‘Len – Mue’ Techniques of The Khong Wong Yai in CHOET based on Performing Style of Khru Sorn Wongkong

Abstract

The study of Len Mue, the khong wong yai hand-playing techniques on the Choet of Khru Sorn Wongkhong had the objectives as follows: 1) studying the biography and music works of Khru Sorn Wongkhong and 2) exploring the khong wong yai hand playing techniques on the Choet with 16 subunits. The research data were collected from observation and interviews with three groups of ley informants: main key informants, Thai classical music teachers, and Thai classical music scholars; research data had been analysed, synthesised, and presented as descriptive research.

The result of this research indicated that:1) Khru Sorn started learning Thai classical music from Khru Thong Ritthiron, who profoundly trained him to be a proper Thai classical musician until Khru Sorn worked as a royal civil servant under the administration of Chao Phraya Thammathipbodi (M.R. Pum Mapakun), one of the high-level nobles in King Rama VI reign. In that period of work, Khru Sorn learned Thai classical music from Phaya Sa-no Duriyang (Cham Sundaravadin), who trained him to be a sophisticated and talented Thai classical musician. Later, Khru Sorn made a number of creative and remarkable music works for the khon wong yai by creating a decorative variation and realisation melody of the khong wong yai with special musical techniques. 2) There were four formats of Len Mue in Chot: (1) ti chiao, (2) len samnuan thamnong lak, (3) ti len chang-wa, and (4) ti sa-bat; all techniques help khong wong yai player to create the particular realisation reflect the emotion properly.