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Poprasit 4119 Copy.Pdf Poprasit, Jutamas (2015) The role of music in Thai funeral rituals in contemporary Bangkok : its history, performance and transmission. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/20384 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. The role of music in Thai funeral rituals in contemporary Bangkok: its history, performance and transmission Jutamas Poprasit Thesis submitted for the degree of Doctor of Philosophy in Music 2014 Department of Music School of Oriental and African Studies University of London 2 Abstract This thesis focuses on the role of music in Thai funeral rituals in contemporary Bangkok, examining specifically its history, performance and transmission. The three main ensembles used in funeral ceremonies have been studied extensively in this thesis. The ensembles featured are the bua loy, piphat nanghong and piphat mon. As well as the history of the three ensembles, the thesis has also investigated each ensemble’s unique repertoire of compositions, musical instruments, style of performance and transmission. The research also studies the Thai concept of death and music’s purpose within the context of the Thai funeral ceremony in contemporary Bangkok, with the aim of bringing new substantive information for the benefit of the study of ethnomusicology. There is also an examination of Thai royal funeral music, with particular reference to its role in funeral ceremonies held for elite persons such as government officers. The research undertaken reveals how and why the piphat mon ensemble has usurped the traditional piphat nanghong and bua loy ensembles as the preferred music to be played for the majority of Thai people at their funeral ceremonies. The thesis considers the role played by the Royal Family, in particular HRH Princess Maha Chakri Sirindhorn in preserving Thai funeral music. It also includes my commentary of two renowned music schools in Bangkok, namely Sanoduriyang and Phatthayakoson, in respect of the transmission of funeral music. The concept of huang wicha (guarding musical knowledge) and its influence on Thai funeral music is discussed. The thesis intends to bridge a gap in Western academic music research, as I have discovered that there is a paucity of information regarding this subject in both Thai and English. 3 Contents Abstract 2 Acknowledgements 7 List of Figures 9 List of Musical Examples 11 List of Tables 12 Transliteration of Words and Names 13 Table of Thai Historical Periods and Royal Reigns 16 A Guide to the Names of the Thai Nation (Siam /Thailand) 16 The Thai Traditional Tuning System 17 A Guide to the Names of Thai Teachers 17 Chapter 1: Introduction 18 1.1 Aims and scope 19 1.2 Contribution 20 1.3 Methodology 20 1.4 Research ethics 26 1.5 My own experiences in studying and playing Thai classical music 30 1.6 Review of early and relevant literary sources 34 Prince Naris and Prince Damrong 35 Sathiankoset 36 David Morton 38 Boonchouy Sovat 39 Narongrit Kongpin 41 Jutamas Poprasit 43 Deborah Wong 44 Denis Segaller 46 Dusadee Swangviboonpong 48 Pornprapit Phoasavadi 50 Conclusion 51 4 Chapter 2: Thai music in funeral rites: a historical perspective 52 2.1. The Thai concept of death 61 2.2. Evidence of Thai funeral rituals in murals 66 2.3. The origins of Thai funeral music in rituals 72 Conclusion 96 Chapter 3: Thai funeral rites and music: contemporary practice 98 3.1 Funeral rites and customs in contemporary Bangkok 98 3.2 Examining the logistics of organising a funeral ceremony in Bangkok 110 3.3 Observations of funeral music being played at temples across Bangkok 116 Conclusion 131 Chapter 4: A study of the three most significant ensembles in the Thai funeral ritual 133 4.1 Bua loy ensemble 133 4.1.1 History of the bua loy 133 4.1.2 Musical instruments 136 4.1.3 Repertoire of the suite 138 4.2 Piphat nanghong ensemble 142 4.2.1 History of the piphat nanghong 142 4.2.2 Musical instruments 148 4.2.3 Repertoire of songs 149 4.2.4 Ritual and performance 161 4.2.5 The role of the piphat nanghong in the funeral ritual 165 4.3 Piphat mon ensemble 166 4.3.1 A brief history of the development of the piphat mon in Thailand 166 4.3.2 Mon musical instruments 173 5 4.3.3 The repertoire of the piphat mon ensemble 178 4.3.4 Piphat mon performance: a case study of Mon music being performed in a funeral ritual at Bangtoei temple 183 4.4 The current status of the three main funeral music ensembles in contemporary Bangkok 190 Conclusion 195 Chapter 5: An analysis of the two most prominent Thai Music Schools – Phatthayakoson and Sanoduriyang Music Schools 197 The Phatthayakoson Music School 197 5.1 History of the Phatthayakoson Music School 197 5.2 Famous musicians and composers of the Phatthayakoson Music School 204 5.3 Compositions by the Phatthayakoson Music School for the nanghong suites and in the mon music style 210 5.4 Transmission of the Phatthayakoson Music School 223 5.5 Learning the khong mon wong yai from the Phatthayakoson Music School with Khru Somsak Triwat 225 The Sanoduriyang Music School 229 5.6 History of the Sanoduriyang Music School 229 5.7 Famous musicians and composers of the Sanoduriyang Music School 230 5.8 The structure of the bua loy in the style of the Sanoduriyang Music School 236 5.9 Transmission of music by the Sanoduriyang Music School 237 5.10 The teaching of the bua loy repertoire by the Sanoduriyang Music School 242 5.11 A performance of the bua loy ensemble 245 5.12 Thai concept of “huang wicha” (guarding musical knowledge) 249 Conclusion 254 6 Chapter 6: Conclusion 257 Appendices 265 Appendix 1: Glossary 265 Appendix 2: The basic melody of “Pracham Wat” 272 Appendix 3: The basic melody of “Phleng Rueang Nanghong” 276 Appendix 4: Periods of Thai history and emergence of the three Thai ensembles which are used in Thai funeral rituals 280 Appendix 5: Chao Krom Thap’s family tree 281 Appendix 6: A brief background of the Mon people in Thailand 282 Appendix 7: Description of VCDs 286 Bibliography 293 Discography 306 7 Acknowledgements I would like to express my deepest gratitude to HRH Princess Maha Chakri Sirindhorn for her generous and gracious support. I am so grateful to her for providing me with a second opportunity to come to SOAS. Without her granting me a scholarship, I would never have been able to secure a place at SOAS. I would like to extend special thanks and gratitude to SOAS, Department of Music for waiving all my tuition fees throughout my study period at the University (2008-2012), in exchange for my teaching Thai music at the University. I would like to thank Dr Nick Gray, my supervisor at the Department of Music in SOAS for his invaluable suggestions and advice throughout my study period. A big thank you to my research committee, Professor Owen Wright and Dr Abigail Wood, for their hard work and advice in respect of structuring my chapters prior to my returning to Bangkok for fieldwork. Special thanks to Khru Boonchouy Sovat, my oboe teacher from the Sanoduriyang Music School, who has provided me with excellent tuition and encouraged me to present the beauty of Thai classical music to the Western world. He has also been an invaluable guide in respect of my academic research and never fails to answer any of my questions. I am grateful as well, to Khru Somsak Triwat from the Phatthayakoson Music School for his teaching and sharing his knowledge for the benefit of this thesis. I would also like to acknowledge those masters of Thai music who have passed away for bequeathing a legacy of beautiful Thai classical music for the world to enjoy. I am indebted to my wonderful friend, Philip Wood, and my co-worker at the Thai Music Circle in the UK, Charlotte Howard, for giving up their valuable time to proof-read my work. I owe a special debt of gratitude to my father and mother, who introduced me to the world of Thai music and provided tremendous encouragement throughout my formative 8 years. I would also like to take this opportunity to thank Pi Nu, my dearest sister and Cloris Lim, my wonderful friend from SOAS for their warmest love and huge support. I also am very appreciative of the constant help given to me by the TMC members, particularly Khun Ann, Pi Miaow and Nan. Finally, I would like to extend thanks to Thanpuying Angkarb Boonyatthiti, the Manager and Director of Chitralada School, for allowing me to study at SOAS; to HSH Princess Koraniga Chitrabongs and Khunying Lek from the Ban Plainoen Palace; and to Dr Sirichaicharn Farchamroon and Khru Peeb Konglaithong, for their constant encouragement and for aiding me in innumerable other ways throughout my studies.
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