Tai Yai Musical Performative Culture of Percussive Instruments (Drum), and Stringed Instruments in Shan State of the Republic of the Union of Myanmar (Taunggyi Province).

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Kumkom Pornprasit

Abstract

This research is based on a fieldwork carried out in Taunggyi province in Shan state of Myanmar. It aims to study the principles of ensembles, musical practices, and performance methods as well as melodic patterns of klong kon yao (a conical long drum), klong mong seong (a two-headed barrel drum), and tor yor horn (a fiddle). The research findings show a klong kon yao ensemble combining a klong kon yao with different sizes of cymbals and 5-7 small and flat gongs. The tunes made by each mong (flat gong) is an interval fifth apart. Drum patterns accompany a bird dance (fon nok) are varied giving signals to dancers. There are four syllabic calling used in thamnongtham melodies which are performed in a procession. In regard to klong mong seong, only one musician who could play this drum was found. The klong mong seong ensemble consists of klong mong seong large cymbals and mong. Drum patterns are an alteration of left and right hand beating on the strong beats. The research findings also show that a fiddle ensemble is called a jad thai ensemble. Tor yor horn can be played both as an accompaniment to a singing performance and in an ensemble. Its playing techniques include vibrato, non-embellishment, fingering, trilling, gliding, three-note coupling and short phrases. Four distinctive characteristics of melodic phrases include the followings: (1) combination of long and short melodic phrases; (2) a sentence with additional ending; (3) transposition of melodic phrases; and (4) melodies with European musical accents.

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Author Biography

Kumkom Pornprasit, Asscoiate Professor of Music Department, Faculty of Fine and Applied Arts, Chulalongkorn University, Bangkok

Head of Thai Music Department

References

Akkhani Mulmek. Shan State History and Revolution. Bangkok: Matichon Press, 2005.

Kerliao. interview by Kumkom Pornprasit, Taunggyi, March 11, 2016.

______. interview by Kumkom Pornprasit, Taunggyi, March 12, 2016.

Komkam, P. “Tai Yai’s Musical Performing Culture of Percussion and Winded Musical Instruments in Shan State of the Republic of the Union of Myanmar.” Journal of Information, no. 1 (2015): 45-56.

Pornprasit, K. “Watthanatham kān banlēng dontrī Thai phāk nư̄a [Musical Performing Culture of Music in Northern Thailand].” Ratchadaphiseksomphot Endowment Fund, Chulalongkorn University, 2006.

______. “Klō̜ng kon yāo : rabīapkān banlēng læ kān prasom wong [Klong Konyao: Performance Methods and Ensemble Practices]. Ratchadaphiseksomphot Endowment Fund, Chulalongkorn University, 2010.

______. “Watthanatham kān banlēng dontrī Tai Yai čhangwat Mǣhō̜ngsō̜n [Tai Yai’s Musical Performing Culture in Mae Hong Sorn Province].” Government Budget Grant, 2011.

_______. “Watthanatham kān banlēng dontrī thai yai čhangwat Chīang Mai [Tai Yai’s Musical Performing Culture in Chiangmai Province].” Government Budget Grant, 2012.

______. “Watthanatham kān banlēng dontrī thai yai čhangwat chīang rāi [Tai Yai’s Musical Performing Culture in Chiang Rai Province].” Government Budget Grant, 2014.

______. “Watthanatham kān banlēng dontrī Thaiyai praphēt klō̜ng kon yāo klō̜ng mō̜ng sœ̄ng læ khrư̄angdontrī praphēt khrư̄angsāi nai rat chān sāthānran hǣng sahaphāp mīa mā ( mư̄ang sī pō̜ ) [Tai Yai’s Musical Performing Culture of Glong Gon Yao, Glong Mong Seong and Stringed Musical Instruments in Shan State, the Republic of the Union of Myanmar (Hsipaw City)]”. Government Budget Grant, 2015.

Sangkam Jangyod. interview by Kumkom Pornprasit, Taunggyi, March 12, 2016.

______. interview by Kumkom Pornprasit, Chiangmai, September 30, 2016.

Sao Yawd Serk, Lieutenant General, Niphatporn Pengkaew, and Nualkaew Burapavat. The Horizon Shan. Bangkok: Siam Parithas Press, 2012.

Tasui. interview by Kumkom Pornprasit, Taunggyi, March 14, 2016.

Tunjing. interview by Kumkom Pornprasit, Taunggyi, March 11, 2016.