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    Aeric Ang
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    The document summarizes different types of traditional Thai music and dance performances. It discusses piphat music which accompanies masked dance dramas based on the Ramakien epic. It also describes khruang sai ensemble, a string ensemble that accompanies dance, singing and holidays. Another type of court music called mahori typically has 3 instrumentalists and a singer and is meant for entertainment. Traditional Thai music is part of a lineage of gong-chime instruments throughout Southeast Asia and the highest and most sacred form is considered piphat music composed of percussion and some winds.

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    The document summarizes different types of traditional Thai music and dance performances. It discusses piphat music which accompanies masked dance dramas based on the Ramakien epic. It also describes khruang sai ensemble, a string ensemble that accompanies dance, singing and holidays. Another type of court music called mahori typically has 3 instrumentalists and a singer and is meant for entertainment. Traditional Thai music is part of a lineage of gong-chime instruments throughout Southeast Asia and the highest and most sacred form is considered piphat music composed of percussion and some winds.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pptx, pdf, or txt
    10 views11 pages

    Thai 2

    Uploaded by

    Aeric Ang
    The document summarizes different types of traditional Thai music and dance performances. It discusses piphat music which accompanies masked dance dramas based on the Ramakien epic. It also describes khruang sai ensemble, a string ensemble that accompanies dance, singing and holidays. Another type of court music called mahori typically has 3 instrumentalists and a singer and is meant for entertainment. Traditional Thai music is part of a lineage of gong-chime instruments throughout Southeast Asia and the highest and most sacred form is considered piphat music composed of percussion and some winds.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pptx, pdf, or txt
    of 11

    Kontra GaPi Thailand Tour ‘19

    -Thai music is
    part of a line of
    gong-chime
    instruments
    spread
    throughout
    Southeast Asia
    -Considered
    the highest and
    most sacred of
    Thai music,
    -Composed of
    percussion and
    some winds
    Khong Wong Yai Ranat Ek

    Ching
    (Main Timekeeper)
    Pi Nai
    Taphon Klong That *Instruments may have doublings in
    (Secondary Beat) register or type depending on
    the context
    -Masked Dance
    Drama
    -Piphat
    accompaniment
    -Based on
    Ramakien a Thai
    epic
    -Masked Dance
    Drama
    -Piphat
    accompaniment
    -Based on
    Ramakien a Thai
    epic
    -Masked Dance
    Drama
    -Piphat
    accompaniment
    -Based on
    Ramakien a Thai
    epic
    -String
    ensemble
    -Accompanies
    dance, singing,
    holidays
    -Another type
    of court music
    for
    entertainment
    -Typically has 3
    instrumentalists
    and a singer.
    Klong Kaek
    Kendang

    Santoor

    Saw Sam Sai Erhu


    Khim

    Sitar

    Jakhe
    SOURCES:
    https://www.britannica.com/place/Thailand/Music-and-dance
    https://www.britannica.com/art/gong-chime
    http://www.seasite.niu.edu/thai/music/classical/thaiensemble/pi_phat_ensemble.htm
    https://thailandmusicproject.weebly.com/thailand-music.html
    https://disco.teak.fi/asia/khon-the-masked-pantomime/
    https://disco.teak.fi/asia/lakhon-forms-of-dance-drama/
    http://www.seasite.niu.edu/thai/music/classical/thaiensemble/mahori_ensemble.htm
    https://ilpthailandmusic.weebly.com/khreaung-sai-ensemble.html
    http://thaimusicinter.blogspot.com/2012/02/khruang-sai.html
    http://www.istov.de/htmls/thailand/thailand_start.html
    http://factsanddetails.com/southeast-asia/Thailand/sub5_8e/entry-3261.html#chapter-7
    http://www.tsukuba-g.ac.jp/library/kiyou/2000/4.ONOZAWA.pdf

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