NI 5332
Total Playing Time 58.53
DDD
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The Nang Hong Suite
Siamese Funeral Music
Fong Naam
Boonyong Ketkhong, Renat thum, renat ek (alto and soprano xylophones)
Bruce Gaston, Khong Wong Yai (large gong circle)
Lamoon Phuakthongkham, Renat Kaeo (glass xylophone), Renat ek
Suwit Kaewkramon, Pi Ny, Khlui (oboes and flute)
Prasarn Wongwirojruk, Khong Wong Lek (small gong circle)
Kim (dulcimer), Saw Duang (fiddle)
Phin Ruangnon, Glong Kaek, Glong Song Na, Tapone, Glong Yao (percussion)
Somcharn Bunkert, Glongtat, Glong Kaek, Glong Yao (percussion)
Kaiwan Tilokavichai and Anant Narkong, percussion
Although Thai classical music can be traced back to the Sukhothai period (1250-1350) and the longer ensuing Ayuthaya period (1350-1767) the golden age of surviving pieces is the last 200 years. The Thai people migrated from southern China in the thirteenth century, but absorbed many Indian influences from the Khmers, whom they conquered by the fifteenth century. They also embraced Buddhism, which today remains the religion of the vast majority of Thais. Thai music is a unique blend of Chinese, Indian, Burmese, Cambodian, Javanese and other influences. The prevalence of percussion-based orchestras, heterophonic layering of parts, equidistant and pentatonic tuning systems shows many affinities with the Gamelan music of Java and Bali, as with the music of Burma and Cambodia.
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