The Identity of Pleng Na-Phat: Composed by Sumran Kerdphol

Abstract

This study aimed to analyze the music structure and identity of Pleng Na-Phat composed by Kru Samran Kerdphol. A qualitative research methodology was implemented. The data were collected via document research. The results revealed that 1) Pleng Na-Phat composed by Kru Samran Kerdphol consisted of 11 songs, all of which belong to Pleng Tra category containing Song Chan tempo with 4 Mhai La, 8 Mhai La, and 9 Mhai La structure. Rua was played at the end of each song. 2) There were 3 penta-centric modes of Pleng Na-Phat composition: Nai, Nok, Klang. 3) With respect to the identity of Pleng Na-Phat, there were 30 rhythm patterns used in the composition of Pleng Na-Phat. A, B, C, and H patterns were found in all songs. The melody patterns were displayed in straight patterns comprising no movement, ascending movement, and descending movement. Most of them were simple melody patterns without any appearance of the zigzag ones. Besides, there were 3 types of melodies used in the composition: specific melodies, Na-Phat melodies, and general melodies. Such melodies were recognized as Kru Samran Kerdphol’s melodic identity which can be classified into 6 patterns. 4) Concerning the distribution of Kong Wong Yai hands that demonstrated the identity of Pleng Na-Phat composed by Kru Samran Kerdphol, 8 techniques were found: Sai Prakhob Kwa, Kwa Prakhob Sai, using the left hand, rhythmic manipulation with the right hand, Lueam with 2nd interval, playing together with 2nd interval, Kror with 2nd interval, and 5th interval that was not Luk Yon.