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The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works

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The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 8-2019 Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works Tachinee Patarateeranon Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Patarateeranon, Tachinee, "Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works" (2019). Master's Theses. 93. https://digscholarship.unco.edu/theses/93 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School TRADITIONAL SOUNDS ON WESTERN INSTRUMENTS: THE USE OF TRADITIONAL MUSIC OF MAINLAND SOUTHEAST ASIA IN WESTERN ORCHESTRAL WORKS A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Tachinee Patarateeranon College of Visual and Performing Arts Department of Music Music History and Literature August 2019 This Thesis by: Tachinee Patarateeranon Entitled: Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works has been approved as meeting the requirement for the Degree of Master of Music in the College of Visual and Performing Arts, Department of Music, Program of Music History and Literature Accepted by the Thesis Committee: _______________________________________________________ Dr. Deborah Kauffman, D.M.A., Advisor _______________________________________________________ Dr. Jittapim Yamprai, D.A., Committee Member Accepted by the Graduate School _____________________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions Research and Sponsored Projects ABSTRACT Patarateeranon, Tachinee. Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works. Unpublished Master of Music thesis, University of Northern Colorado, 2019. The cultural preservation of traditional music has become a serious issue in the mainland of Southeast Asia. The impact of political revolution, economic problems, westernization, and modernization have all but eliminated traditional music from its homeland. Western music, on the other hand, is flourishing in the region and has had a strong influence on the transformation of traditional musical genres in order to attract the attention of today’s society. As a result, one way to help traditional music survive in this modern context is to incorporate it with western genres. This research, therefore, aims to demonstrate the effectiveness of integrating traditional music elements of the mainland Southeast Asia with western styles of contemporary composition. Because the countries of mainland Southeast Asia have been confronting different challenges, a variety of new ensembles and repertoires have been created in distinctive directions, each reflecting the status of the individual countries. From the evaluation of the information gained from interviews of five native mainland Southeast Asian composers and score analysis of selected compositions by those composers, three different categories can be identified for the methods the composers have developed to convey the sounds of traditional instruments and ensembles: substituting the sound of traditional instruments with western instruments or ensembles, developing western performance techniques to evoke traditional styles and sounds, and the combination of iii both categories. Unfortunately, these methods have raised questions about their effectiveness in cultural preservation, since they fail to present the authenticity of traditional music. Nonetheless, these methods still provide opportunities for conservation. At the very least, contemporary composition is one way to keep traditional music alive in modernized societies that are interested in the cultural conservation of their traditional musical heritages. iv TABLE OF CONTENTS CHAPTER I. INTRODUCTION ………………………………………………………….. 1 II. OVERVIEW OF THE STATUS OF MUSIC IN MAINLAND SOUTHEAST ASIA ……………………………………………………….. 9 The Status of Traditional Music in the Mainland of Southeast Asia …. 10 Issues Related to Performers of Traditional Music ………………. 10 Status of Traditional Musicians ……………………...……….. 10 Changes in Listeners’ Musical Preferences …………………... 11 Government Support ……………………………….……………... 13 Cultural Promotion Strategies………………………………… 13 Education ……………………………………………………... 16 Funding ……………………………………………………….. 19 The Status of Western Music in the Mainland of Southeast Asia ……. 21 Western Orchestras ……………………………………………….. 22 Government Support: Education …………………………………. 25 III. CONTEMPORARY COMPOSITION AND COMPOSERS IN MAINLAND SOUTHEAST ASIA ……………………………………….. 27 Contemporary Compositions for Orchestra ………………………….. 27 The Traditional-Instrument Orchestra ……………………………. 28 Combinations of Traditional and Western Instruments …………... 29 Solo Concerto ………………………………………………… 29 Pop Culture Song Style for Mixed Orchestra ………………… 30 The Western Orchestra …………………………………………… 32 Pop Culture Song Style for Western Orchestra ………………. 32 New Compositions in Western Classical Style, Integrating Traditional Music …………………………………………. 33 Contemporary composers of Mainland Southeast Asia ……………… 36 Thailand …………………………………………………………... 37 Cambodia …………………………………………………………. 40 Vietnam …………………………………………………………... 41 IV. APPLICATION OF THE SOUNDS OF TRADITIONAL MUSIC FROM MAINLAND SOUTHEAST ASIA ……………………………………….. 45 Contemporary Compositions and Their Backgrounds by Country …... 46 Thailand …………………………………………………………... 46 Cambodia ………………...……………………………………….. 48 v Vietnam …………………………………….……………………... 49 Composition Techniques Used in Imitating the Sounds of Traditional Musical Instruments and Ensembles …………………………. 50 Imitating Traditional Instruments ………………………………… 50 Replacing Traditional Instruments with Western Instruments .. 51 Performance Techniques for Imitating Traditional Instruments ……………………………………………….. 55 Replacing Traditional Instruments with Western Instruments While Applying Performance Techniques for Imitating Traditional Instruments …………………………………... 61 Imitating Traditional Ensembles ………………………………..... 67 Replacing the Sound of Traditional Ensembles with a Group of Western Instruments ……………………………..…….. 67 Performance Techniques Used to Represent a Traditional Ensemble: The Pi-phat mon …………………………..….. 72 The Combination of Replacing a Traditional Ensemble with a Western Ensemble and Performance Techniques: The Pinn peat Ensemble ………………………………….. 73 Representing Other Aspects of Mainland Southeast Asian Musical Cultures in Narongrit Dhamabutra’s The Empires ……… 75 V. CONCLUSION …………………………………………………………….. 79 REFERENCES ………………………………………………………….................... 86 APPENDIX A. Institutional Review Board Approval………………………………………. 90 vi LIST OF EXAMPLES 1. Sam-Ang Sam, Eternity for Orchestra, mm. 113-116; replacing the Khmer aerophone with the western oboe………………………………... 52 2. Dang Huu Phuc, Eight Symphonic Pictures from Vietnamese Folk Song, I, mm 1- 3; the pi thiu melody played by western alto flute……………... 53 3. Dang Huu Phuc, Ngay Hoi – Fêtes for Symphony Orchestra, I, mm. 1-6; substituting the clarinet for the bass Tai ethnic bamboo flute.…………... 53 4. Narongrit Dhamabutra, The Harmony of Chimes, II, mm. 63-64; western harp playing in the style of the Burmese harp.…………………………... 55 5. Narong Prangcharoen, Sattha, mm. 34-41; imitating the sound of the pii mon using cello.………………………………………………………….. 56 6. Narongrit Dhamabutra, Concerto Sankitamankala for Violin and Orchestra, I, mm. 147-149; the unique dissonant sound of the khaen in the solo violin part.……............................................................................. 57 7. Narongrit Dhamabutra, Concerto Sankitamankala for Violin and Orchestra, III, mm. 153-155; drone sound of the khaen played by the violin…………………………………………………………................... 58 8. Narongrit Dhamabutra, The Harmony of Chimes, II, mm. 59-61; simulating the plucking sound of the Burmese harp with the cello……... 59 9. Dinh Lang Tran, Viet Nam - The Endless Fields, III, mm 3-6; depicting hitting the strings of the dan tran by using col legno in the strings.…….. 60 10. Sam-Ang Sam, Eternity for Orchestra, mm. 134-137; staccato pizzicato in the strings depicting the sound of the roneat.………............................ 61 11. Narong Prangcharoen, Tri-Sattawat, mm. 1-9; imitating uean and sa-bat practice by the bassoon.………………………………………………….. 62 12. Narongrit Dhamabutra, The Empires, II, mm. 84-86; imitating the sound of the gourd monochord instrument by using string pizzicato with molto vibrato. ……………………………………............................................... 64 vii 13. Narongrit Dhamabutra, The Empires, III, mm. 140-145; depicting the sound of the tro ou.…………………………............................................. 65 14. Dang Huu Phuc, Eight Symphonic Pictures from Vietnamese Folk Song, VI, mm. 25-30; violins and viola playing glissandi to imitate the sound of the dan nhị.…...……………………………………………………….. 66 15. Narongrit Dhamabutra, The Empires, V, mm. 296-299; using dissonance in different percussion instruments to imitate the sound
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