Piphat Korat Ensemble: A Case study of Piphat Phrommarach Ensemble

Abstract

The objective of this research was to study the conditions, body of knowledge regarding, and roles of the Piphat Korat ensemble by utilizing a case study of the Piphat Phrommarach ensemble. This was a qualitative research study, and the data was collected by examining documents, conducting interviews, and by making observations in Paktongchai and in other nearby districts in Nakhon Ratchasima Province. The results showed that the status and history of the development of Piphat Phrommarach ensemble had consisted of 2 phases. The first phase took place before 2490 B.E. (1947) under the patronage of Phrommarach temple, while the second phase, which began around 2520 B.E. (1977), represented a phase of freedom from the temple. Presently, the Piphat Phrommarach ensemble is driven mainly by musicians from the Kamprommarat family headed by Mr. Boonchoo Kamprommarat, who is a member of the family’s second musical generation and who serves as the leader of the band, as well as the teacher of the heritable body of knowledge. Most of the musical instruments in the band have been made by the band except for those that are made of metal because they require high levels of production technology that are only available outside of the area. The band arrangement is the same as that of the Piphat Khrueang Khu ensemble. With regard to the body of knowledge, the oratory songs, which have been passed on are composed of overtures, fragmentary songs, and long compositions, which focus on the music for instrumental performances in the area. With regard to its social role, the band serves the society by holding both personal and public traditional religious ceremonies, which are both auspicious and not auspicious in the Paktongchai District, as well as in and around Nakhon Ratchasima.