The Inheritance of the Ranad Thum Solo Pieces of Master Phum Baputawat

Abstract

The objectives of the qualitative research title “The inheritance of the Ranad Thum solo pieces ofMaster Phum Bapuyawat” were to study the significance of Master Phum Bapuyawat’s biography, hisworks, and the musicians involved in the inheritance of his Ranad Thum solo, to study his teachingmethods for the Ranad Thum solo, and to study the melodic verses of his Ranad Thum solo in eightpieces, i.e., Kagmon, Sarathee, Cherdnork, Nokkamin, Thayae, Groundnai, Arhia, and Mayong usingthe research methods of research, analysis, synthesis, interpreting from factual information, studyingdocuments obtained from the field, in-depth formal and informal interviewing, and participating observation.The research results are as follows:Master Phum Bapuyawat is a famous musician who had proficiency in both theoretical and practicalskills and knowledge since he was young. His masters were all experts in Thai classical music such asMaster Pui Bapuyawat (his father), Luang Kanlayanamittawas, and Master Thongdee Chusut.The teaching methods of Master Phum Bapuyawat began with melody progression by playingHomeromg Chao, Homerong Yen, and Sepha pieces. When the learners are skillful and well-experienced,they will be taught the solo pieces based on each learner’s potential and ability. Therefore, theinheritance of the solo pieces requires the selection of the learners and the solo pieces accordingly.The Ranad Thum solo piece of Master Phum Bapuyawat is recognized in the Thai classical musicprofession from the various patterns of the melodic verses. From the analytical result of these eightpieces, the outstanding characteristics of all eight pieces are (1) the solo piece begins with the hiddenmelodic verses, (2) the hand patterns differentiate from the general ensemble performance, (3) the melodicverses require high- skill musician, (4)various melodic verses are created from the main melodywithout redundancy, (5)some parts of the melodic verses are specific wherein there is no melodic line inalignment with the melody, some verses do not have the melodic line at beginning of the phrase, andsome verses do not have the melodic line at the end of the phrase, (6) the techniques of fast beat insertionare introduced, (7) the melodic verses are created and repeated in the same phrase, (8) the same melodicverses are created in every pattern, (9) the harmony of the melodic verses is emphasized and (10) theconflicting melodic verses are usually followed by the soothing melodic verses.