Pipat Traditions in Music Culture in the Mekong River Basin: Practice and Phenomena in the Early 21st Century

Abstract

“Pipat”, or “Pinpeat” in Cambodian and “Pinpat” in Lao, is a specific word used to define a traditionalensemble from the musical culture of the three countries. The instruments in the ensemble mostlyconsist of melody making, punctuating instruments. Pipat music has long been used during theatricalperformances, royal ceremonies and ritual functions. The compositions played are highly regarded andconsidered sacred.There are many common elements between the Pipat Traditions in the three countries mentionedabove, for example, the instruments used in the ensemble are similar in name and physical appearance.The differences between repertoires from the different regions, while obviously recognizable by themusicians, have not been closely studied in terms of their interrelationships. Research needs to be undertakento find out and understand more about this shared tradition. The results would serve as the agentthat links their present interrelationship to their history and finally their individual origins. The purposesof this research were:1. To clarify and explain the phenomena of the contemporary Pipat traditions in the three countries.2. To interpret the role and status of the contemporary Pipat traditions in the society in the threecountries.3. To find out the interrelationships between the Pipat traditions in the region from the point of viewof instruments, repertoires, theories, and performance practices.Results found that the present phenomena and situation of the Pipat tradition in the three countriesappears to be different. The Pipat tradition in Thailand seems to be more active than in Cambodia andLaos. From an insider’s point of view, the concerned authorities do not give adequate support or raisecultural issues to the national agenda in a practical way. Research and academic work is mostly conductedby scholars in educational institutions. The sustainable policy in cultural affairs is not clearlyseen on a national level as the policies change with changes in personnel. The Pinpeat tradition in Cambodiahas support from organizations and NGOs. However, the Pinpeat tradition has lost the majority ofmusicians and so encouraging the younger generations into Pinpeat music must be pursued. The Pinpatin Laos needs urgent revival. A vast number of Pinpat music repertoires have been lost along withinstruments and musicians. Authorities need to monitor the transition from the old to the revolutionarytradition and help preserve the old tuning system.