A Study of Arrangement in Thai Traditional Music for Wind Band

Abstract

This thesis utilized qualitative research methodology with the following objectives: 1) to study the history and transformation of Thai music to wind band, 2) to study the arrangement of Thai music melody for the wind band, and 3) to investigate the role of the wind band in Thai society.

The results of the study reveal that 1) for history and development of Thai music into wind band, the transformation took place beginning with the reign of King Rama IV, starting with Thai musicians adopting and practicing Western musical instruments and creating music for salutation. There existed a common feeling among the senior elite that Thai music be developed to be on par with Western music, to show the potential of Thai music to foreign visitors, and to transform it by the transmission of musical performances to laymen; 2) arrangement was made in such a way for the transformation of the band in the following aspects: grouping of instruments based on sound pitches - low, medium and high. The key signature and mode most often used was the Bb scale and the Diatonic Ionian Mode. Musical instruments emphasized the use of the melody of Gong Wong and Ranad Ek (alto xylophone). Thai musical arrangement was done by using Thai musical instruments with multifold styles of harmonization and with technical musical terms for playing musical instruments and Thai musical melodies, and 3) for the role of music in society, the wind band plays a role as part of royal and state ceremonies, in the preservation of musical traditions, in performances, and as the leading band in a parade. Most of all, the band provides entertainment and plays a vital role in contests and ritual performances.