A Study of the Rhythmic Patterns in Music Ensembles for Lamtat Performances in Phranakhon Si Ayutthaya Province

Abstract

The objectives of this research were: 1) to study the historical background and the rhythmic patterns of music for Lamtat performances in Phranakhon Si Ayutthaya Province, 2) to examine the differences in rhythmic patterns of each music ensemble for Lamtat performances, and record them in both Thai and Western musical notation systems, and 3) To study the attitudes of ensemble leaders towards the sustainability and progression of music accompanied by Lamtat performances. A qualitative research methodology was implemented. The data were collected via field studies and interviews. The sample, selected by purposive sampling, comprised 16 participants from four Lamtat music ensembles, registered with Phranakhon Si Ayutthaya Provincial Cultural Office. The data were analyzed by means of content analysis.

The results indicated that the first two Lamtat music ensembles that were introduced to Phranakhon Si Ayutthaya Province were those of Mr. Chanchai Iamsakkhi, also known as Chanchai Sit Wangte, and Mrs. Jaran Pasor, or Mae Jaran Siangthong. With respect to the rhythmic patterns currently used, only six patterns were found: Myanmar, Mon, Malay, Chinese, Lao, and Western. However, there was no difference in the rhythmic patterns of each ensemble except for the individual techniques and skills of the rhythm leaders or drummers. In addition, the ensemble leaders had positive attitudes towards their career, and strongly believed that music for Lamtat performances could be further developed; however, the lack of support from the public and private sectors led to their major concern.