“Lao Damnoen Sai”: Musical Change with a Continuation of Unique Value

Abstract

         Lao Damnoen Sai is one of the well-known Thai classical songs; it was composed initially by Chaphenphayongying (Khom) with the vocal part only. Later, Phraya Prasan Duriyasap (Plaek Prasansap) composed the instrumental part of Lao Damnoen Sai in song chan metric level with nathap song mai lao rhythmic pattern. 

          Lao Damnoen Sai was arranged to be different song versions: 1) as a Thai classical version such as thang plian arranged by Luang Pradit Phairoh (Sorn Silapabanleng) and Thai Damnoen Doi with the lyrics written by HRH Princess Maha Chakri Sirindhorn of Thailand and 2) as a contemporary Thai version: Damnoen Sai as Sangkhit Samphan musical production led by Eua Sunthornsanan,     Sanya Sawat by Phayong Mukda, and Khuen Phitsawat by Saman Kanchanaphalin. Therefore, this article examines the musical differentiations amongst various versions of Lao Damnoen Sai by focusing more on the Thai contemporary version. 

         On the one hand, Thai classical versions were arranged based on Thai classical music tradition. On the other hand, contemporary Thai versions employ the nua tem formation, which has no uean (wordless vocalisation) in the vocal part. The prominent adaptation found was the addition of melody in the second section, whereas Damnoen Sai, as a Sangkhit Samphan musical production, remains entirely melodies of the original version. 

         Various adapted versions of Lao Damnoen Sai could be indicators to support the popularity of this song, which perfectly reflects the musical value and aesthetics of Lao Damnoen Sai.