Room C 500 (11.00 hrs)

Sorn-Prasidh-Ladda Silapabanleng: Phakavali Theatrical Songs

Chanyapong Thongsawang

 

The Reharmonization of Prasidh Silapabanleng's Melody

Warit Techakanont

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Room C 305 (11.00 hrs)

The integration of music with archeology, linguistics, history, and geography in Upgrading Cultural Heritage for Creative Tourism in Mae Hong Son Province’s research project 

Pongthep Jitduangprem

Uplifting Tunes, Vivid Reminiscence and Misty Town: A musical portion of interdisciplinary research in archaeology, art history and history, and music

Suppabhorn Suwanpakdee

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Sorn-Prasidh-Ladda Silapabanleng: Phakavali Theatrical Songs

Asst. Prof. Dr. Chanyapong Thongsawang

Princess Galyani Vadhana Institute of Music

Prasidh Silapabanleng composed theatrical plays in a fruitful period between 1946 and 1951 with his wife, Ladda (Saratayon) and his father, Luang Praditpairoh (Sorn Silapabanleng), for the Phakavali theatrical troupe, which included singers, dancers and around 14 musicians with western instruments. Phakavali is the first musical play conducted by the Silapabanleng family. The libretto, consisting of 6 scenes, was written by “Sangthong” (Arun Boonyamanop). The story depicts a lovelorn relationship between the goddess Phakavali and Prince Stanonda. The play presumably premiered in 1945 with great success, followed by the second performance probably in May 1946, presided over by H. M. King Ananda Mahidol and his younger brother Prince Bhumibol Adulyadej (later H. M. King Rama 9).

The plays created by the Silapabanleng family are valuable artistic works depicting cultural heritage and social aspects of that period. The music of the play Phakavali includes both Thai traditional music and compositions combining the unique characteristics of Thai music with western harmony. The latter consists of five airs, analyzed, transcribed and performed in the online concert Sorn-Prasidh-Ladda Silapabanleng: Phakavali Theatrical Songs.

The Reharmonization of Prasidh Silapabanleng's Melody

Warit Techakanont

Conservatory of Music, Rangsit University

Prasidh Silapabanleng was a prominent Thai musician, whose compositions had been published in several categories, ranging from small compositions for theatrical production to symphony orchestra. From the 1940s, his works were distinctively advanced compared to that of others in Thai music society in that period because of the combination of Thai and Western music. Some of his compositions have been arranged into orchestra or music ensemble, while such arrangements in Jazz are limited. Hence, in this paper, this author aims to contribute to this line of work by presenting Prasidh’s works in a form of lead sheets with new reharmonizations. Combining traditional and Jazz harmony, it is a challenge to choose the appropriate tension for each chord. In total, 37 pieces of Prasidh’s works were chosen. Reharmonizations were accomplished using chromatic chords, slash chords, as well as functional and non-functional harmonies. This author hopes that the reharmonization in these lead sheets will provide a new perspective on this great original work for Jazz and Pop musicians.

The Integration of Music with Archeology, Linguistics, History, and Geography: Upgrading Cultural Heritage for Creative Tourism in Mae Hong Son Province

Dr. Pongthep Jitduangprem

Princess Galyani Vadhana Institute of Music

This research project is about upgrading tourism with the cultural heritage of Mae Hong Son province. In 2021-2022, after information about nature and cultural research materials were gathered, the team journeyed to survey, study and talk with people around Mae Hong Son province. The project focused on music in addition to other subjects in the sciences and humanities, including archeology, linguistics, and historic sciences. The integration between these elements required researchers to exchange knowledge and methods of implementation with one another. For example, the geographer may question how the river or land formation happened while a musician may talk about melody and rhythm, aesthetics and performing skills. A historian will look for how the people establish their culture of how they belong in the society. The results of the research were used to create a workshop to be a guide with the art of communication in English. The gained knowledge of nature and from the culture research were shared, and a participatory creative music performance was included at the end of the workshop.

This project made a new exchange of knowledge possible, as mentioned before, and involved communication with people in the community through verbal, nonverbal, and musical languages, engaging their hearts and soul even if it is a reproduction of musical elements. Performing music supported the workshop and allowed it to end with an artistic display of the beauty of the cultural heritage of Mae Hong Son for people in the community. 

Uplifting Tunes, Vivid Reminiscence and Misty Town: A Musical Portion of Interdisciplinary Research in Archaeology, Art History and History, and Music

Dr. Suppabhorn Suwanpakdee

Princess Galyani Vadhana Institute of Music

Mae Hong Son province in northern Thailand, framed for rich cultural and natural heritage, shows a diversity of folk tunes that reflects the ways that people live, including such aspects as farming, customs, and traditions. Stories are recorded in many art forms, especially in music, which is passed on and bequeathed to the next generation, allowing future generations to comprehend and remember the roots of their ancient culture. 

Four selected districts from Mae Hong Son, Pang Ma Pha, Mae Sariang, Mueang Mae Hong Son, and Khun Yuam, provided materials for creating music. The approach taken was that of cross-cultural research and included interviewing, notating, and making music while working together with folk musicians. This fieldwork was complementary to the interdisciplinary research “Upgrading Cultural Heritage for Creative Tourism in Mae Hong Son Province.” The creative output of this project was four pieces for string quartet, all of which, through composing and arranging practices, kept the essence of the original musical spirit intact. The music was shared online and through live performance. 

Through a discussion of this project, this presentation will demonstrate the symbiotic relationship between the knowledge of archaeology, art history and history, and music.