pla-Thong’
Recommendation
For
future research, the five Lao classical songs: ‘Pleang Si Bot’, ‘Pleang Hok
Bot’, ‘Pleand Pead Bot’, ‘Soi-Mayura’, and ‘Suta-Kan-Seang’ should be restored
and developed as same as ‘Oh Lao’ and ‘Pla-Thong’. The results of this research
should be revised for supporting ASEAN or Music Studies based on the
requirement of the Basic Education Core
Curriculum of Thailand.
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[1] Doctor of Fine and Applied Art in
Ethnomusicology, Faculty of Fine Arts, Srinakharinwirot University, yongyuta@g.swu.ac.th
[2] Faculty
of Fine Arts, Srinakharinwirot University, rujee@swu.ac.th
[3] Faculty
of Fine Arts, Srinakharinwirot University, manopwis@swu.ac.th
[4]
Faculty of Education, Mahachulalongkornrajavidyalaya University, Khon Kaen
Campus, niraj_rs@outlook.com
