Tag Archives: Thailand

When people ask me about an introduction to Thai classical music, I (and many others) suggest watching a film entitled The Overture. It is indeed a good beginning into the world of Thai classical music. 

The Overture (โหมโรง Hom Rong), released in 2004, is a fictional film based on the life of the legendary Thai classical musician, Sorn Silpabanlen (1881-1954), also known as Luang Pradit Pairoh. The film parallels two different eras in which Sorn lived: the late 19th century, when he was young and Thai classical music was under patronage, and the 1940s, when Sorn became an old master and Thai classical music was regarded as uncivilized in the face of modernization programs led by Field Marshal Plaek Pibulsonggram. Below is a brief synopsis and analysis of key scenes and themes in the film.

As a young man born into a musical family, Sorn is a talented ranat ek (Thai xylophone) player, who has gained great recognition for his skills. His confidence, however, is shaken after losing a spontaneous public match to the ranat ek master Khun In. This defeat leads Sorn to devote himself to more rigorous practice. Ultimately, a chance for a revenge comes when Sorn joins the Royal ensemble leading to a one-on-one ranat ek match with Khun Inn with elites, locals, and even foreigners in the audience. After an intense performance, Sorn finally defeats Khun In. The scene then changes to the 1940s, where an older Sorn reflects on the day of the match while looking at photographs of his masters, including Khun In, hanging on the wall of his home. One night, a military officer visits his home to request that Thai classical music be abandoned for the purpose of promoting modernization in Thailand. The officer emphasizes to Sorn the need to civilize the nation. To this request Sorn replies, “If rooted deep and strong, a tree can stand still to any forces. If we do not take care of the roots, how can we survive?”

The performance of ranat ek throughout the film depicts several glamorous aspects of Thai classical music: virtuoso techniques (especially when playing in octaves at a faster tempo), various improvisations, and exciting Ranat ek matches. The breathtaking intensity of the ranat ek match is thrilling and a high point of the film. The Overture also introduces other instruments such as saw ou, a Thai fiddle that plays a very sweet and romantic song as the young Sorn meets his future wife. 

Although Sorn and other Thai classical musicians oppose the governmental recognition of Thai classical music as uncivilized, it does not hinder their exploration of Western music. In a scene from the 1940s, the elderly Sorn plays the ranat ek alongside a piano brought by his son, who had studied Western music in Japan. This encounter is depicted as peaceful and filled with possibilities for the further development of Thai classical music. They appear open to any musical possibilities, as long as they have the autonomy to do so.

The film also reminds us about how Thai classical music and its position have been deeply embedded in the society and changes that have occurred to the tradition–once a symbol of the elites and royalty, it later became the unrefined object to be civilized and abandoned. This simultaneously raises questions about whether any authority can truly control music. When the military officer leaves Sorn’s house, Sorn plays ranat ek with the windows open, as if challenging the officer and the desire for modernization—this leaves Sorn open to arrest under government regulations. The officer looks around to find that local residents have gathered in front of Sorn’s house to enjoy the spontaneous performance. The enjoyment is clear on their faces. Instead of arresting Sorn, the officer and his cadets leave the house in their military automobiles while the sound of Thai classical music resonates and fills the air.

–Written by Shiho Ogura, RILM intern and MA student in Southeast Asian Studies at the National University of Singapore. Her research interests include Thai classical music, intercultural music-making in contemporary Asia, Japanese ethnomusicology, nationalism, and music education.

Below is the classic scene of the match between Sorn and Khun In. The video below it is the ranak ek and piano duet scene.