An Analysis of Pleng Rueang in Phatthayarat’s Piphat Nang Hong Ensemble: A Case Study of Pleng Rueang Nang Hong, Hong Thong

Abstract

The purposes of this research were: 1) to study the history and process of Pleng Rueang Hong Thong performance and 2) to analyze the elements and combination of Pleng Rueang Hong Thong. A qualitative research methodology was implemented with Ethnomusicology. A document study and semi-structured interviews were used to collect the data.

The results showed that Pleng Rueang Hong Thong, used in the Piphat Nang Hong ensemble and typically played at a funeral, is in the Pleng Rew category.  The structure of Pleng Rueang Hong Thong consists of Hong Thong song (Pleng Sam Chan), Oh Lao song (Pleng Rew), and Salika Kaew song (Pleng Hang Krueang). Elements considered for the analysis consist of melody form, Nha Tab form, melody movement form, and scale. All songs in Pleng Rueang Hong Thong have C pentatonic scale in common. As for the Pleng Rueang Hong Thong combination, four aspects were found; namely, 1) the composition of variation in Hong Thong song, 2) the combination between Hong thong song and lead melody of Pleng Rew which helps create the complete end of the song so it allows the combination of Pleng Rew by using the same pattern known as Wak Tham, 3) the combination between lead melody of Pleng Rew and Pleng Rew Oh Lao by using Look Yon at the end of the song, and 4) the combination between Pleng Rew Oh Lao and Pleng Salika Kaew Song Chan by using Look Yon at the end of the song, which absolutely creates a harmonious combination between these songs.