Thai Songs in 7/4 Meter
1969; University of Illinois Press; Volume: 13; Issue: 2 Linguagem: Inglês
10.2307/850153
ISSN2156-7417
Autores Tópico(s)Diverse Musicological Studies
Resumot became apparent during a period of research in Thailand in 1965-67 that there existed a unique group of songs, based on a rhythmic cycle of seven beats, which were practically unknown outside of musical circles. These songs, which are used in conjunction with the theater, are of particular significance because their metrical organization is entirely unlike the standard rhythmic structures of most traditional music. Ever since Simon de la Loubere, Envoy of Louis XIV to Siam, wrote in 1688, Je n'y ai pas remarque un seul air, dont la mesure fit a trois temps (1700:207), it has been generally assumed by Westerners that all traditional music with firmly fixed tempo must belong to the duple meter category. This concept was perpetuated by Phra Chen Duriyanga, who stated emphatically, Thai musical compositions are all in... simple duple time. Compound time is never met in them (1948:5). Why was no mention made of this repertoire of songs in additive meter, some of which date back to the Ayudhia period (1350-1767)? Perhaps the answer is provided by Duriyanga, a citizen of German and parentage, when he indicates that his training had been exclusively in Western music. Montri Tramote, a prominent authority on music, made a brief allusion to what he described as a meter (1961:14), an appellation which I have adopted here. However, his remarks were never translated into English. The ching (small cymbals) provide the only accompaniment in the 7/4 songs; the drums and all other colotomic elements are entirely absent, even in the instrumental interludes. The ching pattern is illustrated in Example 1.
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