THE IDENTITY OF INSTRUMENTAL METHOD PEIPAT MON PAKKRED

Abstract

The study of “The Identity of Mon Pakkred song was conducted with the aim to study the history and background of Pakkred Mon music performance and to study the identity of Pakkred Mon music performance. The process includes analysis and synthesis of the content from documents, observation, and interview with the experts in the areas related to the identity of music performance in Pakkred District.  

            According to the results, it is not known when exactly Pakkred Gamelan Orchestra originate, but the earliest evidence shows that there was the performance of this kind of band during the royal funeral ceremony of King Chulalongkorn the Great at the royal funeral pyre located at Sanam Luang in the year 1910.  This Pakkred Mon Gamelan Orchestra belonged to Phraya Phichai Burintra, ( Pisan  bunpuk ).Today, Pakkred Mon songs are rarely performed. Only 3 of them are still played today: “Mon Sam-oy” “Phaya Ling Hao” and “Ching Yai.” The composers of these songs are: 1.Mon Sam-oy – composed by Master Boontew Silapaduriyang 2.Phaya Ling Hao – composed by Master Suep Hawang and Master Champa Klinchan3.Ching Yai – Re-arranged by Master Boontew (it might have been originally composed by Master Suep, Master Champa or Master Sombat Chitbanthao) As for the identity of playing the melody line of Mon Pakkred songs, it was found that the above 3 songs are a mixture between mandatory style (Pleng Bangkap Thang) and Melody Line style (Pleng Damnoen Thamnong). The overall tempo is 2 chan, but the beginning of the song is rather fast, or 1 chan. These songs are performed in general occasions. The pairing of sound most frequently found in the song “Mon Sam-Oy” are 4 pairs, 5 pairs, and 6 pairs. The melody line is not complicated and one can easily recognize the Mon or Khmer tone in it, which is the most significant identity of the three songs. Large circle gong is played during the intro of the songs. The other musical instruments followed afterward. The performing of Gong is a mixture between Thai and Mon style. An outstanding identity of Mon Pakkred Songs is the repetition of the melody. The playing of the gong is rather slow with the player’s hand dropping much weight on the gong. The playing technique is not complicated. These 3 remaining Mon Pakkred songs share a common trait, which is the hook or the repetition of the melody in the last part of the song.