International (Humanities, Social Sciences and Arts) Veridian E-Journal, Silpakorn University Volume 10 Number 5 July - December 2017 ISSN 1906 – 3431

THE MUSIC OF RICE IN AMPHAWA*

การสร้างสรรค์ผลงานทางดุริยางคศิลป์ ชุด ต้นข้าวแห่งอัมพวา

Kritsanaphong Thatsanabanjong (กฤษณพงศ์ ทัศนบรรจง)** Pornprapit Phoasavadi (พรประพิตร์ เผ่าสวัสดิ์)***

Abstract The aims of this research "The Music of Rice in Amphawa" are twofolds: (1) to study contexts of rice culture of ; and (2) to compose a set of a Thai music composition to celebrate and praise the existence of rice farming in Amphawa". Qualitative research is employed in gathering information from Thai musicians, rice farmers, Department of Agriculture officers, and local folk musicians in the province. The research findings reveal that Amphawa remains a cradle of Thai arts and cultural heritage. The composition in this study contains three sections and it is designed to be played by a Piphat ensemble. The first section is dedicated to worship Mother Earth, Goddess of Water, and Goddess of Rice by farmers in Amphawa, Samut Songkhram province. The second section depicts life cycles of rice struggling to grow in natural environments. The third section celebrates success of rice harvest. Special rhythmic patterns of two-headed drums (Taphon) is arranged for ritual music in the first part. Rhythmic patterns of double-headed drums (Klong- Khaek) in hok chan for the second part is newly composed. The rhythmic patterns of Klong- Khaek and drums (Thon) in the third part are the integration of Thai music knowledge and indigenous songs of farmers in Amphawa. The traditional principle of employing pillar tones from original melodies is employed. The original melodies were selected from compositions by ancient music masters as well as a revival of Paungmalai song which has already vanished from of Samut Songkhram province.

Keywords: Thai Music Composition, Rice, Amphawa

* This article is a synopsis of a doctoral dissertation entitled “The Music of Rice in Amphawa” submitted in partial fulfillment of the requirements for the degree of Doctor of Fine and Applied Arts Program in Fine and Applied Arts, Faculty of Fine and Applied Arts, Chulalongkorn University. ** Doctoral Student in Doctor of Fine and Applied Arts Program in Fine and Applied Arts, Faculty of Fine and Applied Arts, Chulalongkorn University. *** Assistant Professor Dr., Department of Music, Faculty of Fine and Applied Arts, Chulalongkorn Unviersity 492

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Introduction Agriculture is a traditional occupation since the ancient time. It supports four basic human needs: food and water, shelter, clothing, and healthcare. Later on, people began to settle down and plant seed on the soil with a search for food security. Based on their original invention and experience, they were able to recognize that if they threw or buried seeds or roots, the seeds could be fruitful enough to feed groups of people. According to this idea, mankind began to grow seed in the field, farming, planting, and harvesting, especially the main staple for their livings, ‘Rice.’ Rice is a kind of grains in Gramineae family. Its scientific name is Oryza Sativa L. Chanmongkhon (1993:9) states that rice is an essential source of carbohydrate for world population’s livings such as in dessert or alcohol and whiskey production. Rice scientists have categorized the rice into two types: Asian rice (Oryza savita L.) and African rice (Oryza glaberrima Steud.). The Asian rice is from India, Bangladesh and Southeast Asia. Its cultivation spreads throughout Asia, America, Australia, Europe, and Africa. Moreover, Asian rice is categorized into three species: Senica or Japonica, Indica, and Javanica. On the other hand, African rice grows in West Africa only. According to National Center for Genetic Engineering and Biotechnology (2001:13, 30- 32), rice is grown well in temperate and tropical zone. It propagates from latitude N 53° to latitude S 35° and it grows well from sea level to 2,500 meters above sea level. Thailand is in the changeable area of wild rice and cultivated rice. There are five types of wild rice propagating all over Thailand. From those types, there are two rice types which are originally planted in Asia: O.rufipogon Griff and O.nivara Sharma et Shastry. Thailand not only has various rice types, but also has the diversity of rice species. Nowadays, the Rice Research Institute has collected numerous species of cultivated and wild approximately 19,000 samples. They found that there are at least 5,500 samples from different species which have obvious characteristics, for instance, rice, glutinous rice, early variety, medium variety, and late variety rice. Within each characteristic, there are also miscellanies, for example, distinct amylose quantity which is the reason why the cooked rice is soft, hard or sticky. More than 80 percent of Thai people consume rice, 130 kilograms per year per person in average. Due to the fact that rice has been the main dietary staple of Thailand, there has been a long story of growing rice in Thailand. At present, rice farming covers the area about 63 million rai per year, including in-season and off- season rice, and there are rice productivity 22 million tons approximately.

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Thus, rice is known as one of crucial industrial crops of Thailand for it is the main product both in domestic and international market. In addition, Thai people normally consume rice, and the rice is generally grown in every region in Thailand. One of rice farming areas is Samut Songkhram province situated in Central Thailand. It is bordered in south by the west coastline of the . As a province of a fertile land of water, Samut Songkhram also has sediments transported by natural water; therefore, the crops grows well. Samut Songkhram is a coastal lowland in the area of estuary of Meklong River. It is covering area about 417 square kilometres or about 461,000 rai. The province is subdivided into three districts (): Amphawa, Mueang Samut Songkhram, and Bang Khonthi.

Figure 1: Rice field with the Coconut Tree Backdrop in Amphawa District

Amphawa is the only one district out of three that has rice farming in Samut Songkhram. The province is a unique province with long history since the reign of the King Prasat Tong in Ayuthaya period. It was the most prosperous age that had trade ties with foreign countries until the chronicle of Ratanakosin ear. At that time, it had a catchword “Park in is . Park outside is Bangchang.” Bangchang was a sub-district of Amphawa district in Samut Songkhram province. Samut Songkhram is also a province of three districts, three water types and three farms. The words ‘three districts’ connotes that it is salt water area in Mueang Samut Songkhram because the water in Meklong River becomes salt water. It is also mackerel fishery area. Meklong is one of the most important salt-farming areas in Thailand, as it is mentioned by Amphawa Agriculture Office (2012: 3). Moreover, the area Amphawa district is brackish water area. As sea level rises in the first four hours, there is the mixture of fresh water and

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seawater in estuary of Meklong River and it is called brackish water. In consequence, some trees thrive in brackish water, such as Nipa palm trees and cork trees, lived a lot of fireflies. For , it is fresh water area. When the sea level drops, the water in Meklong River becomes fresh water as normal. There are vegetable and fruit fields, for instance, coconut, lychee, pomelo and it is also significant fresh-water fish breeding grounds such as red tilapia. The words ‘three fields’ refer to salt farm, black tiger prawn farm, and rice farm. They cover area of Samut Songkhram approximately 200,000 rai. The farmers have the area of rice farming 2,400 rai in Amphawa district; 1,200 rai in Preknamdaeng and 1,200 rai in Tambon Wat Pradu. Totally, the rice farming area constitutes five percent of the area of Samut Songkhram.

Figure 2: Rice Field of Local Rice Strain of Preknamdaeng Sub-district, Amphawa,

Mr. Watcharin Charoenned, the headman of Preknamdaeng Sub-district, Amphawa, Samut Songkhram, stated that Khao Leuang Pratew is a traditional rice strain of Amphawa. In Amphawa, the rice farming area is floodplain area. Khao Leuang Pratew has high stem, it does not need special care as it can grow naturally. As a result, it is suitable for Amphawa’s rice planting condition. However, the farmers nowadays rarely grow Khao Leuang Pratew species since it offers little productivity. Khao Leuang Pratew yields 900 kilograms per rai, while other rice strains can produce 1,500 kilograms per rai approximately. (Watcharin Charoenned, interview, 1 March 2013).

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According to Mr. Somboon Daeng A-roon, the president of Community Rice Center of Preknamdaeng sub-district, Amphawa, Samut Songkhram, farmers in Amphawa district grow rice as the following nine steps: 1. Ploughing the field 2. Paying respect to Mother Earth (Phra Mae Thoranee), Goddess of Water (Phra Mae Khongkha), and Goddess of Rice (Mae Phosop) 3. Sowing the rice seeds 4. Rice seedling stage 5. Baby vegetative stage 6. Adolescent stage 7. Flowering stage 8. Rituals for the Goddess of Rice 9. Cultivation (Somboon Daeng A-roon, interview, 1 March 2013)

Figure 3: Plowing in the Rice Field in Preknamdaeng Figure 4: Rice Harvest in sub-district, Amphawa Preknamdaeng sub-district, Amphawa In the past, agriculturists in Samut Songkhram commonly grow rice for household consumption, exchange with others for basic needs and they can do Khao Leuang Pratew rice farming solely once a year. Nevertheless, the original rice farming has already transformed into principal economic consumption. It emphasizes productivity for trading and exporting as well as new technology in planting new rice strains. It enables farmers to do the paddy field more than once a year. However, it has an effect that the agriculturists’ life has been changed since most of them initially focus only on the profits from the rice. Therefore, they disregard the damage to the fields which maintains ecosystem and also to the tradition and belief of rice which gradually disappear.

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As a result, I initiate to conduct a fieldwork in Amphawa to gather information on rice culture, process of rice farming, rituals and belief related to rice. Fieldwork with local farmers and historical information gives me an inspiration to compose “the Music of Rice in Amphawa” in order to share indigenous knowledge on rice planting of agriculturists in the past.

Research process and method I have collected data from document research and fieldwork. The data is analyzed and classified into three sections. The first section is planting tradition of farmers in Amphawa district. The second section is performing arts of Samut Prakarn province and Thai folk songs regarding to planting rice. The third section is Thai music concepts and theories which are music ensemble, music performance, tune, music elements, song genres, song structures, and Thai music composition. Data concerning to music composition is classified and categorized. The data has been studied by analyzing the data related to knowledge in song creating process of “Rice of Amphawa” song. In addition, music theories and nine rice planting steps are investigated. As a result, it leads to Thai music composition, ensemble arrangement, band rehearsals, adjustment and amendments of first drafts of the composition, and notation. Next, it comes the preparation for a final public presentation via academic documents, exhibition, and a Thai music concert.

Description for the composition “The Music of Rice in Amphawa” is the newly composed music. It consists of three sections. The melodies are composed specifically for Pipat mai khang ensemble (hard-mallet pipat ensemble). The first section contains three pieces - Pleng La Ong Din (meaning Particles of Earth in English; the world pleng means a melody or a song) - Pleng Rin Sai Nam (meaning flowing water) - Pleng Kam Med Khao (meaning Ripen Rice Seed) The first part is dedicated to worship Mother Earth, Goddess of Water, and Goddess of Rice due to the fact that the rice farmers in Samut Songkhram normally perform this pay respect to three Goddess rituals before they grow rice. A Piphat Mai Khang ensemble, which normally performs to accompany rituals, is selected to render these three compositions in the first section.

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Pleng La Ong Din (Particles of Earth)

Figure 5: A pipat mai khang ensemble featuring “Music of Rice in Amphawa”

Pleng La Ong Din is composed to show remembrance, faith, and worshipfulness to Mother of Earth. The pillar tones of original melodies are derived from Pleng Plook Ton Mai (planting tree), a traditional sacred piece in Thai music repertoire. Since Pleng Plook Ton Mai is the song which is about soil and sacredness, the pillar tones of each line in Plook Ton Mai are kept in Pleng La Ong Din. Pleng La Ong Din is designed to have nine lines. According to Thai beliefs, number nine is associated with ceremonial functions. The song is also played three rounds as a reference to the prayer for Rattana Tri (Triple Gem), the three holy gems which honor Lord Buddha, Dharma gem and Sangha. The notation below show an example of melodic phrases indicating a flat and vast land of rice field. A rice field requires a flat land to grow rice since the land must be able to contain and keep water for the rice to grow. The image and significance of land gave an inspiration to experiment with composing the melodies that yield the feelings of spreading wide in one dimension on the land while keeping the last pitches 5 and 3 of the lines as shown in the eight bars.1 Bar 1 2 3 4 5 6 7 8

1 This notation employs Thai traditional music notation system which divides a line into eight bars. Each bar contains four syllabic units. Numeric number 1,2,3,4,5,6, and 7 are employed to represent the seven pitches in Thai music system. Number 2 represent the first sound produced by hitting on the first knob of Khong Wong Yai (a big gong circle). 498

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Right ------5 ------5 ------5 ------5 Left ------2 ------7 ------6 ------5

Right ------5 ------5 ------5 ------3 Left ------7 ------6 ------5 ------3

Pleng Rin Sai Nam (flowing water) Pleng Rin Sai Nam The composition illustrates the remembrance and worship to Goddess of Water. The pillar tones of original melodies are derived from a sacred piece titled Lo. The song is related to water and also represents holiness. Pleng Rin Sai Nam consists of 9 lines. The reason is that number nine is associated with faith, belief, and divine holiness. This new composition is also played three rounds similar to the prayer to the three gems. It displays the belief of Amphawa farmers in the Goddess of Water. The below notation exhibits the melodies signifying the flowing water. Right ------5 ------3 ------5 ------3 Left ------3 ------3 ------5 ------3

Right ------5 ------3 ------2 2 - 3 - 2 - 7 - 6 Left ------3 ------3 - - - - - 2 - - - 3 - 2 - 7 - 6

Right ------3 ------6 ------2 ------6 Left ------7 ------6 ------2 ------6

Right ------3 ------6 - - 2 2 - 3 - 5 - 6 - 5 - 3 - 2 Left ------7 ------6 - 6 - - - 7 - 5 - 6 - 5 - 7 - 6

Pleng Kam Med Khao Pleng Kam Med Khao shows the remembrance and worship to Goddess of Rice. The pillar tones of original melodies are derived from Pleng Proi Khao Tok (Spread Popped Rice song). Due to the fact that Pleng Proi Khao Tok has the sacred content relating to rice, I 499

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include the last melody of each line in Pleng Kam Med Khao. Pleng Kam Med Khao also consists of 9 lines. The number nine in Thai culture is also associated with the upper world beings, spiritual engagement, and divinity. Right - - - 7 - - 77} - - 22} - - 33} - - - 7 - - 77} - - 22} - 2 - 3 Left - - - 3 - - {7 - - - {2 - - - {3 - - - - 3 - - {7 - - - {2 - - - - 3

In the second part, there are four new compositions: (1) Pleng Whan (sowing); (2) Pleng Tonkla (seedling); (3) Pleng Turb Toh (growing); (4) Pleng Khem Khaeng (being strong). The songs in this second part demonstrate contexts of growing rice in Samut Songkhram. Pleng Whan (sowing rice) Pleng Whan is the newly composed song which presents the process of sowing the rice seeds. It is played in a lively manner with moderately and gently rapid tempo at 84 beats per minute in two variations. There are repetitions of melodies that depict the movement of rice farmers moving in the rice paddy field. As they repeatedly scatter the rice seeds both in short and long distance, they also enjoy their collaborative agricultural work. First Variation Right - - 5 5 - - - 7 - 7 - 7 - 2 - - - 3 – 2 - - - 3 2 7 6 7 - 2 - - Left - 5 - - - - 6 - 6 - 6 - - 2 - - - 3 – 2 - - - 3 2 7 6 7 - 2 - -

Right - 5 3 5 - - - 3 2 7 6 7 - 2 - - 7 6 - - - - - 5 - 5 - 5 - 5 - - Left - 5 7 5 - - - 3 2 7 6 7 - 2 - - - - 5 2 - - 3 - 3 - 3 - - 2 - - Second Variation Right - 5 3 5 - - - 7 - 7 - 7 2 5 - 5 - 2 7 2 - 7 2 3 2 3 3 3 - 2 - - Left - 5 7 5 - - 6 - 6 - 6 - 2 5 - 5 - 2 4 2 - 7 2 3 2 3 5 3 - 2 - -

Right - 5 3 5 - - - 7 - 7 - 7 2 5 - 5 7 6 - - - - - 5 - 5 - 5 - 5 - - Left - 5 7 5 - - 6 - 6 - 6 - 2 5 - 5 - - 5 2 - - 3 - 3 - 3 - - 2 - - Repeat

Pleng Tonkla (Sprout) The first part of the song mentions farmers' awaiting for rainy season after they scatter the rice seeds. In the middle, the tempo is slow describing the splashing raindrops. In the last part, it represents the germination stage. The seedlings gradually grow from the soil

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and widely spread over the field. In composing this melody, I selected pillar tone (Look Tok) from the first section of Pleng Keak Mon Bang-chang and extended it to a double length and structure called Hok Chan. Pleng Keak Mon Bang-chang is derived from Pleng Keak Mon Bang- chang Song Chan which indicates the uniqueness of Amphawa. The composer of these two songs is Kru Nai, a music teacher of Amphawa. The below notation shows melodies describing the sprouts' growth.

Right - - 7 1 - 1 - 1 - - 2 3 - 3 - 3 - - 5 6 - 6 - 6 - - 7 1 - 1 - 1 Left 5 6 - - 7 - 7 - 7 1 - - 2 - 2 - 2 3 - - 5 - 5 - 5 6 - - 7 - 7 -

Pleng Turb Toh (Growing) This song starts from low-pitched to high pitched tones. It is also performed in slow tempo and then gradually raised up to upbeat melodies that employ syncopation. The composition shows the rice's growth. I focused on the pillar tones or the ending notes derived from the second section of Pleng Khek Mon Bangchang. Then, I extended it to double the structure and length of the original melody. The newly composed melody is in a rhythmic structure known as hok chan. The below notation gives an example of melodies indicating the rice's growth. Right - - - 5 - - - 6 - - - 7 - - - 2 - - - 7 - - - 2 - - - 3 - - - 3 Left - - - 5 - - - 6 - - - 7 - - - 2 - - - 7 - - - 2 - - - 3 - - - 5

Pleng Khem Khaeng (Being trong) Pleng Khem Khaeng demonstrates the determination of rice to fight against obstacles and overcome all nuisances in the field that are resistant to brackish water. Even when the sea level rises, Amphawa rice can grow well in Samut Songkhram. The melodies proceed with rolling technique called sabad and kroh Yao in the first part. In the middle, the melody is in syncopated rhythm (chang Wa Yok) and has many repeated phrases in order to present the rice' breakthrough.In the final part, it shows the success that the rice can fully grow. I selected only pillar tones (look-Tok) in the third section of Pleng Kaek Mon Bang Chang song Chan and double the structure and length of the original melody to indicates the uniqueness of Amphawa. The notation of the below melody is an example of a passage inferring to rice's obstacles.

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Right - 5 - - (4 - - 5 - 5 - - (4 - - 5 - 5 - - (4 - - 5 - 5 - - (4 - - 5 Left - 2 - - 32) - 2 - 2 - - 32) - 2 - 2 - - 32) - 2 - 2 - - 32) – 2

Right ------5 - 5 - - (4 - - 5 - 5 - - (4 - - 5 - 7 - - (7 - 2 Left ------2 - 2 - - 32)- 2 - 2 - - 32)- 2 - 4 - - 65)- 2 In the third section, there is only one new composition named Pleng Keb Keaw (Rice Harvest). Pleng Keb Keaw presents the rice cultivation. It is divided into two tempo: song chan and chan diew. The song obviously shows that the cultivation is a hard work, but sometimes agriculturists can have joy and relaxation as well. Song Chan or moderate tempo serves as a refrain (soi pleng) and chan dew as solo and combination melody. The content demonstrates that the rice farmers work together collaboratively in unity during the cultivation. As such a teamwork and utmost efforts, success and happiness can be obtained in the field. This song is inspired by Pleng Ruang Thip of Suntharaphon band. Kru Eua Sunthornsanan, a singer, Thai composer and bandleader of Suntharaphon band, was born in Amphawa, Samut Songkhram. Kru Eua modified a traditional Thai piece called Pleng Kaek Sa-rai Song Chan into Pleng Ruang Thip. Similarly, Luang Pradit Phairoh, who also was born in Amphawa, employed extending and shortening techniques with Pleng Kaek Sa-rai in moderate tempo. The result is finally a full composition of Pleng Kaek Sa-rai Thao. I have selected the most inspired lyric line from Pleng Ruang Thip. It is written as followings: In Thai: Ruang Thip Ngam Thang Ruang, Phee Khoy Huang Dang Duang Jai Translated into English: Golden field is all beautiful, I love you like you are my heart. The lyrics are then transferred into notes. ------2 - 3 - 2 - 7 – 6 - 5 - 7 - 2 - - - 5 - 5 - - - 6

Rhythmic patterns of Pleang Ruang Thip ------Ruang -Thip- -Thang- -Phee- -Huang- -Dang- - - -Jai Ngam Ruang Khoy - Duang

This line is extended by using only the ending note of the melodic line from song chan and further extended to hok chan. Besides, song chan rhythm is shortened into chan diew. A pair of Klong Khaek (barrel drum) is assigned to play a rhythmic pattern in moderate tempo or song chan rhythm and a Thon (goblet drum) plays the one in fast tempo or chan diew. The melodic phrases of singing pattern of Pleng Paung Ma-lai yield pillar tones to the

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compositional framework. Pleng Paung Ma-lai is regarded as a local performance of Amphawa; however, at the present the performance is extinct. Call and response between high-pitched and low-pitched instruments are important techniques used in composing this section as it is shown in the notation.

Pleng Keb Keaw Song Chan Right - - - 2 - - - 3 - - - 5 - 6 - - - 7 - - - 2 - 3 - 3 - 3 2 7 – 2 Left - - - 2 - - - 3 - - - 5 - 6 - - - 7 - - - 2 - 3 - 5 - 3 2 7 – 2 Call Response Right ------3 5 7 2 ------2 3 - 5 – 6 Left ------7 2 6 7 ------6 7 - - - 2 – 3 Call Response Right ------3 5 7 2 ------7 6 - 6 - 7 – 2 Left ------7 2 6 7 ------5 3 - 3 – 2 Call Response Right 3 2 2 - 3 - 5 - 7 - 2 - 3 - 3 ------7 6 - - - 5 – 6 Left 7 - 7 - 5 - 4 - 2 - 3 - 5 ------5 3 - 2 – 3 Repeat Chan Diew Right - - - - - 7 - 2 - - - 3 - 2 - - - - - 3 - 2 - 7 - 3 - 2 - 7 - 6 Left - - - - - 4 - 2 - - - 3 - 2 - - - 3 - - - 2 - 7 - 3 - 2 - 7 - 6

Right - - - - 2 - 6 7 - - - - 2 - 7 2 ------5 - 2 - 3 - 5 – 6 Left - - - - - 5 – 4 - - - - - 6 - 6 - - - - - 5 - - - 6 - 7 - 5 – 6 Repeat

Discussion Amphawa is renowned for its productive source of artists, fruitful land, black tiger prawns and rice farming. As a significant cradle of Thai art and culture, Amphawa is also known for the only one of three districts that has paddy farming area as 0.5 percent of all areas in the province. In addition, there are a lot of rice strains, which offer main supplies of 503

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food productivity to Bangkok. The result of “The Music of Rice in Amphawa” is a Thai music composition based on inspirations, concepts and musical framework from fieldwork in Amphawa district; therefore, it leads to the composition “Rice of Amphawa”. It contains three sections: the first part is concerned with remembrance and worship of Mother Earth, Goddess of Water and Goddess of Rice. The second part is dedicated to the rice growing tradition in Samut Songkhram, employing musical elements: penta centric mode (Sol La Te x Re Mee x) in favor of creating the sacred melodies. Moreover, the use of melodies shifting strategy that is executed only by Ranad Ek is used to play variations of the main melody and other instruments. The techniques are used in the main melody in order to pay respect to the traditional melodies which is part of a new composition in Thai traditional music. Thai music compositions recently have been enriched by a number of young composers who has been seeking a new paradigm of expressing their traditional art work of music compositions. A new design of musical instruments for music therapy in Thailand has also been introduced by Rodskan (2015). As a result of these new movement of traditional music compositions, a new set of knowledge Thai music composition knowledge has been developed further to expand a horizon of diverse interest in composing melodies, structure of compositions, and ensemble arrangement. Thai compositions recently have been enriched by a number of young composers who has been seeking a new paradigm of expressing their traditional art work of music compositions. For example, Komkhum and Pornprasit (2015) published an article describing their research and creative work on Thai music composition. Their music composition is based on a fieldwork in Nan province and interviewed local musicians especially drummers. Their recent composition employed Pleng Raung traditional method of compositional techniques. Pleinsri and Binson (2016) rely on the method of altering the melodies, imitating and interrupting, as well as accelerating and reducing the tempo. My composition, Music of Rice in Amphawa, employs the technique in Thai music that is based on the realization of neya pleng (Sumrongthong 2000: 68). Apart from new compositions of traditional music in contemporary Thailand, a new design of musical instruments for music therapy in Thailand has also been introduced by Komkum and Rodsakan and Binson (2014). As a result of these new movement of traditional music compositions, young Thai music composers have developed Thai music compositional techniques and further created a new set of knowledge regarding Thai music composition knowledge. A set of new ensemble and musical instruments such as Rodsakan and Binson (2014) has also been developed further to expand a horizon of diverse interest in composing melodies, structure of compositions, and ensemble arrangement. 504

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Conclusion “The Music of Rice in Amphawa” is an inheritance of Thai music knowledge and agriculturists’ rice farming in Samut Songkhram. It indicates that the use of music is a crucial approach in transferring information. Additionally, the premium quality rice is an object of pride to people in the province of Samut Songkhram and certainly deserves to be conserved. Regarding further research, studies of harvest songs in Thailand can be studies as an inspiration for a new work of arts.

Acknowledgement I would also like to thank students majoring in Thai music performance, Faculty of Arts, Silapakorn University for sound recording of this music performance. I would also like to thank students majoring in Thai music performance, Faculty of Fine and Applied Arts, Chulalongkorn University for a public presentation and a debut concert at Music Hall, Chulalongkorn University on May 30, 2017.

References Agricultural Extension Office of Amphawa District. 2014. Agricultural Development Plan in Amphawa. Samut Songkram: Office of Amphawa District. (in Thai) Charoennet, W. Interview, March 1, 2013. Daeng A-run, S. Interview, March, 1 2013. Komkhum, P., Pornprasit, K. 2015. Thai Classical Music Composition Pleng Ruang Puja Nan. Journal of Urban Reearch Culture, 10: 52-63. Mongkol, C. 1993. Rice. Bangkok: Educational Publications and Academic Documents Development Department, Supervisory Unit, Teacher Training Department. (in Thai) National Center for Genetic Engineering and Biotechnology. 2001. Thai Food Science and Technology. Bangkok: National Science and Technology Development Agency. (in Thai)

Pleinsri, A., Binson, B. 2016. Phra Phutha: A Thai Music Composition based on Astrological Beliefs. Journal of Urban Research Culture, 12: 102-109. Rodsakan, T., Binson, B. 2014. The Creation of an Integrated Set of Musical Instruments for Mentally Disabled Children. Journal of Urban Research Culture, 9: 68-77.

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