วิเคราะห์เดี่ยวจะเข้เพลงกราวในทางครูนิภา อภัยวงศ์ / สกลพัฒน์ โคตรตันติ = A musical analysis of Krawnai for Jakhay’s solo by Kru Nipa Apaiwong / Sakolput Kottunti
To study the context of Kru Nipa Apaiwong’s style of Krawnai for Jakhay solo and her life as well as to analyze the forms and special playing techniques of Krawnai for Jakhay solo as played by Kru Nipa Apaiwong. The study found Krawnai solo to be the ultimate solo music that a Thai musician is only taught by a master when he or she possesses the right level of maturity, age and skills. Teaching of a solo piece reflects the special trust that a musical master has in the student. Krawnai for Jakhay solo is unique for the execution of its melody, which requires all of the special techniques devised for Jakhay playing. Kru Nipa Apaiwong, a singer and musician of classical Thai music, was born in the reign of King Rama VI and raised by Phra Sujaritsuda (Prueng Sujaritkul), a favourite concubine of King Rama VI. Kru Nipa had the good opportunity to grow up in the inner court and was able to learn the art of singing and playing classical Thai string instruments from many great Thai classical music masters of the royal court at the time. She worked as a teacher for the Fine Arts Department and used to teach HRH Princess Maha Chakri Sirindhorn when she was a student at Jitralada School. Kru Nipa also taught Thai music at many universities. An analysis of Kru Nipa Apaiwong’s style of Krawnai for Jakhay solo reveals that the melody is generally reduced by one level and the rhythm is dictated by the Krawnok rhythm of Tone and Rummana instruments. There are a total of six clusters of look-yon sound in Krawnai for Jakhay solo. Kru Nipa Apaiwong’s style of Krawnai for Jakhay solo was found to have six unique characteristics. First, the melody is played in a series of three flipping sounds. Second, the melody is reiterated in two series of 6-7 sounds each. Third, Ting-noi melody is used to connect two different melodies. Fourth, the melody is stretched out in three receding steps. Fifth, a single flipping sound is executed toward the end of a measure to quicken the melody. Sixth, the melody is played by executing two flipping sounds in the middle of a measure.
