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Aspects of Improvisation in Thai Classical ASPECTS OF IMPROVISATION IN THAI CLASSICAL DRUMMING WITH SPECIAL REFERENCE TO THE TAPHON By ANANT NARKONG Submitted for the Degree of Master in Philosophy University of London School of Oriental and African Studies Centre of Music Studies 1992 Abstract This research is intended to clarify ideas about Thai music by looking at the relationship of the basic nathap (drumming pattern) and the sa/-making ('improvisation' for Thai drumming) in the context of actual performance. The taphon, the double-headed barrel drum used in the different types of ensembles in Thai classical music, is chosen to be the focus of the study. The thesis is divided in to two parts. In part I, three main issues are proposed to be studied: a) a general description of the drum. This chapter includes the general description of the taphon; the myths and history of the taphon which link it with other Asian musical cultures, other drums of the taphon-type, and the place of the taphon in music ensembles; b) the traditional process of music transmission in taphon lessons. Here the initiation ceremony, yok kru, and the teacher homage ceremony, wai kru, are examined, the taphon tuning, the basic techniques of playing the taphon, the basic strokes, the taphon exercises and the early lessons of nathap and sai are discussed; and c) the drum pattern, nathap, including the definition, the history and development of nathap, the relationship of nathap to other aspects of the rhythmic structure of Thai music, and finally the classification of nathap. Part II is an analysis of nathap and ^/'-making by investigating the micro and macro structure of the performed nathap songrnai in two selected pieces, phleng si nuan chan song and phleng khaek horrathet thao. The attention is paid to the process of analysis by applying the concepts of statistical, structural and graphical study to examine the features of nathap and sai. The data for this research are based upon source readings, the transcriptions which are transcribed from the video recordings made by the Centre of Music Studies, S.O. A S. in 1990, and the author's knowledge as a drum student and drumming experience in Thailand. Ill PREFACE The aim of this thesis is to establish a general methodology of studying and analysing the taphon, the double headed drum used in the different types of ensembles in Thai classical music. The taphon drum has been deliberately selected from the various Thai drums to be the main subject of the research which can also be used as a model for further studies on the other drums and the other non-melodic percussion instruments. Generally speaking, the major function of the drums used in Thai music is to provide the rhythmic accompaniment part to the music, and the drummer is the accompanist who has the great responsibility of making the rhythmic patterns and some degree of embellishment to the music. In performance, the drummer will use the learned basic drum pattern, nathap, to mark the repeated rhythmic cycle of the composition and will also develop it into the more complex degree called sai. It is thought that the sai can be drawn from the past experiences of the drummer and his simultaneous nathap variations, and the combination of traditionally learned sai and constant improvisation is the typical fashion of the Thai drummer. When tradition and innovation are uniquely merged in the context of actual performance, it is interesting to investigate the relationship of these two cases which may lead the reader to more knowledge of this subject and to make an appreciation of Thai music to some certain extent. Due to time constraints, in order to understand the taphon and its relation to Thai music in the most possible ways, the author will take the following aspects of study as the main road to reach the target: a) a general description of the drum b) the traditional process of music transmission in taphon lessons c) the nathap d) the analysis of nathap and sai -making The thesis will be divided into two parts. Part I will dealt with the first three subject matters in general whereas part II will focus intensively on the aspects of rhythm in Thai music and the analysis of the nathap and the sai -making. The process of research is based on direct drumming experiences and the reading of the relevant works previously done by other Thai music scholars. To understand the characteristics of nathap and sai -making, the author will also use the scientific approach suggested here by his friend and collaborator, Mr. Um Mongkol who assisted the author with technical aspects of the structural analysis in part II. This analytical approach is based on the concepts of statistical, structural and graphical study to examine the features of nathap and sal The main material in the analysis part came from the taphon performance and transcriptions on the video recordings produced by the author for the Centre of Music Studies, S.O.A.S. in March 1990. IV Since there is no equivalent or suitable definition of some Thai musical vocabulary in English, the author will therefore use the Thai terms and will explain the meaning of these as they arise throughout this thesis. Also, It was found that, due to the lack of terminology and musical theory both in Thai and Western languages, it was thus required to introduce some musical terms relating to various divisions and positions in the nathap. Some traditional Thai terms have been re-defined or re-named and some new words have also been coined. The glossary of Thai music terms with their original Thai scripts can be found in Appendix E with brief explanations. The system of transliteration of Thai into Roman letters is adopted and adapted from the Royal Institution of Thai Literature and the Library of Congress to be conveniently typed on the normal computer keyboards. However, it should be noted also that in this simplified English version (typed in italic form), despite the fact that the sound of the speech-tones is not marked, the reader is required to understand the tonal system in Thai language. There are 5 different tones used in written and spoken language: medium tone; low tone; high tone; rising tone; and falling tone. When these tones are applied to a specific word, the meaning of that word will be changed accordingly. Another important remark is that there is no plural in Thai grammar, therefore, subjects will always retain their singular form even when the meaning is plural. V Acknowledgement Research for this thesis was made possible by a generous grant from Chulalongkorn University for which support I am most grateful. I should like particularly to thank Dr. Richard Widdess, my supervisor, for his patience, guidance, criticism, and encouragement throughout my thesis writing. 1 would like to express my profound gratitude to Mr. Um Mongkol, for his continuous help, sharing with me his ideas, helping me to understand some points that 1 was unable to work out for myself. His knowledge on technical aspects of the structural analysis, in particular, is extremely helpful. Without him, this work would be impossible. My appreciation is extended to Mrs. Christine Um Mongkol who has been kind enough to read all of the text and also her warm hospitality. Obviously, it would not have been possible to produce a work of this kind without the main road that directs me into the world of Thai music. The traditional teacher homage ritual, wai kru, should pay to all of my beloved music masters, kru Boonyong Kethkong, kru Jamnian Srithaiphan, kru Somphong Rohitajol, kru Phin Ruangnont, kru Somphong Nuchphichan, kru Phichit Chaiseri, Ajan Bruce Gaston, Ajan Sa-ngad Phookhaothong and Ajan Panya Roongruang, who donate their glorious hearts to enrich my knowledge and to accommodate my love in music. On personal level, I am deeply indebted to Dr. Donald Mitchell, Dr. Somsak Ketukaenchan, Dr. Alec Roth, Dr. David Hughes, kru Tak and pa lid from Luang Pradithphairoh Music Foundation, Fongnam musicians, pi Praew Hagan, khun Dusadee Swangviboonpong and especially to my dearest friend, Tood Too, who all were very kind, friendly and helpful to me throughout my student years. Above all, I would like to thank my parents for their patience, understanding, and support all the way to the final stages. VI CONTENTS Page No. Abstract ii Preface iii Acknowledgement v Part 1 General description of the taphon. the taphon lessons and nathap Chapter 1 Introduction .............................................................................. 1 Chapter 2 The taphon................................................................................... 3 2.1 Introduction............................................................................................. 3 2.2 General description of drums in Thai classical music...................... 3 2.3 General description of the taphon.................................................. 5 2.4 Myths and history of the taphon ................................................... 7 2.5 Other drums in the taphon-type ..................................................... 9 2.6 The place of the taphon in music ensembles .................................... 10 Chapter 3 The taphon lessons .............................................................. 19 3.1 Introduction.......................................................................................... 19 3.2 The initiation ceremony, yok kru and the teacher homage ceremony, wai kru ..20 3.2.1 The yok kru ceremony ............................................... 20 3.2.2 The wai kru ceremony ..............................................
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