MUSIC IDENTITY OF JAKHAY THANG PHUEN MELODIES BY KHRU NIPA APHAIWONG

Abstract

This research aims to study the context related to the transmission of Jakhay (Thai Zither) performance by Khru Nipa Aphaiwong and to examine the identity of the Jakhay melodies in the traditional compositions of Khru Nipa Aphaiwong.

The findings reveal that Khru Nipa Aphaiwong passed on her Jakhay performance skills to two groups of students: members of the Thai Music Club at Ramkhamhaeng University and private students who studied at her home. Khru Nipa Aphaiwong selected her students carefully before beginning her instruction. The teaching method involved oral transmission and demonstration of playing techniques without the use of musical notation. Instruction began with basic techniques, such as wrapping the Jakhay plectrum and using it properly and progressed through compositions from a suite of fundamental songs called “Tab Thon Phleng Ching” to advanced solo pieces, adjusted according to the student's abilities. Khru Nipa Aphaiwong taught her students with great compassion, fostering a deep bond between the teacher and students.

Regarding the identity of Jakhay melodies, it was found that the melodic variations of the Jakhay consist of eight forms: sequential melodic progression, alternating high and low notes, repetition of the same note, sudden leaps of three to four notes, abrupt shifts in melody, contrapuntal melodic development, melodic overlay, and incorporation of various Jakhay techniques into the melody. The techniques of the Jakhay melody are categorized into three forms: trills, use of wire strings, and non-repetitive melodic improvisation.