คีตศิลปินหญิงราชสำนักจากแผ่นเสียงโบราณ

Abstract

The purposes of this research were: 1) to collect the musical works of Siamese royal court female singers, 2) to study the musical works of Siamese royal court female singers, and  3) to analyze the special virtuosic techniques employed by such singers held by the Institute of Musicology (Arsom Dontri Witthaya), Mahidol University and the Princess Sirindhorn Music Library at the National Library. Qualitative research including musicological, dicographical, and discological methods are used in this study. The research findings were as follows: 1) There were 13 record labels as follows: (1) Gramophone/Arahan; (2) Odeon; (3) Beka; (4) Pathe; (5) Phumi Bandasak; (6) His Master’s Voice; (7) Parlophone; (8) Columbia; (9) Serani; (10) Nari Srisumit;  (11) Kratai; (12) Kromsilapakorn; and 13) Rakhang Thong. There were 59 female singers whose voices were recorded. 2) There were six Siamese royal court female singers who had their own records: Mom Somjin (1857-1911), Mom Jaroen (1876-1964), Khun Ying Rambhanditsittiserani (1895-1950), Khru Thuam Prasittikul (1896-1991), Khru Prakhong Pumthongsuk (1908-1998), and Ajan Jaroenjai Sunthornwathin (1915-2011). Their records belonged to several records companies. Their repertoire can be categorized into six categories: song chan, sam chan, phleng tap, phleng thao, phleng thayoi, as well as different types of lakhon (drama) accompanied by several kinds of music ensemble. 3) The analysis of Thai music singing principles were as follows: Mom Somjin, and Mom Jaroen, represent the early period using the old style. Khun Ying Rambhandhitsittiserani, Khru Prakhong Pumthongsuk, and Khru Thuam Prasittikul were in the middle period, and Ajan Jaroenjai Sunthornwathin was in the latter period of the new style developed by Phraya Sanoduriyang (Cham Sunthornwathin) which emphasized the emotional delivery of the song.