The Singing Style of the Royal Concubine Mom Rajawong Sadub Ladawan in the Royal Literary Play “NGO PA”
The research of the singing style of the royal concubine Mom Rajawong Sadub ladawan In the royal literary play “Ngo Pa” aims to study how the music relates to the play. This research contains the study of how to combine the music melody and lyrics that popular in the reign of King Rama 5. This research was done by analyzing critical papers on the play, from interviewing expert musicians about music melody and lyrics, from the comparison of play that had been written before and in the same period and from comparing records from 1975 with records from 2002 by Thai Khadi Research Institute Thammasat University. In the reign of King Rama 5, Princess Saisawareephirom was advised by His Majesty King Rama 5 to teach music to ladies-in-waiting. Therefore “Ngo Pa” which was composed by King Rama 5 had an important place in the plays in her palace and the Princess descendants received the copyright. In the beginning, the play was composed by King Rama 5 and gave the right to Praya Sanoduriyang to rewrite under the control of His Majesty. Mom Rajawong Sadub ladawan was the lady-in-waiting in Princess Saisawareephirom’s palace who had been training to sing in “Ngo Pa”. Later, in 1975 Mom Rajawong Sadub ladawan ladawan trained The Fine Art Department artists to perform and record the play. “Ngo Pa” was adapted in style of Praya Sanoduriyang in the reign of King Rama 7, and was handed down to his descendants and recorded again in 2002. This research shows how “Ngo Pa” in the style of Mom Rajawong Sadub ladawan differs from that of Praya Sanoduriyang in its melodic line and song content. The research also confirms that the Mom Rajawong Sadub ladawan style has continued to exist since the period of King Rama 5.
Keywords— Singing style, the royal concubine, Mom Rajawong Sadub ladawan, the royal literary play “Ngo Pa”.