The Creation of Thai Music Composition: Homrong Duriyakawi Sri Samutsongkhram

Abstract

Objectives: Thai music holds significant cultural importance as the national music of Thailand. Samut Songkhram Province, renowned for its rich musical heritage, is home to numerous accomplished Thai musicians and music educators who have made substantial contributions to the composition of Thai songs and the advancement of Thai music through their creative and scholarly works. This research aimed to explore the contexts related to Duriyakawi in Samut Songkhram Province to contribute to the body of knowledge surrounding Thai musical composition, specifically focusing on Homrong Duriyakawi Sri Samut Songkhram, and to create and exhibit Thai musical compositions, with an emphasis on Homrong Duriyakawi Sri Samut Songkhram.

Methods: This research, data were collected from two main sources: first, relevant textbooks, printed materials, research, musical scores, and audio tapes; second, interviews with four Thai musical composition experts, based on the sections in the Intangible Cultural Heritage Data Collection Form designed by the Department of Cultural Promotion, Ministry of Culture. Then, these collected data were analyzed, compiled and applied to compose songs. After that, the researcher edited, made variations, held a rehearsal, adjusted the ensemble, fine-tuned the melodies and wrote musical notation to perform in public.

Results: The research highlighted the extensive history of Thai classical music in Samut Songkhram province, which is known for producing many notable composers. As part of this exploration, the researcher created a significant piece titled "Homrong Duriyakawi Sri Samut Songkhram," which consists of four distinct segments in the traditional Thai overture style known as Homrong. In detail, the first section reinterprets the first stanza of Bulun Loi Luean Songchan, initially crafted by King Rama II, expanding it from a two-level structure to a three-level structure while adding melodic embellishments known as Luk Tok. The second section draws upon the melodic patterns from Khruan Ha Samchan, which features a three-level structure composed by Luang Pradit Phairoh (Sorn Silapabanleng). The third section incorporates Luk Tok elements from Yo Salam Samchan, a three-level composition by Professor Dr. Uthit Naksawat. Finally, the fourth section utilizes Luk Tok from Usaraen Samchan by National Artist Uthai Kaewla-iat with modifications to the Luk Tok's tonal trajectory from Tonic to Dominant with the ending melody of “Wa,” culminating in a conclusion aligned with the traditions of Thai music composition of prelude-overture. These compositions are rooted in the melodies originally crafted by esteemed Thai music maestros from the Samut Songkhram province.

Application of this study: This study will be beneficial to those interested in composing Thai overture music because they can study how to create Thai musical compositions via Homrong Duriyakawi Sri Samut Songkhram. In addition, this will be useful for preserving the cultural heritage of Thai classical music creation and composition.