Misplaced Pages

#269730

49-562: Piphat in the earlier time was called phinphat . It is analogous to its Cambodian musical ensemble of pinpeat and Laotian ensemble of pinphat . The smallest piphat , called piphat khrueang ha , is composed of six instruments: pi nai (oboe); ranat ek (xylophone); khong wong yai (gong circle); taphon or other Thai drums; glong thad , a set of two large barrel drums beaten with sticks; and ching (small cymbals). Often other small percussion instruments such as krap or chap are used. A slightly larger piphat ensemble

98-411: A dialect continuum . Thai language is spoken by over 69 million people (2020). Moreover, most Thais in the northern (Lanna) and the northeastern (Isan) parts of the country today are bilingual speakers of Central Thai and their respective regional dialects because Central Thai is the language of television, education, news reporting, and all forms of media. A recent research found that the speakers of

147-551: A second language among the country's minority ethnic groups from the mid-late Ayutthaya period onward. Ethnic minorities today are predominantly bilingual, speaking Thai alongside their native language or dialect. Standard Thai is classified as one of the Chiang Saen languages—others being Northern Thai , Southern Thai and numerous smaller languages, which together with the Northwestern Tai and Lao-Phutai languages, form

196-533: A four-way distinction among stops and affricates . The maximal four-way occurred in labials ( /p pʰ b ʔb/ ) and denti-alveolars ( /t tʰ d ʔd/ ); the three-way distinction among velars ( /k kʰ ɡ/ ) and palatals ( /tɕ tɕʰ dʑ/ ), with the glottalized member of each set apparently missing. The major change between old and modern Thai was due to voicing distinction losses and the concomitant tone split . This may have happened between about 1300 and 1600 CE, possibly occurring at different times in different parts of

245-671: A relief at the Pawaya site in modern Madya Pradesh, India. The pin may have been introduced to Cambodia in its first kingdom, Funan; however, few structures and evidence remain from this period. The earliest surviving depiction of the pin in Cambodia is dated to the 7th century on the temple at Sambor Prey Kuk , part of another Khmer kingdom known in Chinese record as Chenla , the successor of Funan. This instrument appeared in Hindu religious art in temples from

294-525: A syllable that formerly began with a voiceless consonant (including glottalized stops). An additional complication is that formerly voiceless unaspirated stops/affricates (original /p t k tɕ ʔb ʔd/ ) also caused original tone 1 to lower, but had no such effect on original tones 2 or 3. The above consonant mergers and tone splits account for the complex relationship between spelling and sound in modern Thai. Modern "low"-class consonants were voiced in Old Thai, and

343-443: Is a tonal and analytic language . Thai has a complex orthography and system of relational markers . Spoken Thai, depending on standard sociolinguistic factors such as age, gender, class, spatial proximity, and the urban/rural divide, is partly mutually intelligible with Lao , Isan , and some fellow Thai topolects . These languages are written with slightly different scripts, but are linguistically similar and effectively form

392-466: Is accompanied in various Cambodian national festivals, Buddhist celebrations, traditional dances, traditional drama, funeral, and other rituals. While the big Pinpeat ensemble play more role and significance than the previous. These roles include: Thai language Thai , or Central Thai (historically Siamese ; Thai: ภาษาไทย ), is a Tai language of the Kra–Dai language family spoken by

441-456: Is arranged by adding ranat ek lek (ระนาดเอกเหล็ก; treble metallophone) and ranat thum lek (ระนาดทุ้มเหล็ก; bass metallophone) to the wong piphat khrueang khu . Wong piphat nang hong ( Thai : วงปี่พาทย์นางหงส์ , Thai pronunciation: [woŋ pìːpʰâːt naːŋ hǒŋ] ) is an ensemble used in funerals. It is arranged by replacing the pi nai and pi nok with a pi chawa . The name nang hong comes from name of its main music, which

490-475: Is arranged by adding ranat thum and khong mon wong lek to the piphat mon khrueang ha . Wong piphat mon khrueang yai ( Thai : วงปี่พาทย์มอญเครื่องใหญ่ , Thai pronunciation: [woŋ pìːpʰâːt mɔːn kʰrɯ̂əŋ jàj] ) is arranged by adding ranat ek lek and ranat thum lek to the piphat mon khrueang khu . The piphat mon ensemble is usually used in funerals, but it can be used for other events as well. The piphat ensemble can be mixed with

539-643: Is believed to derive from the Mon people , an ancient Mon-Khmer -speaking people of mainland Southeast Asia, and uses special instruments such as an upright gong circle called khong mon . Wong piphat mon ( Thai : วงปี่พาทย์มอญ , Thai pronunciation: [woŋ pìːpʰâːt mɔːn] ) has three sizes: Wong piphat mon khrueang ha ( Thai : วงปี่พาทย์มอญเครื่องห้า , Thai pronunciation: [woŋ pìːpʰâːt mɔːn kʰrɯ̂əŋ hâː] ) consists of: Wong piphat mon khrueang khu ( Thai : วงปี่พาทย์มอญเครื่องคู่ , Thai pronunciation: [woŋ pìːpʰâːt mɔːn kʰrɯ̂əŋ kʰûː] )

SECTION 10

#1733085037270

588-517: Is called Pinpeat Vong Thum (Big Pinpeat Ensemble) with more instruments: - Pin (obsolete) Today, there are more than 250 Pinpeat songs being researched based on a document found in the street of Phnom Penh in 1979 after Khmer Rouge collapsed. These songs narrated various stories such as describing love, nature, Khmer daily life and its neighbors, and else. While some specific musics are used to accompany in Khmer traditional dances and theaters. Sathukar

637-467: Is called piphat khrueang khu , and consists of eight musical instruments. The other two instruments are the ranat thum (xylophone), which produces a deeper sound than the ranat ek , and khong wong lek , a gong circle that is higher in pitch than the khong wong yai . The largest form of piphat ensemble is the piphat khrueang yai , which consists of ten musical instruments. Another ones are ranat ek lek and ranat thum lek ; these are almost

686-566: Is intended for funeral ceremonies. A royal variant for Thai royal funerals , Wong piphat nang hong khruang yai (for the King) or Wong piphat nang hong khrueang khu (for senior members of the Royal Family), introduced during the reign of King Vajiravudh (Rama VI) for use in royal funerals of the Chakri Dynasty , was reinstated during the reign of King Bhumibol Adulyadej (Rama IX) in 1995, during

735-615: Is originated in Cambodia since before Angkorian era. The pinpeat is analogous to the pinphat adopted from the Khmer court by the Lao people and the piphat ensemble of Thailand. According to Chuon Nath 's Khmer dictionary, the 'Pinpeat' is composed of the Sanskrit terms vina/ pin ( វិណ ) referring to the  pin (harp), which was formerly used as the premiere instrument in this ensemble, and vadya/ padya/ peat ( វាទ្យ ) referring to an ensemble of instruments. According to Sonankavei,

784-408: Is supplemented by Western instruments like trumpets, saxophones, clarinets and even a drum kit, guitars and an electric piano. Some of these have also appeared in the normal ensembles. Wong piphat duek dam ban ( Thai : วงปี่พาทย์ดึกดำบรรพ์ , Thai pronunciation: [woŋ pìːpʰâːt dɯ̀k.dam.ban] , literally "ancient ensemble") was proposed by Prince Naris . It consists of: The piphat mon

833-651: Is the principle Cambodian Pinpeat music plays for the opening of Khmer traditional festivities and rituals. Sathukar accompanies in Cambodian Royal Ballets , Masked Drama , Shadow Theatre , and many other traditional dances and rituals. The music list below is played in accordance to various episodes in Masked Drama and Shadow theatre. All kind of Pinpeat ensembles play significant role in Cambodian society and daily life since its origin. The small Pinpeat ensemble

882-399: The khrueang sai ensemble to create a new ensemble called khrueang sai prasom piphat (เครื่องสายประสมปี่พาทย์ or เครื่องสายผสมปี่พาทย์). This hybrid or combined ensemble can also accommodate Western instruments as well. The Cambodian equivalent of the piphat is called pinpeat . The Myanmar equivalent to piphat is known as hsaing waing . The instrumentation is very similar to

931-528: The Central Thai , Mon , Lao Wiang , Phuan people in Central Thailand and the vast majority of Thai Chinese enclaves throughout the country. It is the sole official language of Thailand . Thai is the most spoken of over 60 languages of Thailand by both number of native and overall speakers. Over half of its vocabulary is derived from or borrowed from Pali , Sanskrit , Mon and Old Khmer . It

980-459: The Northern Thai language (also known as Phasa Mueang or Kham Mueang) have become so few, as most people in northern Thailand now invariably speak Standard Thai, so that they are now using mostly Central Thai words and only seasoning their speech with the "Kham Mueang" accent. Standard Thai is based on the register of the educated classes by Central Thai and ethnic minorities in the area along

1029-458: The Southwestern branch of Tai languages . The Tai languages are a branch of the Kra–Dai language family , which encompasses a large number of indigenous languages spoken in an arc from Hainan and Guangxi south through Laos and Northern Vietnam to the Cambodian border. Standard Thai is the principal language of education and government and spoken throughout Thailand. The standard is based on

SECTION 20

#1733085037270

1078-633: The Three Kingdoms period, sending as a present some musicians and products of the country to the "Kingdom of Kra Vo under the reign of the King Sun Chorn" (sometimes labeled "Chinese Emperor") in Southern China in 243 a.d. Another record mentioned the Khmer musicians from Funan which visited China in 236 CE. The Chinese emperor was so impressed that he even ordered the institute of Funanese music near Naking . Another Chinese source also mentioned

1127-576: The Thổ people . Pinpeat The Pinpeat ( Khmer : ពិណពាទ្យ , pĭnpéaty [pɨnpiət] ) is the largest Khmer traditional musical ensemble . It has performed the ceremonial music of the royal courts and temples of Cambodia since ancient times. The orchestra consists of approximately nine or ten instruments, mainly wind and percussion (including several varieties of xylophone and drums ). It accompanies court dances , masked plays , shadow plays , and religious ceremonies. This ensemble

1176-563: The 1st century a.d. During the Funan period, there was a group of musicians called pinpang , and the pin was used as an instrument in the group. During the reign of Funan king Fan Chan (or Fan Siyon), 225-250 a.d., the country "entered relations" with the Murunda Dynasty, who ruled Kalinga in India. King Fan Chan is also known today for establishing relations with a ruler in Southern China during

1225-504: The 7th to 13th centuries A.D. The instrument was frequently seen being depicted on the walls of Sambor Prey Kuk, Banteay Chhmar , Bayon , and other Khmer temples. During the Angkor era (9th — 15th centuries a.d.), it was played in the royal Khmer ensemble and disappeared at the end of 12th century Although the pin disappeared from pinpeat ensemble for some 800 years, the Khmer still called this kind of ensemble what it had been called since

1274-499: The Khmer system first before the Thai borrowed. Old Thai had a three-way tone distinction on "live syllables" (those not ending in a stop), with no possible distinction on "dead syllables" (those ending in a stop, i.e. either /p/, /t/, /k/ or the glottal stop that automatically closes syllables otherwise ending in a short vowel). There was a two-way voiced vs. voiceless distinction among all fricative and sonorant consonants, and up to

1323-722: The Piphat Mon, which indicates a common origin. Gong-chime ensembles are also found in other Southeast Asian nations, such as Gamelan in Indonesia, and Kulintang in the Philippines. Gong-chime ensembles can also be found in Vietnam , although they're no longer played among the ethnic Viet, they're still played among the indigenous peoples in the Space of gong culture , as well as among the Muong people and

1372-484: The Thai-speaking area. All voiced–voiceless pairs of consonants lost the voicing distinction: However, in the process of these mergers, the former distinction of voice was transferred into a new set of tonal distinctions. In essence, every tone in Old Thai split into two new tones, with a lower-pitched tone corresponding to a syllable that formerly began with a voiced consonant, and a higher-pitched tone corresponding to

1421-472: The ancient time. In 2013, the pin was revived by Patrick Kersalé, a French ethnomusicologist and Sonankavei, a Cambodian musical craftsman and professor. Modern musicians have begun experimenting, reincorporating the pin into the pinpeat, its place in the Angkorian court 800 years ago. In 2014, more than 200 paintings were revealed at Angkor. The pinpeat ensemble was depicted in two hidden images discovered on

1470-541: The dialect of the central Thai people, and it is written in the Thai script . Hlai languages Kam-Sui languages Kra languages Be language Northern Tai languages Central Tai languages Khamti language Tai Lue language Shan language others Northern Thai language Thai language Southern Thai language Tai Yo language Phuthai language Lao language (PDR Lao, Isan language ) Thai has undergone various historical sound changes. Some of

1519-430: The ensemble by Khmer craftsman and musicians. There we can see the emergence of various percussive instruments into the initial Pinpeat ensemble such as roneat thung , roneat dek , kong vong touch , sralai touch ,.. The insert of these local instruments into the initial Pinpeat ensemble (small pinpeat ensemble) make the music made by the ensemble more flawless, gentle, and melodious than it previously do. This ensemble

Piphat - Misplaced Pages Continue

1568-404: The famous music of Funan (Cambodia) that became popular and was played at the courts of Sui and Tang dynasties. This “Funan music” was a ritual music and dance form with Buddhist coloring from the pre-Angkorian kingdom of Funan (Khmer, Nokor Phnom). This list presents instruments which are or have been used in various Pinpeat ensembles. Pipeat ensemble divided into different type depend on

1617-488: The former annexation of the northern provinces of Cambodia, however, Pinpeat in fact originated from Cambodia. The history of the pinpeat can be traced back to the origins Khmer music. The orchestra and its lead instrument of that era, the pin (harp) , were introduced to early Khmer kingdoms from India , where the pin was depicted far back as the Gupta period (3rd century a.d. – 543 a.d.). An example from that era can be seen in

1666-442: The instruments accompanied in its ensemble. This small Pinpeat ensemble was thought to be the initial Pinpeat orchestra played since its origin until today, consisted of a few musical instruments such as: - Pin (obsolete) Since its introduction from India, the initial Pinpeat ensemble had been developed as more musical instruments were added or replaced by other local instruments. In the 3rd century, more instruments were added to

1715-515: The local patois as pronounced in Guangdong Ayutthaya , the old capital of Thailand from 1351 - 1767 A.D., was from the beginning a bilingual society, speaking Thai and Khmer . Bilingualism must have been strengthened and maintained for some time by the great number of Khmer-speaking captives the Thais took from Angkor Thom after their victories in 1369, 1388 and 1431. Gradually toward the end of

1764-446: The magnificent temple's wall. One of two images that depicted the pinpeat ensemble can be seen clearly through computer-enhancement and it is identical to today's pinpeat orchestra, including the absent pin. Pipeat was also regarded as the royal ensemble and accompanied in Khmer traditional and royal festivities in the post-Angkorian periods until today. The pinpeat, in its form originating in India, consisted of four musical instruments,

1813-547: The most significant changes occurred during the evolution from Old Thai to modern Thai. The Thai writing system has an eight-century history and many of these changes, especially in consonants and tones, are evidenced in the modern orthography . According to a Chinese source, during the Ming dynasty , Yingya Shenglan (1405–1433), Ma Huan reported on the language of the Xiānluó (暹羅) or Ayutthaya Kingdom, saying that it somewhat resembled

1862-399: The performance..." Later on, more musical instruments were added or replaced by others and developed to form a unique Khmer musical ensemble. Today, the pinpeat incorporates kong gong chimes, such as the kong von thom , as lead instruments. This dates back as far as the Angkorian period, when there was a group of musicians called the kongpit/ kongpeat . Organized music in this period

1911-415: The period, a language shift took place. Khmer fell out of use. Both Thai and Khmer descendants whose great-grand parents or earlier ancestors were bilingual came to use only Thai. In the process of language shift, an abundance of Khmer elements were transferred into Thai and permeated all aspects of the language. Consequently, the Thai of the late Ayutthaya Period which later became Ratanakosin or Bangkok Thai,

1960-454: The pin (harp), ( Khloy ) flute, ( samphor ) drum, and chhing (small cymbals), based on an Indian epic. The narration said that "One day, Shiva [who] resides in the gods assembly on the summit of Kailasa , intended to perform a dance. So he ordered Uma to reside on the golden throne, Sarasvati to play pin (vina), Indra to play the flute, Brahma to play chhing (cymbals), Laksmi to sing, and so that other devas and asuras would watch

2009-559: The professor from the Department of Music of the Cambodian Royal University of Fine Art, the word pinpeat is derived from the combination of two musical instruments including pin (harp) and vadya / peat , referring to a genre of kong called kongpeat. The Laotian adoption of Khmer pinpeat is called pinphat . The term piphat was also used among Cambodians familiar with the Thai language; this can be attributed to

Piphat - Misplaced Pages Continue

2058-564: The ring surrounding the Metropolis . In addition to Central Thai, Thailand is home to other related Tai languages . Although most linguists classify these dialects as related but distinct languages, native speakers often identify them as regional variants or dialects of the "same" Thai language, or as "different kinds of Thai". As a dominant language in all aspects of society in Thailand, Thai initially saw gradual and later widespread adoption as

2107-484: The royal vocabulary according to their immediate environment. Thai and Pali, the latter from Theravada Buddhism, were added to the vocabulary. An investigation of the Ayutthaya Rajasap reveals that three languages, Thai, Khmer and Khmero-Indic were at work closely both in formulaic expressions and in normal discourse. In fact, Khmero-Indic may be classified in the same category as Khmer because Indic had been adapted to

2156-627: The same as their ancestors, the ranat ek and ranat thum , but they have keys made from metal instead of wood. Wong piphat khrueang ha ( Thai : วงปี่พาทย์เครื่องห้า , Thai pronunciation: [woŋ pìːpʰâːt kʰrɯ̂əŋ hâː] ) is an ensemble consisting of: Wong piphat khrueang khu ( Thai : วงปี่พาทย์เครื่องคู่ , Thai pronunciation: [woŋ pìːpʰâːt kʰrɯ̂əŋ kʰûː] ) is developed from piphat khrueang ha , by arranging instruments in pairs of treble-bass. It consists of: Wong piphat khrueang yai ( Thai : วงปี่พาทย์เครื่องใหญ่ , Thai pronunciation: [woŋ pìːpʰâːt kʰrɯ̂əŋ jàj] )

2205-516: The state funeral rites for Srinagarindra , the Princess Mother, upon the initiative of Princess Maha Chakri Sirindhorn, the Princess Royal , after years of absence. If playing for the king, the royal funeral ensemble has 10 to 12 instruments played, a few more than the simple ensemble, for senior members 8 to 9 instruments are used. In some funerals in Thailand the nang hong variant ensemble

2254-535: The terminology "low" reflects the lower tone variants that resulted. Modern "mid"-class consonants were voiceless unaspirated stops or affricates in Old Thai—precisely the class that triggered lowering in original tone 1 but not tones 2 or 3. Modern "high"-class consonants were the remaining voiceless consonants in Old Thai (voiceless fricatives, voiceless sonorants, voiceless aspirated stops). The three most common tone "marks" (the lack of any tone mark, as well as

2303-423: The two marks termed mai ek and mai tho ) represent the three tones of Old Thai, and the complex relationship between tone mark and actual tone is due to the various tonal changes since then. Since the tone split, the tones have changed in actual representation to the point that the former relationship between lower and higher tonal variants has been completely obscured. Furthermore, the six tones that resulted after

2352-449: Was a thorough mixture of Thai and Khmer. There were more Khmer words in use than Tai cognates. Khmer grammatical rules were used actively to coin new disyllabic and polysyllabic words and phrases. Khmer expressions, sayings, and proverbs were expressed in Thai through transference. Thais borrowed both the Royal vocabulary and rules to enlarge the vocabulary from Khmer. The Thais later developed

2401-522: Was centered around religious and royal organizations. On one side, two groups of musician served the Khmer brahmins and the buddhists, while on the other side, the pinpheat reflected the power of the Angkorian monarch. The pinpheat may have debuted in Southeast Asia during the first Khmer kingdom of Funan (1st-6th century AD). During that kingdom's existence, Indian religions, culture and traditions were introduced to Southeast Asia, beginning as early as

#269730