It took more than three hours for the battle to end, and even then there was no eventual winner or loser. The battlefield was a theatre, rather than a war zone, and there was no official verdict recorded except the audience’s approval.
This was a Thai classical music battle between two famed ranad ekk musicians (wooden xylophone) and two pi phat ensemble bands. Such competitions, when the two “rivals” put on a show of their melodic skills for an audience, were once common when Thai classical music was an important part of the people’s lives — from birth up till death (there used to be music at Thai funerals). That competitive feature, which makes the music entertainingly fiery despite its gentle nature, is not well known today. But recently at the Bunditpatanasilpa Institute’s Wang Na Theatre, two ensembles, Kunchaorn Duriya and Luk Suriya, revived the tradition of a musical duel by performing a range of tunes, from the overture Homrong Aiyares to Phama Ha Thon Samchan and Thayoi Khamen Sam Chan. Each of the musicians also took turns to play the songs Khaek Mon Rob Wong and Tao Kin Phakbung.
A highlight was a battle between two xylophone virtuosos: Chaiyuth Tosa-nga, or Pom Boy Thai, and Meekij Intaraphiphat, or Acharn Biew, from Suphan Buri playing an overture one after another with their bands. Meekij first performed the song Sarathee Samchan and Chaiyuth later offered his own, different interpretation of the tune. Chaiyuth highlighted his speedy, rhythmic technique and a hint of modern adaptation, while Meekij maintained his traditionally firm yet sensational fashion. Both musicians adhered to the precision of every note, since they are both of prized pedigrees. Meekij is a student of village headman Prasert Sodsaeng, who was in turn a student of Thai classical music master Luang Pradit Phairoh (Sorn Silpabanleng). His expertise on the xylophone is such that he’s earned a moniker “Ai Meedkone” (Razor Man), referring to the sharp, cutting sounds of his music. Meanwhile, Chaiyuth is a son of Thai music instructors Supoj Tosa-nga and Duangnate Duriyaphan. He was active in promoting Thai classical music and was named Silpathorn Artist by the Ministry of Culture in 2010.
Chaiyuth Tosa-nga, or Pom Boy Thai, plays the ranad ekk (wooden xylophone) during a recent music battle between him and Meekij Intaraphiphat, or Acharn Biew.
For young viewers, the word “battle” sounds like something from The Voice singing contest. But the origin of the sonic duel — in Siam at least — was much more elegant and courtly. At the seminar, “Why Should There Be Thai Classical Music Battles?”, which took place before the event, Assist Prof Rangsan Buathong briefly recounted the history of battles in Siam and explained that there were three major ones in the royal courts that encouraged musicians to refine their skills. These three palace-sponsored events led to more local-level battles. The first, in 1900, took place at Buraphabhirom Palace of Prince Bhanurangsi Savangwongse. That was when 19-year-old Sorn Silpabanleng, who would later become Siam’s best-known musician Luang Pradit Phairoh, showcased his talent and a new approach in playing ranad ekk. The move helped musicians to improve their skills and create more playful music.
Later in 1923, Kan Prachan Pi Maseng (Music Battle in the Year of the Snake) — an event to celebrate the 48th birthday of Prince Paribatra Sukhumbhand — involved three music ensembles: Those of Buraphabhirom Palace, Bang Khun Phrom Palace and MR Poom Malakul’s. This event required the bands to play the adapted and extended versions of the song Phama Ha Thon. This helped improve music composition and arrangement techniques. The third major battle occurred in 1930 at Ladawan Palace on the 48th birthday of Prince Yugala Dighambara, Prince of Lopburi. The participating ensembles were those of the Grand Palace, Bang Khun Phrom Palace and Buraphabhirom Palace, which further developed the song Phama Ha Thon.
“Each music battle leads to the improvement of music performing skills and composing techniques. Before each battle, musicians must be enthusiastic to practise. However, results depend on rules and sportsmanship,” he said.
In most cases, no judgement will be delivered because music battles are just forums for musicians to showcase their skills.
Academic Kriengkrai Onsam-ang said the events are for musicians to show their ability and learn ways to hone their skills. Thai classical music battles can be classified into two kinds — formal and informal. The formal ones have patterns and requirements for contestants to follow. For example, a pi phat sepha battle must consist of an overture (Pleng Homrong), the song Phama Ha Thon and another concerto. Meanwhile, the informal ones may require competitors to play the same song one after another to compare their skills or include some unusual contexts, such as two people playing one Thai xylophone or each competitor playing two rounds of gongs at the same time. Alternatively, the same songs can be played in different ways if performed by different conservatories.
Musician Piak Phuangmalaithong, son of xylophone master Jeab Phuangmalaithong, recalled: “In the past, I accompanied my father to watch battles at Wat Chao Jed in Ayutthaya by travelling with the Ban Bang Lamphu Band from Tha Tien pier. In the temple-fair atmosphere, many people went to watch the battles, which started at 6am and lasted until the wee hours. The musicians took on the contest song by song. They included masters Oon Jaiyuth and Sert Soodaengchan. Once, I was much impressed with the duel of the song Kround Nai Thao from three to six o’clock in the morning.”
The Kingdom usually holds at least two annual events. The Prachan Music Competition at Wat Pa Dhammasophon in Lop Buri’s Muang district normally takes place in August. It has been held for more than 30 years and attracts many musicians mostly from the Central Region. There is also a tradition that musicians who take part in the wai khru ceremony at Wat Pa Dhammasophon meet again at an annual music battle at Wat Phra Phiren in Bangkok every September. According to musician Meekij, music battles provide first-hand experience and inspiration to musicians and make them better known among audiences and more experienced musicians who are more knowledgeable and can give useful criticism.
“The heart of being a Thai classical musician is to be diligent and eager to learn more and practise all the time. Without music battles, musicians would be like armed warriors who have no chance to use weapons and have no idea whether weapons are good or not. If musicians do not perform or enter battles, no one knows how well they can play. Eventually, they will lack support and play without goals and inspiration. Finally, Thai music might be gone,” he said.
His competitor Chaiyuth added: “Music battles make us active and ready to learn. We should promote them and push for the body of knowledge about battles.
“Apart from practising music, we must practise our mind to be good sports in order to conserve music battles passed on by our ancestors.”
A recent music battle between ranad ekk musicians Chaiyuth Tosa-nga, or Pom Boy Thai, and Meekij Intaraphiphat, or Acharn Biew.
A music battle between Pi Phat bands Luk Suriya and Kunchorn Duriya.
