An Analytical Report Dusadee Swangviboonpong Traditional Thai singers are convinced that the intervals of their singing are the same as those used in fixed pitch instruments like ranat or khong which are based on the theoretical equidistant system. But, in actual performance, the intervals they use in their singing are not always synchronized with the equidistant system. The result of this measurement proved that Thai singers make use of a different scale to the theoretical equidistant Thai scale. It is interesting that the performed scale is closer to the Western scale than the Thai. Individual temples host festivals, to which hundreds of neighboring temple communities may be invited.
Participants process into the host s grounds, enacting formalized greetings through music and dance.
The festivals combine the sacred and the secular in carnivalesque demonstrations of community, place, and reciprocal social relations. While originally demarcating the ritual time and space of the festival, the festival-derived forms of Northern Thai music and dance also are performed for audiences of tourists, both foreign and domestic. here, despite recontextualization, the music and dance continue to serve as greeting, though now for potentially global audiences. Yet folk music and dance are but two ingredients in the public presentation of regional culture. They are juxtaposed against performances from central Thailand's court tradition, invented traditions attributed to Northern minority peoples, and audience-participatory social dancing. He is the son of Luan Pradit Phairoh, undoubtedly one of the greatest traditional Thai musicians of this century.