AN ANALYSIS IN PLENG PRAJUMWAT ON THE THAI MUSIC SCHOOL OF MASTER TEACHER RUAM PROMBURI

Abstract

This article examines the Khru Ruam Phromburi Music School composition Prajumwat. Khru Ruam learned the Prajumwat from a Mon descendant, Khru Sum Dontricharoen. Then Khru Ruam transmitting this song to the students, namely Mr.Pramuan Krutsing, Mr.Surin Jeuahom, Mr.Phum Pheuyphaoyen, and Mr.Udomsak Phromburi. The analysis of Prajumwat revealed that the composition employed two groups of scales, namely the GABxDEx and CDExGAx scale groups. The technique for playing the Kong Mon of Prajumwat involves a variety of movements of the hands. Prajumwat's musical performance encompasses four distinct styles. 1) normal performance 2) playing the remaining tracks on the return round, including Khaek Mon Bang Khun Phrom, Mon Ram Dap, Salika Khamen, Asae Woonkee, etc. 3) Performing in variation form (Thang Plein) by incorporating the Yam Khum melodies into the main composition. 4) performing the Prajumwat Thang Mai by following the Old Prajumwat style. Additionally, the form of the song's melodic structure and its performance manner indicate that it has been adaptable and flexible; depending on the musical culture of the music school, the playing technique can be altered.