THE TECHNIQUE OF MALAYU DRUM PERFORMANCE IN NANG HONG SONG: A CASE STUDY OF KRU THIRAPOL NOINID

Abstract

    The aims of this research were to study the arrangement of Nang Hong song and to study the technique of Malayu Drum performance in the Nang Hong song arranged by Kru Thirapol Noinid. The qualitative research methodology was utilized in this study.                                                                                                                                                                                                                                                          Kru Thirapol Noinid is the expert in Thai music and has produced the work of Thai music especially the arrangement of Nang Hong song. The first series of Nang Hong song was divided into 12 series. The technique concerned in arrangement was Look Tok of Sam Chan song which was various, i.e. Do (C), Re (D), Me (E), and La (A). Then, the Pleng Raw relating to Look Tok was collected in Sam Chan song. As the result, the relation and combination of songs were categorized into: 1) Look Tok in 8th room of Sam Chan and Pleng Raw had the same Look Tok and 2) different Look Tok and they were found 6 times. There was touching sound from the last Look Tok of Sam Chan song with Look Tok of Pleng Raw in the 4th room and from the last Look Tok of Sam Chan with Look Tok of Pleng Raw in the 8th room. These were frequently found in Khu sa nit’s work.                                                                                                                                                                            In Nang Hong song, Kru Thirapol Noinid has contributed techniques of Malayu drum performance as following: firstly, song Chang and Sam Chan followed by original version but in Hok Chan, Nar Tab was played with three solo instruments: Nar Tab Nang Hong Hok Chan, Nar Tab Nang Hong Sam Chan, and Nar Tab Nang Hong Sam Chan. The most important technique of Drum performance in Sam Chan song was based on Song entrance to Nar Tab Nang Hong playing, using Nar Tab Nang Nai with various rhythms of songs, and played Nar Tab in the final rhythm of song. There were many techniques of drumming in Pleng Raw which was Nar Tab leader drumming before fast rhythm entrance, Nar Tab followed by rhythm, performance Pleng Raw before Nar Tab drumming during rhythm, and expanding fast song and putting Nar Tab drumming with rhythm accordingly.                                                                                                                                                              Finally, to perform Malayu drum, performers need to work closely with grand public partners and to truly understand the rhythm. Kru Thirapol Noinid has designed drumming. The performance will be beautiful and smooth when the performers properly follow his pattern.