กราวใน กราวนอก: ประวัติและลักษณะเฉพาะทางดนตรี Krao Nai, Krao Nok; The History and Musical Characteristics

Abstract

This research, using the qualitative research methods aims to study the history and development of Krao Nai, and Krao Nok and to analyze the music to show the characteristics in the musical elements with the explanations of music arrangement for being used in different occasions.  The study reveals that the Krao Nai and Krao Nok songs have been developed since the era of Ayutthaya, and the songs have been used to accompany the Nangyai, Khon, and Lakorn performances. In the Rattanakosin era, after the Pipat-sepa (Thai Ochestra) was set up in Rattanakosin era, after the Pipat-sepa (Thai Ochestra) was set up in the King Rama III’s reign, the songs were used for listening instead of being used for only accompanying the performance. The songs were played by solo piece of different instruments. Later, the song were developed as roots of the overture songs composition such as Homrong Krao Nok (Luang Pradit Pairoh), and Homrom Krao Nai (Kru Pinij Chaisuwan).  The different characteristic of the Krao Nai and Krao Nok is the structure of Mai Klong (drum rhythmic pattern). And the mutual characteristic of the songs is the freely melody arrangement called “Yon” which once shows the relationship of Krao song and Tayoy song. The Krao Nok song was arranged to the pieces of Kru Montri Tramote’s Rabam songs such as Krao Asa and Krao Veerachai. For the song expression reason, the Krao songs have encouraged active sensibility. Krao Keela (the sport anthem) was adapted from Krao Nok by Praya Tammasakmontri.