THE HISTORICAL DEVELOPMENTS OF MUSLIM MUSIC IN CENTRAL REGION OF THAILAND

Abstract

The objectives of this research article were to study the history and development of the musics of the Muslims in Central Thailand. In doing so, the process serves as a tool to illustrate the diversity of the music cultures of the Central Thai Muslims, some of which are the origin of non-Islamic traditional expressive cultures. The data of this qualitative study was collected using fieldwork method. The finding reveals that the history of the music culture of the Central Thai Muslims can be divided into three key periods. In the pre-1967 period, musical performance formats were simple formats with limited historical evidence. While the historical development of the music in this period could not be concretely determined, extant documents show that most performances involved rammana or frame drums, and the players were seated in circle, facing one another. The players would sing a praise to Prophet Muhammad. The song texts were taken from Mawlid al-Barzanjī. Also found were mulod or maulidurrasul recitation and performances like dhikr riap, naseb or mujyarood, dhikr pantun, and an abridged version of dhikr lum. The period between 1967 and 1990 saw the instruments from the West being introduced and added to the exiting musical performances, resulting in what is called Arab-Malay ensemble, also known as nasebprayuk or “Applied” nasep. Competitive format of nasep emerged during 1977 and 1983, and anti-Muslim-music movement began in 1979. The third period, 1900 to present, is marked by the increasing popularity of Western harmony in Anasyid songs as well as formation of Muslim musician’s association to strengthen and preserve their musical cultures.