วันเสาร์ที่ 5 กรกฎาคม พ.ศ. 2551
Thai Arts : Musical Instrument (1)
Traditional Thai musical instruments (Thai: เครื่องดนตรีไทย) are the musical instruments used in the traditional and classical musics of Thailand. They comprise a wide range of wind, string, and percussion instruments played by both the Thai majority as well as the nation's ethnic minorities.
In the traditional Thai system of organology, they are classified into four categories, by the action used in playing:
from Thailand. It is generally made of bamboo, though instruments are also made from hardwood or plastic. The khlui is very similar to the Cambodian khloy, though there are differences in tuning between the two instruments.
Pi klang
The pi klang is most often heard in film scores. Its length is 37 cm and its width is 4 cm.
Pi nai
The pi nai is commonly seen in Thai literature such as Pra Aphaimani. Length is 41-42 cm. Width is 4.5 cm
Pi cha nai
The pi cha nai is Pi song ton(ปี่สองท่อน) (pi that consists of two parts). Body part is called Lao pi(เลาปี่). Mouth part is called "Lumpong"(ลำโพง). Both parts are made from wood or ivory. It is presumed that the Thai obtained this musical influence from India, as in India the shehnai is very similar. Pi have been used in Thai since the Sukhothai period. At present, it is played together with the pi chawa in parades.
Pi chawa
The pi chawa is Pi song ton(ปี่สองท่อน)(Pi that consist of two parts) like the pi cha nai, but longer. It is made from wood or ivory. Presume Thai take in Pi chawa as same time as Glong khaek. From some evidence,used Pi chawa in Krabuan Prayuhayardtra(กระบวนพยุหยาตรา)(military march) in Pre-Ayudthaya.
Pi mon
The pi mon is Pi song ton (ปี่สองท่อน)(Pi that consist of two parts) like Pi chawa but bigger and longer. Lao pi(เลาปี่)(the body of Pi) is made from wood. Lumpong (ลำโพง)(the mouth of Pi) is made from metal. Pi mon is played usually in Piphat mon ensemble or in the old called Piphat raman ensemble
The most interesting characteristic of the khene is its free reed, which is made of brass or silver. It is related to Western free-reed instruments such as the harmonium, concertina, accordion, harmonica, and bandoneon, which were developed beginning in the 18th century from the Chinese sheng, a related instrument, a specimen of which had been carried to St. Petersburg, Russia.
The khene uses a pentatonic scale in one of two modes (thang sun and thang yao), each mode having three possible keys. The khaen has five different lai, or modes: Lai Yai, Lai Noi, Lai Sootsanaen, Lai Po Sai, and Lai Soi. Lai Po Sai is considered to be the oldest of the Lai Khaen and Lai Sootsanaen the "Father of the Lai Khaen." Khaen can be played as a solo instrument(Dio Khaen), as part of an ensemble(Ponglang), or as an accompaniment to a Lao or Isan Folk Opera Singer mor lam.
According to Lao legend, the khene was created by a woman who was trying to reproduce the sound of the garawek bird which she heard while on a walk one day. The journey was long and difficult, so she decided to invent an instrument that would bring the sound to her. When she returned to her village, she experimented with many different instruments, including percussion, wind and plucked and bowed strings. Finally she cut a piece of bamboo and inserted a reed into it. Upon playing it, she realized that it sounded much like the garawek bird. She continued to improve the sound until she felt it was worthy for the king's ears. When she was ready, she went to the palace and began playing for the king on her newly invented instrument, which was at this point nameless. At the end of the first song, she asked the king if he liked the piece. He said it was fair, and instructed her to continue playing. After her last song, she again asked the king if he was pleased. His reply was "Tia nee kaen dae," which means "This time it was better." He then instructed her to call the instrument, according to his words, the kaen.
Players
In Thailand, one of the top virtuoso khaen soloists is the blind musician Sombat Simla. The instrument has also attracted a few non-Asian performers, including University of San Diego professor Christopher Adler, who also composes for the instrument; English musician Clive Bell (UK); Vancouver-based composer/performer Randy Raine-Reusch (Canada), who played khaen on Aerosmith's Pump (1989), Cranberries' To the Faithful Departed (1996), and Yes's The Ladder (1999); and Jaron Lanier (United States). Since the early 21st century, the California-born khaen player Jonny Olsen has achieved notoriety in Laos and Thailand by appearing on numerous Thai and Lao TV Shows and performing live concerts in Thailand and the U.S. Jonny Olsen is the first farang (foreigner) to win a khaen championship in Khon Kaen 2005.
Tuning
It has seven tones per octave, with intervals similar to that of the Western diatonic natural A-minor scale: A, B, C, D, E, F, and G. A khaen can be made in a particular key but can't be tuned after the reed is set and the pipes are cut. If the khaen is played along with other instruments the others have to tune to the khaen.
In the traditional Thai system of organology, they are classified into four categories, by the action used in playing:
1. Blowing (Thai: เป่า), (wind instruments)
2. Plucking (Thai: ดีด), (plucked string instruments)
3. Bowing (Thai: สี), (bowed string instruments)
4. Striking (Thai: ตี), (percussion instruments and hammered dulcimer)
2. Plucking (Thai: ดีด), (plucked string instruments)
3. Bowing (Thai: สี), (bowed string instruments)
4. Striking (Thai: ตี), (percussion instruments and hammered dulcimer)
Wind Instruments
It comes in three sizes: khlui lib
(ขลุ่ยหลิบ; small) gives the highest pitch, khlui phiang aw (ขลุ่ยเพียงออ; medium) usaullys call only khlui, and khlui u (ขลุ่ยอู้; large) so gives the lowest pitch.The khlui once had a buzzing membrane similar to the Chinese di mo
, but this is not used today.Pi (Thai: ปี่) is the generic term for any of a variety of quadruple reed oboes used in the traditional music of Thailand. It is very similar in construction and playing technique to the Cambodian sralai.
The pi nok is smallest among Pi nok, Pi klang and Pi nai. Pi noks have been played since the ancient times. Length is 31 cm. Width is 3.5 cm.
Pi klang
The pi klang is most often heard in film scores. Its length is 37 cm and its width is 4 cm.
Pi nai
The pi nai is commonly seen in Thai literature such as Pra Aphaimani. Length is 41-42 cm. Width is 4.5 cm
Pi cha nai
The pi cha nai is Pi song ton(ปี่สองท่อน) (pi that consists of two parts). Body part is called Lao pi(เลาปี่). Mouth part is called "Lumpong"(ลำโพง). Both parts are made from wood or ivory. It is presumed that the Thai obtained this musical influence from India, as in India the shehnai is very similar. Pi have been used in Thai since the Sukhothai period. At present, it is played together with the pi chawa in parades.
Pi chawa
The pi chawa is Pi song ton(ปี่สองท่อน)(Pi that consist of two parts) like the pi cha nai, but longer. It is made from wood or ivory. Presume Thai take in Pi chawa as same time as Glong khaek. From some evidence,used Pi chawa in Krabuan Prayuhayardtra(กระบวนพยุหยาตรา)(military march) in Pre-Ayudthaya.
Pi mon
The pi mon is Pi song ton (ปี่สองท่อน)(Pi that consist of two parts) like Pi chawa but bigger and longer. Lao pi(เลาปี่)(the body of Pi) is made from wood. Lumpong (ลำโพง)(the mouth of Pi) is made from metal. Pi mon is played usually in Piphat mon ensemble or in the old called Piphat raman ensemble
The khene (also spelled "khaen", "kaen" and "khen"; Lao: ແຄນ, Thai: แคน) is a mouth organ of Lao origin whose pipes are connected with a small, hollowed-out hardwood reservoir into which air is blown. Today associated with the Lao of Laos and Northeast Thailand, similar instruments date back to the Bronze Age of Southeast Asia. It is also played in some parts of Cambodia. The Chinese adopted mouth organs at an early point, and the now-obsolete yu may have been similar in construction to the modern khaen. The Chinese today call their most widely used mouth organ sheng.
The most interesting characteristic of the khene is its free reed, which is made of brass or silver. It is related to Western free-reed instruments such as the harmonium, concertina, accordion, harmonica, and bandoneon, which were developed beginning in the 18th century from the Chinese sheng, a related instrument, a specimen of which had been carried to St. Petersburg, Russia.
The khene uses a pentatonic scale in one of two modes (thang sun and thang yao), each mode having three possible keys. The khaen has five different lai, or modes: Lai Yai, Lai Noi, Lai Sootsanaen, Lai Po Sai, and Lai Soi. Lai Po Sai is considered to be the oldest of the Lai Khaen and Lai Sootsanaen the "Father of the Lai Khaen." Khaen can be played as a solo instrument(Dio Khaen), as part of an ensemble(Ponglang), or as an accompaniment to a Lao or Isan Folk Opera Singer mor lam.
Mythological origin
According to Lao legend, the khene was created by a woman who was trying to reproduce the sound of the garawek bird which she heard while on a walk one day. The journey was long and difficult, so she decided to invent an instrument that would bring the sound to her. When she returned to her village, she experimented with many different instruments, including percussion, wind and plucked and bowed strings. Finally she cut a piece of bamboo and inserted a reed into it. Upon playing it, she realized that it sounded much like the garawek bird. She continued to improve the sound until she felt it was worthy for the king's ears. When she was ready, she went to the palace and began playing for the king on her newly invented instrument, which was at this point nameless. At the end of the first song, she asked the king if he liked the piece. He said it was fair, and instructed her to continue playing. After her last song, she again asked the king if he was pleased. His reply was "Tia nee kaen dae," which means "This time it was better." He then instructed her to call the instrument, according to his words, the kaen.
Players
In Thailand, one of the top virtuoso khaen soloists is the blind musician Sombat Simla. The instrument has also attracted a few non-Asian performers, including University of San Diego professor Christopher Adler, who also composes for the instrument; English musician Clive Bell (UK); Vancouver-based composer/performer Randy Raine-Reusch (Canada), who played khaen on Aerosmith's Pump (1989), Cranberries' To the Faithful Departed (1996), and Yes's The Ladder (1999); and Jaron Lanier (United States). Since the early 21st century, the California-born khaen player Jonny Olsen has achieved notoriety in Laos and Thailand by appearing on numerous Thai and Lao TV Shows and performing live concerts in Thailand and the U.S. Jonny Olsen is the first farang (foreigner) to win a khaen championship in Khon Kaen 2005.
Tuning
It has seven tones per octave, with intervals similar to that of the Western diatonic natural A-minor scale: A, B, C, D, E, F, and G. A khaen can be made in a particular key but can't be tuned after the reed is set and the pipes are cut. If the khaen is played along with other instruments the others have to tune to the khaen.
Thai Arts : Music of Thailand
Music of Thailand - History
Thailand retains cultural connections with the two great centers of Asian civilizations, India and China. Though Thailand was never colonized by Western powers, pop music and other forms of European and American music have become extremely influential. The two most popular styles of modern Thai music are mor lam and luk thung, which have important influences from Laos and other neighboring nations.
Aside from the Thai, minorities of Laotians, Lawa, Hmong, Akha, Mien, Lisu, Karen and Lahu peoples have retained traditional musical forms.
A distinctive Thai culture did not exist until 1257, when the kingdom of Sukhothai was created. Music was an important part of life during this period, and what is now known as Thai classical music arose during the Ayuthaya period. Music flourished for the next few centuries, in spite of occasional oppression from monarchs like Rama I.
Pleng luk thung
Pleng luk thung, or Thai country music, was invented in the early 1950s to reflect daily trials and tribulations of rural Thais. Ponsri Woranut and Suraphon Sombatjalern were the genre's first big stars, and helped incorporate influences from Latin America, Japan, Indonesia, Malaysia and, especially, American film soundtracks and country music (including yodelling). Many of the most popular pleng luk thung stars have come from the central city of Suphanburi, including future megastar Pompuang Duanjan, who adapted pleng luk thung to 1980s string and pop music by making a dance-ready form called electronic luk thung. When Pompuang died in 1992, many observers felt that luk thung would die with her, but it persisted and, with the advent of the first all luk thung radio station in 1997, soon saw a major revival.
Mor lam
There is a large minority of Laotians in Isan, the Northeastern region of Thailand, and they are known for mor lam music. Mor lam has long had an affinity with luk thung, and many of the genre's biggest stars, like Chalermphol Malaikham and Jintara Poonlarp, are heavily influenced by luk thung. Mor lam is a distinctively Laotian genre, and can be characterized by rapid-fire, rhythmic vocals and a funk feel to the percussion. Mor lam is played by a mor khaen, who plays the khaen, and a lead singer also called a mor lam.
There are about fifteen regional variations of mor lam, and there are modern versions as well. Mor lam sing is the best-known of these, nad has become popular all over Isan, as well as in Laos. Some conservative Laotians have criticized this as the commercialization of traditional cultures.
Kantrum
The people of Isan are also known for kantrum, which is much less famous for mor lam. Kantrum is played by Cambodians living near the border with Cambodia. It is a swift and very traditional dance music. In its purest form, cho-kantrum, singers, percussion and fiddles dominate the sound. A more modern form using electric instrumentation arose in the mid-1980s. Later in the decade, Darkie became the genre's biggest star, and he crossed into mainstream markets in the later 1990s.
Pop and rock
By the 1930s, however, Western classical music, showtunes, jazz and tango were popular. Soon, jazz grew to dominate Thai popular music, and Khru Eua Sunthornsanan soon set up the first Thai jazz band. The music he soon helped to invent along with influential band Suntharaporn was called pleng Thai sakorn, which incorporated Thai melodies with Western classical music. This music continued to evolve into luk grung, a romantic music that was popular with the upper-class.
By the 1960s, Western rock was popular and Thai artists began imitating bands like Cliff Richard & the Shadows; this music was called wong shadow, and it soon evolved into a form of Thai pop called string. The following decade saw Rewat Buddhinan beginning to use the Thai language in rock music, and by the 1980s, this had evolved into what was called string. The 70s also saw the rise of protest songs called pleng phua cheewit.
The earliest pleng phua cheewit (songs for life) band was called Caravan, and they soon emerged at the forefront of a movement for democracy. In 1976, police and rightwing activists attacked students at Thammasat University; Caravan, along with other bands and activists, fled for the rural hills. There, Caravan continued playing music for local farmers, and composed what is now their most famous song, "Khon Gap Kwaii".
In the 1980s, pleng phua cheewit re-entered the mainsteam with a grant of amnesty to dissidents. Bands like Carabao became best-sellers and incorporated sternly nationalistic elements in their lyrics. By the 1990s, pleng phua cheewit had fallen from the top of the Thai charts, though artists like Pongsit Kamphee continued to command a large audience.
String pop took over mainstream listeners in Thailand in the 90s, and bubblegum pop stars like Tata Young and Asanee & Wasan became best-sellers. Simultaneously, Britpop influenced alternative rock artists like Modern Dog became popular.
Classical music
The earliest Thai ensembles were called piphat, and they included woodwind and percussion instruments, originally in order to accompany the theater. Another ensemble type, khruang sai, added stringed instruments, while mahori further added melodic percussion instruments.
The Thai scale includes seven equal notes, instead of a mixture of tones and semitones. Instruments improvise around the central melody.
Thank you to http://www.watchphuket.com/ for information.
Thai Arts
Thai Arts : The Arts of Thailand
Welcome to my Thai Arts Blog! Here you will learn about The Arts of Thailand and how to find good information.
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