The Creative Research of Tanyong Music Arrangement for Contemporary Bands

Abstract

The Tanyong song is a traditional folk song of Thai Muslim communities, characterized by its distinctive melody, lyrics, and rhythm, reflecting the cultural and social identity of local communities. Historically, the Tanyong song evolved from Rong-Ngaeng music, which originally used Malay poetry as its lyrics. However, musicians on the Andaman coast, unfamiliar with the Malay language, adapted the lyrics into the Southern Thai dialect to facilitate communication and allow deeper emotional expression by both performers and listeners. Krabi Province once served as a cultural hub for Rong-Ngaeng Tanyong ensembles and a source of income for local musicians. Today, however, only three ensembles remain, as many of the elder folk artists have passed away and there has been a lack of generational transmission. Interest among the younger generation has declined, placing the Tanyong song at risk of disappearing. In response to this issue, the researcher aims to develop and rearrange the Tanyong song to suit contemporary music ensembles. This approach seeks to attract modern audiences and international tourists, thereby providing a means to preserve, promote, and add cultural and economic value to local folk music traditions.

This creative research aims to study the Tanyong songs of the Rong Gaeng Tanyong Dok Thung Fah band from Krabi Province, as well as to arrange these Tanyong songs into contemporary music arrangements. The study focuses on the Tanyong songs performed by the Rong Gaeng Tanyong Dok Thung Fah band from Krabi, selecting five songs to adapt into contemporary arrangements. The selected songs are: 1) Sayang La, 2) Pahree Koah Phan Yee, 3) Lagu Mai, 4) Le Hang Kongkong, and 5) Pahree Koah Phra Thong. The instruments used in the contemporary arrangements include: 1) Piano, 2) Violin, 3) Ranad Ek, 4) Klui, 5) Bass, 6) Small Ramana drum, 7) Large Ramana drum, and 8) Gong.

The research employs various data collection methods, including the study of documents, literature, and related research, as well as fieldwork data collection through interviews, observations, note-taking, and audio recordings. The sample group consists of musicians from the Rong Gaeng Dok Thung Fah band in Krabi Province. The sampling method involved selecting both traditional Thai and Western musicians who are recognized and accepted by the local community. Subsequently, the song data were reviewed and carefully selected to identify suitable pieces for adaptation. The arrangement concepts for harmonizing the songs in a contemporary band format were analyzed and then verified by experts for accuracy. The pieces were rehearsed and refined to ensure completeness and quality. Finally, the arranged songs were performed and presented to the public. The research was conducted over the period from February 2024 to January 2025.

Research findings reveal that the original Tanyong song consists of a single melodic line, utilizing melodic repetition with only the lyrics being altered. In live performances, the lyrics may be improvised or modified depending on the singer’s emotions or the specific situation, and do not necessarily remain the same each time. Some parts of the lyrics incorporate Southern Thai dialect. The song often begins with phrases such as “Bunga Tanyong, Tanyong Tanyong” or “Bunga Rak Oei Tanyong”, followed by the names of trees or flowers. Flowers are used as symbolic representations of women. The lyrical content typically centers on romantic themes between young men and women and reflects local culture. The rhythm follows the Hat Yao pattern. The musical arrangement is guided by a conceptual framework of Southern Thai musical identity. This includes the creation of harmonies, the composition of new melodies in the introduction, solo, and ending sections, the allocation of roles and functions for each instrument to achieve balance, and the selection of harmonies that blend naturally with the Southern Thai language.

The harmonic arrangement in the Tanyong song represents a creative musical endeavor that challenges the reinterpretation of traditional musical identity within a contemporary framework. While modern elements are introduced, the essence of folk music is preserved through its lyrics, melody, rhythm, and the use of the Southern Thai dialect. This research serves as a bridge between Eastern and Western musical traditions, offering younger generations—who may be unfamiliar with folk music—an opportunity to experience its unique and valuable beauty. Moreover, it contributes to the preservation of cultural heritage while generating income and added value for local folk musicians within the community.