แนวคิดการเรียบเรียงเสียงประสานเพลงไทยลูกทุ่งของศิลปินแห่งชาติ ประยงค์ ชื่นเย็น

Abstract

Abstract This study aimed to explore Prayong Chuenyen, a national artist, musical concept in Thai folk songs arrangement as follows: 1) the biography and influences on his musical work; 2) the combination of Thai musical culture concept; and 3) The theme of Thai folk song arrangement. Qualitative research method was used in this study. The subjects included 5 songs of Prayong Chuenyen, a national artist, arrangement which received awards from His Majesty the King during the period of 2519 - 2534 B.E. selected by purposive sampling. The finding demonstrated the followings: 1. Prayong Chuenyen, a national artist, grew up in the social and cultural milieu of the Thai countryside. The folk songs and Thai music that he heard from a temple near his home were the main motivation on his work. He started playing music in the brass band at his school. He was also a part-time musician after he graduated school. He tried to arrange music according to his experience and through listening to professionals work before taking a course in musical arrangement. He used his musical knowledge and ability, his bravery in presenting a unique of creativities, and his intention to develop arrangements of Thai folk songs. His arrangements were performed by famous singers and some was recognized by His Majesty the King. Moreover, he arranged the music for the song written by HRH Princess Maha Chakri Sirindhorn. 2. Prayong Chuenyen, a national artist, has harmonized combining both the musical cultures of Thai music and Thai melody in Western music. Since the composer, singer, and musician were Thai, Thai styles were confounded naturally in the play. He adapted melodies from Thai songs, used both Thai and international musical instruments to present simulations of Thai musical instruments. These were led to the connections and harmony in songs. 3. Prayong Chuenyen, a national artist, has conceptualized in Thai folk song arrangement as follows: 3.1 The unique identity appeared in performance of two primary instrumental sections including: 1) the percussion section; and 2) the melody section joined to main musical instrument such trumpet. 3.2 The introduction, interlude, and ending were adapted from a short melody or phrase which can lead to lyrics and end properly. In brass group, the movement that supports the main melody was constructed primarily from basic chords, especially the introduction of the five songs use only one chord. 3.3 All 5 songs were used primary chord during the preceding: 1) Song “Mae Yok” was used Cm Gm chord; 2) Song “Noom Na Ro Nang” was used F Bb C7 chord; 3) Song “Ei sao Transistor” was used Em Am Bm7 chord; 4) Song “Khoi Wao Man Bo” was used Bb F7 chord; and 5) Song “Som Tam” was used Bm Em7 F#m7 chord. The perfect cadence ending was found in all 5 songs. However, the imperfect cadence was shown in 3 songs: Song “Noom Na Ro Nang”, Song “Khoi Wao Man Bo”, and Song “Som Tam”. The cadential was displayed in 4 songs: Song “Noom Na Ro Nang”, Song “Ei sao Transistor”, Song “Khoi Wao Man Bo”, and Song “Som Tam”. Besides, this indicated the mostly used in the dominant 7 chord was the first one, conversely, there were no pattern chord found in all 5 songs. Key Word: Thai Folk Songs Arrangement, Concept.