The Isaan Percussion in New Music Applications of Traditional Soundscapes

Abstract

          This study consists of the exploration of the acoustic characteristics of Isaan percussion instruments and an original composition exploiting these qualities, through the extensive reviews of Isaan folk music literature and related research, observation of music masters, as well as interviews conducted with sixteen experts, from the fields of composition, Isaan folk music and Western Art performance.
          Western classification determines that Issan percussion instruments be dividable into two categories: pitched and non-pitched percussion. Among pitched percussion, pong lang is often observed in Isaan contemporary music, whilst the sound of pin hai (“harp jars”), a bass harp devised from fermented fish jars (hai pla ra), fell into obscurity, due to the rise of electronic musical instrument. This new classification of instrument leads to a new conceptualization of sound, resulting in Isaan contemporary percussion ensemble pieces in Western music style, namely the Tee-Kroa-Koh-Mai Suite, consisting of three movements: “Sarakham”, “Sagatenakorn” and “Sura-In”, reintroducing the Isaan folk music to a new soundscape and interpretation for audiences and musicians alike.