THE SPECIFIC MUSICAL CHARACTERISTICS OF THE RANAT EK SOLO

Abstract

This article is part of the doctoral research regarding the ranat ek performance practice, Pra-san-siang Samniang Ben-cha-sin, which aimed to study the specific musical characteristics of the performance practice used for the ranat ek (treble Thai xylophone). The research has been done based on qualitative research methods in which data were collected from related literature, fieldwork, and analytic induction. The result has shown that the specific musical characteristics of the ranat ek solo could be reflected through include two elements: 1) the thang diao ranat ek (the ranat ek solo realisation) embracing (1) the samnuan klon diao (musical idiomatic style for the ranat ek solo version) as follows: klon tai luat, klon fak, klon sap, klon phan, klon son ta-khep, klo yon ta-khep, klon roi luk-so, klon lot ta-khai, klon kra-dot, klon doen ta-khep or klon muan ta-khep with the sophisticated and more complex style of performance practices and (2) the ranat ek performing techniques as follows: ti sa-bat, ti sa-do, ti kep, ti kro, ti rua, ti kha-yi, ti kwat, ti khwai, ti tae chang-wa, ti wiang as well as the special musical technique for the solo version, called rua phuen and khap-luk khap-dok, 2) the ranat ek player, who should have two important abilities: (1) well-trained ranat ek skills suitable to play a solo version and (2) thinking skill to be able to analyse and design the appropriate style for the solo performance of the ranat ek.