42 Years Trajectory of Program Music in Thailand, as Crafted by Thai Composers

Abstract

This article is part of a doctoral dissertation in the Doctor of Philosophy program in Musical Arts at the Graduate School of the Bunditpatanasilpa Institute, titled “The Artistic Creation of Phra Aphai Mani Symphonic Poem: The Musical Theme of Nang Phisuea Samut (Sea Ogress).” The researcher’s creative work is a symphonic poem based on the Thai literary epic Phra Aphai Mani, focusing particularly on the episode of Nang Phisuea Samut. The composition adopts Western musical idioms and is structured into five movements that follow the narrative progression of the story. The melodic content of the piece draws from three traditional Thai melodies—Sang Khara (also known as Hoon Krabok), Phat Cha Songchan in the Pi Nai and Ranad Ek traditions, and Phram Kep Hua Waen. These melodies are employed both in their original forms and through various adaptations to form the thematic material of each movement. Through this approach, the music effectively communicates the narrative and vividly portrays the characters in the chosen episode. Furthermore, the research seeks to distinguish between absolute music and program music while tracing the origins and development of program music by Thai composers from 1983 to the present day (2024).

This research employs a qualitative methodology, collecting data from documents, concert programs, observations—both participatory and non-participatory—and semi-structured interviews. The focus of this article is to identify the emergence of program music composed by Thai composers from 1983 to the present. A section of the dissertation is referenced to describe the researcher’s own composition of program music and to include interpretations of absolute music, a concept advocated by Eduard Hanslick (1825–1904), a German writer and philosopher best known for his treatise Vom Musikalisch-Schönen (On the Beautiful in Music). The ideas of August Halm (1869–1929) and Ernst Kurth (1886–1946), both German composers and theorists who shared Hanslick’s views on absolute music, are also discussed to enrich the theoretical framework and provide further clarity in the comparison between absolute and program music within the scope of this study. The notion of program music is traced back to 19th-century Europe, where Franz Liszt (1811–1886), a Hungarian pianist and composer, played a pivotal role in formalizing the genre. Liszt’s interpretation of program music was heavily influenced by earlier programmatic works such as Antonio Vivaldi’s Violin Concerto Op. 8 Nos. 1–4 (The Four Seasons) from the 17th century and Ludwig van Beethoven’s Symphony No. 6 in F Major, Op. 68 (Pastoral) from the late 18th century. Inspired by these precedents, Liszt created numerous works categorized as program music, and many composers from his time onward followed in this tradition. In the Thai context, program music began with the composition Tassana (Views) in 1983 by His Excellency Privy Councillor Admiral Mom Luang Usni Pramoj, who was later named a National Artist in Performing Arts (Western Classical Music Composition) in 1994. This work premiered at the Bangkok Symphony Orchestra’s second season opening concert in November 1983, held at the AUA Auditorium and conducted by the composer himself, with the researcher participating in the performance. This composition marked a significant milestone in Thai music history and served as inspiration for subsequent generations of Thai composers to explore and develop works within the program music genre more extensively.

This article also references program music composed by three other prominent Thai composers, whose works premiered or were first recorded between 1983 and 2025. The first is Narongrit Dhamabutra, National Artist in Performing Arts (Western Classical Music) for the year 2021, whose inaugural program music composition, Night and Morning in the Spheres,” premiered in 1989 by the Bangkok Symphony Orchestra under the baton of Tim Tzchaschel, with the researcher participating in the performance. The second composer is Prasit Silpabanleng, named National Artist in Performing Arts (Music Composition) in 1998, whose symphonic poem “Siang Thian” was first recorded by the Bangkok Symphony Orchestra in 1996, conducted by John Georgiadis and recorded by Christ Craker. The third is Danu Huntrakul, a Silpathorn Artist in 2004, whose composition “Krung Kao” (Ancient City) premiered at the Chaiwattanaram Temple Festival in 1998, performed by the Mai Thai Orchestra and conducted by the composer himself, with the researcher again participating in the performance. These three works reflect the evolution and increasing presence of program music in Thailand, demonstrating how Thai composers have engaged with Western orchestral traditions while drawing upon local historical, cultural, and musical themes.

The research findings indicate that Western classical music was introduced to Siam as early as 1836 during the reign of King Rama IV, when Western music instructors arrived to teach military band instruments. The presence of Western music flourished during the later years of King Rama V’s reign and continued into the reign of King Rama VI. Notably, Western band instructors such as Michele Fusco, Jacob Veit, and Alberto Nazari played significant roles during this period. The advancement of music theory and instrumental performance in Thailand was significantly shaped by two key figures. His Royal Highness Prince Paribatra Sukhumphan, the Prince of Nakhon Sawan Worapinit, was instrumental in developing the military bands and wind ensembles of the Royal Thai Navy. He also composed and arranged Thai melodies using Western harmonic techniques. Equally influential was Phra Chenduriyang (Piti Vadyakara), the son of Jacob Veit, who developed the Royal String Ensemble, which later evolved into the present-day Fine Arts Department Orchestra. Phra Chenduriyang played a pivotal role in the formalization of Western classical music education in Thailand. He systematically taught music theory, translated and arranged Western works, and authored several textbooks, establishing himself as the first Thai music scholar to create structured educational materials and exercises for Western music. In addition to his educational contributions, he also composed and arranged Thai melodies using Western harmonic language. The works of both Prince Paribatra and Phra Chenduriyang can be categorized as absolute music, as they were not intended to convey extra-musical narratives. It was not until 1983 that program music first appeared in Thailand, marked by the composition Tassana (Views) by His Excellency Privy Councillor Admiral Mom Luang Usni Pramoj, who was later honored as a National Artist in Performing Arts (Western Classical Music Composition) in 1994. This composition is thus considered the first example of program music by a Thai composer.

Thus, it is evident that program music has played a significant role in shaping Western classical music culture and education in Thailand for over four decades, from 1983 to 2025. The four Thai composers referenced in this study have passed on their knowledge and inspiration to subsequent generations of Thai composers. Many of their compositions have gained increasing popularity among contemporary composers, performing musicians, and audiences alike. Over the course of 42 years, program music has gradually achieved recognition and acceptance within the Thai classical music community and has become a favored genre for new works by contemporary Thai composers. The researcher’s own creative work, The Artistic Creation of Phra Aphai Mani Symphonic Poem: The Musical Theme of Nang Phisuea Samut (Sea Ogress), is itself a composition in the program music genre and constitutes an integral component of the present dissertation.