Pipat-Nanghongs is a Thai ensemble that has been used in cremation since the ancient time. It was innovated from the combination of Pipat-Pidhee and Buaw Loy ensemble. This ensemble occured during the Ratanakosindra Period (about the end of the reign of King Rama III). Pipat-Nanghongs is one of the most important Thai ensemble. The performers must be the full potential ones. The most important concept of the performance is the unanimity of the performers. Consequently, "Wong Desbala" (The Thai Classical Ensemble of Bangkok Metropolitan Administration) is chosen as a case study. Its traditional performance, perfect acknowledgement, and many presentation which are more outstanding than the others makes the crucial point. This thesis aims at studying history, tradition and regulations of Pipat-Nanghongs, including all of its context and the reason of why it is not often used anymore. The research reveals 5 main points of Pipat-Nanghongs: 1. The unity of the effective performers. 2. The performers must have equal potentiality, wit, and good memory because of the length and number of songs which depend on the director demand. 3. There must be a professional director to conduct and arrange the limited song. So each presentation should not be imitated. 4. The difficulty of performing tempo and scale causes the rare presentation. 5. The subsidence of Pipat-Nanghongs' performance in cremation comes from Pipat-Mon's substitution.
