The The Ranat Ek Performance Practice in the Piece, Khake Lop Buri Thao, Bang Kho-Laem of Khru Natthaphong Sowat based on Performance Style of Khru Prasit Thawon (National Artist of Thailand)

Abstract

                  This study aimed to analyze the melodic and rhythmic structures of Khake Lop Buri Thao in the Bang Kho-Laem style and to analyze the performance techniques and melodic idioms employed in the Ranat Ek performance of Khake Lop Buri Thao in the Bang Kho-Laem style by Kru Natthaphong Sowat, following the musical approach of Kru Prasit Thawon (National Artist). The findings revealed the following:

              The study found that Khake Lop Buri Thao in the Bang Kho-Laem style was originally composed in the three-tier rhythmic level by Luang Pradit Phairoh (Sorn Silapabanleng). Later, Kru Prasit Thawon composed additional melodies in the two-tier and single-tier rhythmic levels, thereby completing the full thao form. The performance of Khake Lop Buri Thao in the Bang Kho-Laem style examined in this study was presented at the 343rd performance of the Bangkok Bank Music Center on Friday, June 26, 1986, featuring a total of eight ensemble performers. Kru Natthaphong Sowat performed the Ranat Ek on that occasion under the direction of Kru Prasit Thawon. He placed particular emphasis on the melodic beauty of the composition and focused extensively on the training process for Ranat Ek performance, as this musical style is highly demanding. Therefore, performers of Khake Lop Buri Thao in the Bang Kho-Laem style must possess strong foundational skills, physical endurance, and sharp musical intuition. The structural characteristics of Khake Lop Buri Thao in the Bang Kho-Laem style classify it as a thayoi composition accompanied by the Na Thap Song Mai Luk Yon rhythmic pattern, utilizing tonal levels in thang nok, thang nai, and thang phiang o lang. The Ranat Ek performance techniques identified consisted of eight techniques: ti sabat, ti sadoh, ti khayi, ti rua, ti kwat, cross-hand striking, ti prib, and other specialized techniques. In addition, five melodic idiomatic styles were identified: klon tai luat, klon roi luk so, klon doentakheb, klon yon takheb, and klon sap.