การศึกษาเพลงเดี่ยวจากแผ่นเสียงโบราณ

Abstract

The purposes of this research aim to: 1) study the recording data of gramophone recordings of Thai music solo repertoire; 2) study the significant features of such solo repertoire; and 3) explore the important phenomena of music from Siamese 78 rpm gramophone records held by the Institute of Musicology (Arsom dontri witthaya), Mahidol University and the Princess Sirindhorn Music Library at the National Library by using qualitative research including documentary study, discographical methodology, discological methodology, and musical analysis. The research findings are as follows: 1) the recording of solo repertoire in Siamese gramophone records began during the reign of King Chulalongkorn (1907-1908) with a recording of ‘Choet nork’ by Khun Sanoeduriyang (Cham Sundaravadin) on Pi-nai. After this period, more musicians started to record their solo repertoires such as Mr.Plaek Prasansap, Phraplaengphiroe, Luang Sriwatit, Khun Sroisamnaingson, and Phrasanplengsruang. Recordings were made by 13 record companies as follows: Odeon, Beka, Pathe, HMV, Parlophone, Khana Nari Srisumit, Columbia, Suntharaphon, Kratai, Rakhang Thong, Sang Thong, Krom Silapakorn, and Mongkut. Analysis of the music found that the principle melody is important for solo repertoire composition, whether performed on Thai or western musical instruments, maintaining the original melody but adapting it according to different styles, repertoire, instruments, and special virtuosic techniques. The phenomenon of the music demonstrated to the developed solo repertoires were 3: (1) Wangkot (rule) (2) Todlong (experiment); (3) Khongkao (preserved). The research results illustrate that the study of solo repertoire from Siamese gramophone records during 1903-1963 provides valuable knowledge of musical history and reflects an important culture that is heritage of the nation.