Page 128 - The International Journal of the Royal Society of Thailand Vol.XIII-2021

Traditional melodies or folksong are a great source of cultural identity. They depict both the
character of the culture and the function that the melody serves in the culture. There are several
methods of citing the folksong in compositions. There can be a direct quotation of a melody
obtained from a transcription or from another published source (example 11). The idea is to
recall the tradition that the melody is created for. Another method is to use the motif of the
traditional melody and modify it (example 12). Lastly, a new melody can be created in the
tradition and nature of the folksong of each culture.
In the example 12, the Khmer melody “Kamen aey-bang,” usually played by Cambodian
two-stringed fiddle, Tro-u, is quoted in the strings section of the Lan Xang movement of The
Empires. This is a direct quotation from the transcription (see example 11).

Example 11 Direct quotation of “Kamen aey-bang” in the strings of The Empires,
“Lan Xang,” mm. 140-144
6. Traditional melodies
In example 12, the motif of the Thai melody “Khab mai ban-dau” is used at the beginning of
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the melodic phrase and continues with a new melody in the same characteristic as the traditional
Volume XIII – 2021
song. This technique is used in the horn part of Bodindra Symphony.

Example 12 Using motif of “Khab mai ban-dau” and continue with a new melody in
Example 12 Using motif of “Khab mai ban-dau” and continue with a new melody in Symphony
Bodindra Symphony, Mvt. I, mm. 15-19
Bodindra, Mvt. I, mm. 15-19
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7. Poetic structure
Each culture has their own long tradition of poetry writing based on the
forms and structures. The accents and short-long patterns of the syllables provide
7. Poetic structure
rhythmic structures in the music. Poetic foot can serve as cultural identity especially
Each culture has their own long tradition of poetry writing based on the forms and structures.
when enhanced with lyrics. It can expand the scope of music to connect with other
The accents and short-long patterns of the syllables provide rhythmic structures in the music.
cultural sources.
Poetic foot can serve as cultural identity especially when enhanced with lyrics. It can expand the
scope of music to connect with other cultural sources.
In the composition Bodindra Symphony, the poetic foot of xxxx (name of
In the composition Bodindra Symphony, Thai traditional poetic foot is used in setting a solo
that form) is used in setting a solo voice sung by the Baritone. Because of its
voice sung by the Baritone. Because of its heritage as an ancient poem that is tied with its
heritage as an ancient poem that is tied with its function in the royal ceremonial
function in the royal ceremonial recitation tradition, the composition that is performed by
recitation tradition, the composition that is performed by western orchestra can
western orchestra can blend into the Thai sacred culture (see example 13).
blend into the Thai sacred culture (see example 13).

Example 13 Setting the solo voice with Thai poetic foot, Bodindra Symphony,
Example 13 Setting the solo voice with Thai poetic foot, Bodindra Symphony, Mvt. V, mm. 545-550
Mvt. V, mm. 545-550

118 Southeast Asian Musical Heritages in Contemporary Composition
Conclusion

It is not difficult for one to create western contemporary compositions that contain the
musical elements of other cultures. However, it is not easy to balance each cultural identity,
which has its own distinctions, and try to present it on an equal template. To create
interculturalism, a composer needs to understand not just the musical elements and theory of
a particular culture but needs to know its heritage and significance. Through this knowledge,

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