Khong Wong Yai Melody of Thai, Lao, and Cambodian Song of Sathukarn: A Comparative Study

Abstract

Sathukarn is one of the most famous songs in Thai, Lao and
Cambodian music. It is one of the songs played in the series of Hom
Rong of Thailand, Laos and Cambodia. We may assume that in the
musical culture of Thai, Lao, and Cambodian Pi Phat or Pin Phat
ensemble, the melody of Khong Wong Yai may serve as the basic
melody for the ensemble. How are the Khong Wong Yai melody of
Sathkarn in each culture alike? And what are the characteristics of Khong
Wong Yai melody of Sathkarn in Thai, Lao, Cambodian culture? The
problematic of this article is the following: how does the Khong Wong
Yai melody of Sathukarn of Thai, Lao, and Cambodian culture, which is
very important as being the first song in the Pi Phat culture, and has a
little chance of being modified, in spite of being under improvising
culture, show their sharedness and identities?
The objective of this study aimed to study and compare the
Khong Wong Yai melody of Thai, Lao and Cambodian Sathukarn. The
results of study are the followings: firstly, it appears that the Khong Wong
Yai melody of Thai, Lao and Cambodian Sathukarn have the same length
of the melody: 33 sentences or 66 clauses. They share the same sound
at the end of each clause. And they use the same two scales: Sol and Re
scales. Note that Thai Sathukarn possesses the specific melody for
playing back. Secondly, the study of the characteristics of Thai, Lao, and
Cambodian Sathukarn lays on the 3 criteria: melodic composition,
melodic system, and playing techniques. In conclusion, the
characteristics of Thai, Lao, Cambodian Sathukarn are originated from
melodic patterns, sound composition, and playing techniques. The
comparison of the Kong Wong Yai melody of Sathukarn in Thai, Lao, and
Cambodian cultures leads to the discussion on the differences between
KhongWong Yai melody and basic melody.