Abstract
Abstract This article examines the process of combining three distinct traditional music cultures in Pattani, Thailand, into one piece of music. The author was the music director of the “Hoamroang Sam Prasan” (Overture: Harmony of the Three). Since the three musical traditions – Nora, Rong Ngeng and Digir Hulu, and Chinese drums ensemble – are similar yet different, the work was both easy and difficult. As someone with long experience in intercultural music, I developed a distinct way to do collaborative work. I seek to ensure musicians contribute their best to the piece, establish bonds of trust to co-operate, so they are willing to share in different ideas and training. The project drew the best from traditional musicians so they could develop new work on their own terms with their own musical abilities in a mode I call “conservative contemporary music.” Both artists and audiences could better appreciate the vitality of different musical traditions and their lively interactions more fully.
Highlights
How to combine different living musical traditions into a single piece of music? This article provides an answer to this question, and suggests an approach to thinking about and working through that problem
In August 2016, I was invited by Master Thammanit Nikomrat, a gifted master of the traditional Nora art form from Songkhla, Thailand to work with him on an intercultural and cross-disciplinary music project that sought to combine traditional Nora music with traditional Chinese drum music and traditional Rong Ngeng and Digir Hulu music into one single piece of music (Nikomrat 2019)
Master Thammanit planned to assemble a group of young performers who could play music from Nora, Chinese drums, and Rong Ngeng / Digir Hulu musicians from Decha Pattana Yanukun School in Pattani city, with assistance from local music experts in those traditions
Summary
Master Thammanit Nikomrat, Nora vocal, trae, percussion; Kittisak Sa-ahdchinda, Nora drums; Anurak Deekaew, Nora tub, Chinese percussion; Niwat Sae-lim, Nora gong and ching; Chayut Achaiyoung, Nora trae; Sutthipong Chuaynusondhi, Nora pi; Anuwat Kheowjan, Chinese drum; Sahassawas Khongshu, Chinese drum; Viradech Thongkham, Chinese drum; Thares Nawayo, Rong Ngeng accordion; Wiwitchai Phahukul, Rong Ngeng gong; Chakradulya Sopha, Rong Ngeng rammana, percussion; Yongkrit Sainate, Hulu rammana; Hafis Jehmah, Hulu vocal and rammana; Haffahn Jehmah, Hulu rammana. To step into this type of music-making, musicians need to have personal assets and availability Those who are new to this type of work need time to absorb the idea and explore on their own terms so they can catch up with those who had had experiences before. Some of the student performers found it challenging in the previous months to make time for the rehearsals and prepare for their exams This helped us realize that we may need to reconfigure the ensemble to continue its work into its phase. Three young musicians did make to the final phase to perform with the professionals: two young players on Chinese drums and one who played accordion for Rong Ngeng.
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