Transmission of Khong Wong Yai Solo Performance in Nok Khamin Sam Chan A Case Study of Namwa Romphothong

Abstract

In the study and practice of traditional Thai music, the Khong Wong Yai (a large circle of gongs) is the principal instrument that all musicians must first master. It is responsible for carrying the main melody in various musical forms, including the phleng homrong (overture), phleng na phat (ritual music), phleng thao (a suite of melodies in varying tempos), phleng tap (a suite of related songs), and phleng diao (solo pieces). Among these, the solo piece is considered a display of the highest level of performance skill, showcasing the musician's virtuosity. This research, therefore, focuses on studying the transmission of the Khong Wong Yai solo piece Nok Khamin Sam Chan (The Canary in the Third-Level Tempo), as taught by the late master Kru Namwa Romphothong. His interpretation of this piece is renowned for its exquisite beauty and unique characteristic: it is performed without the cross-hand striking technique, a method commonly found in nearly all other Khong Wong Yai solos. Kru Namwa Romphothong was a celebrated Thai music master, highly revered for his profound knowledge and skill, particularly with the Khong Wong Yai, earning him the honorific title “Master of the Khong of the Rattanakosin Era.” He inherited his musical knowledge through traditional oral methods (mukhapatha) from esteemed masters such as Luang Praditphairoh (Sorn Silapabanleng), Kru Term Thongto, and many others.

This study employed a qualitative research methodology with the objective of examining the transmission of the Khong Wong Yai solo piece Nok Khamin Sam Chan through a case study of Kru Namwa Romphothong. The research scope was twofold: 1) To investigate the biography and musical works of Kru Namwa Romphothong through documentary research, related literature, and in-depth interviews with individuals connected to him. As Kru Namwa has passed away, the researcher selected key informants through purposive sampling, including family members, professional colleagues, and close disciples. 2) To analyze the transmission process of the solo piece using Elizabeth Steiner's theory of education, which outlines four core components of learning: the teacher, the learner, the content, and the context of teaching and learning.

The research was conducted through the following steps: 1) A review of relevant concepts, theories, and existing research to establish a conceptual framework for analysis. 2) The identification of two groups of key informants: the first group provided information on Kru Namwa's biography, works, and context, and included close family members and senior Thai music masters or National Artists who were his professional peers. The second group consisted of three of his direct disciples who had received the complete transmission of the Nok Khamin Sam Chan solo from him. 3) Data collection, followed by a process of categorization and synthesis to form conclusions. 4) Data analysis, utilizing inductive interpretation and rigorous cross-verification of information from multiple sources to ensure comprehensive understanding, which was then presented as a descriptive narrative.

The research findings revealed the following 1) Teacher Kru Namwa Romphothong was an expert master of the Khong Wong Yai who learned through traditional oral methods from numerous masters, including Kru Term Thongto, Luang Praditphairoh (Sorn Silapabanleng), Kru Somphop Khamprasoet, Kru Sorn Wongkhong, Kru Chamrat Unwong, Kru Bang Luangsunthorn, and Khunying Chin Silapabanleng. He taught his students with great kindness and compassion, serving as an exemplary role model in life, diligence, and gratitude. 2) Learner To be accepted as a student, a prospective learner had to formally request tutelage in a traditional ceremony, presenting the master with offerings. Kru Namwa cultivated three key qualities in his students: proficiency as a performer, respect for the musical instrument, and a deep understanding of the music itself. 3) Content Kru Namwa Romphothong's pedagogical approach can be categorized into four methods: teaching according to the student's individual ability; employing the traditional one-on-one, imitative “tor mue” method; using metaphors and analogies to explain complex concepts; and emphasizing practical, hands-on skill development. 4) Context of Teaching and Learning The transmission process for the Nok Khamin Sam Chan solo was systematic and involved four distinct stages: assessing the learner's readiness; transmitting the core melody of the piece; teaching the specific techniques and melodic embellishments required for the solo; and conducting evaluations (before, during, and after the learning process).

In conclusion, Kru Namwa Romphothong's pedagogical approach was distinguished by its systematic content and transmission process. This research can serve as a valuable guideline for the development of contemporary Thai music education, particularly for the Khong Wong Yai at all levels, from foundational skills to advanced solo performance, thereby helping to ensure that the knowledge of Thai music is transmitted with continued excellence.