Appendix Table 4

THESIS
AN ANALYSIS OF ENGLISH TERMS OF THAI MUSIC: THAI MUSICAL
INSTRUMENTS, THAI MUSICAL ENSEMBLES, AND TYPES OF THAI
MUSICAL INSTRUMENTS
ANGSANA INBOON
A Thesis Submitted in Partial Fulfillment of
the Requirements for the Degree of
Master of Arts (English for Specific Purposes)
Graduate School, Kasetsart University
2004
ISBN 974-274-773-3

ACKNOWLEDGEMENTS
The thesis has been accomplished with the support of many persons. Firstly, I
would like to express my deepest gratitude to Asst. Prof Bhikul Punyaratabandhu, my
thesis advisor, for her invaluable time and assistance, encouragement, and support.
This thesis would not have been successful without her patience, help and concern in
my study.
I am particularly grateful to my major field advisor, Mr. Richard Goldrick who
advised and edited all the grammatical points. Without him, this thesis would not have
been completed. I am very much indebted to Mr. Jaruek Rajsombat for his help and
suggestions. Also, I am especially thankful to Asst. Prof Narong Kiantongkul, the
Graduate School Representative and expert in the field of Thai music, for his
supportive comments and counsel for the defense.
My special gratitude go to all teachers of all my life, especially all ESP
teachers, who have taught me in ESP courses , and Thai music teachers, who have
taught me Thai music both theory and practical skills.
Many thanks go to all of my dear friends for their love, care, and assistance
during the years of my study. Thanks very much for many persons I have not
mentioned here who are never the less very much appreciated.

ACKNOWLEDGEMENTS (CONTINUED)
Finally, I would like to extend my warmest appreciation to my parents, my
aunts, and relatives for their kindness, love, support, care, and understanding. Thank
you very much with all my heart.
Angsana Inboon
September 2004

TABLE OF CONTENTS
LIST OF TABLES iii
LIST OF FIGURES vi
CHAPTER I INTRODUCTION 1
Rationale of the Study 1
Objective of the Study 6
Importance of the Study 6
Scope of the Study 6
Definition of Terms 7
CHAPTER II LITERATURE REVIEW 9
Translation Equivalences 9
Relevant Research 18
CHAPTER III METHODOLOGY 26
Research Design 26
Data Collection Procedure 27
Data Analysis 31
Reliability Assurance 36
CHAPTER IV RESULTS 37
The Findings on English Terms of Thai Music 37
Strategies Used by Writers in Presenting English Terms
of Thai Music 39
i
Page

TABLE OF CONTENTS (CONTINUED)
CHAPTER V DISCUSSION 58
Summary of the Results 58
Discussion and Suggestions for Further Research 62
LITERATURE CITED 67
APPENDIX 70
Appendix A The Lists of Thai Music Terms 71
Appendix B Strategies that Each Writer Used in Presenting
English Terms of Thai Music 124
Appendix C The Lists of Strategies Used in Presenting
Thai Music Terms 213
Appendix D The Differences on Strategies Used in Presenting
Thai Music Terms 255
ii
Page

LIST OF TABLES
Table Page
1 Names of Thai Musical Instruments 30
2 Names of Thai Musical Ensembles 30
3 Names of Types of Thai Musical Instruments 30
4 Thai Musical Instruments 32
5 Thai Musical Ensembles 33
6 Types of Thai Musical Instruments 34
7 The Number of English Terms for Thai Musical Instruments, Ensembles,
and Types of Instruments Collected from the Five Books and in
Saranukromsapdontrithai [Dictionary of Thai Music (in Thai)] 37
8 Frequency of Occurrence of All the Strategies that Each Writer Used
for Presenting English Terms of Thai Musical Instruments. 39
9 Frequency of Occurrence of All the Strategies that Each Writer Used
for Presenting English Terms of Thai Musical Ensembles. 47
iii

LIST OF TABLES (CONTINUED)
Table Page
10 Frequency of Occurrence of All the Strategies that Each Writer Used
for Presenting English Terms of Types of Thai Musical Instruments 53
Appendix Table
1 Lists of Names of Thai Musical Instruments 72
2 Lists of Names of Thai Musical Ensembles 111
3 Lists of Names of Types of Thai Musical Instruments 122
4 Strategies that Each Writer Used in Presenting English Terms
of Thai Musical Instruments 125
5 Strategies that Each Writer Used in Presenting English Terms
of Thai Musical Ensembles 194
6 Strategies that Each Writer Used in Presenting English Terms
of Types of Thai Musical Instruments 210
7 The Differences in Strategies Used in Presenting
Thai Musical Instruments 256
iv

LIST OF TABLES (CONTINUED)
Appendix Table Page
8 The Differences in Strategies Used in Presenting
Thai Musical Ensembles 262
9 The Differences in Strategies Used in Presenting
Types of Thai Musical Instruments 264
v

LIST OF FIGURES
Figure Page
1 An Overview of the Translation Task 16
vi

A Brief Introduction to Thai Music
CHAPTER I
INTRODUCTION
Rationale of the Study
Thai music is one part of Thai culture and has a complicated history. Since
before the establishment of the first Thai Kingdom, Thai people have invented many
different kinds of Thai musical instruments and developed ways of playing them
(Yupho, 1960); however, some types of instruments as well as ways of playing them
have been adopted and adapted from other countries, as is mentioned in the
Tribhumikatha, one of the first books written in Thai, and on a stone inscription from
the time of King Ramkhamhaeng of the Sukhothai period (The National Identity
Office, Office of the Prime Minister, Royal Thai Government, 1995).
Thai music plays a vital part in everyday Thai life. It is performed during
many types of ceremonies of the court and of ordinary people. It draws much of its
meaning from its function in Buddhist ceremonies and life cycle rituals as listed below
(Jearaditharporn, 1973 cited in Moro, 1998: 378):
1. Buddhist ceremonies
1.1 songkraan : water-throwing festival, at the Thai New Year

Buddha
1.2 wisaakha: commemorates the birth, enlightenment, and death of the
1.3 khaw phansaa: the beginning of Buddhist Lent
1.4 saat: an autumnal feast
1.5 auk phansaa: the end of Buddhist Lent
1.6 kathin: presentation of robes to monks after Buddhist Lent.
1.7 loy krathong: a not specifically Buddhist festival in which participants
float offerings on water
1.8 maakhaa buchaa: Buddhist saints’ day
1.9 theet mahaachaat: a sermon on the penultimate life of the Buddha
2. Life-cycle ceremonies
2.1 tham khwan: a rite performed at various life cycle celebrations such as
the ordination of young men into the monkhood, and the “top-knot cutting” puberty
rite [rarely performed today]
2.2 weddings
2.3 funerals
2

2.4 tham bun: merit-making rite, performed as part of both Buddhist and
life-cycle observances
The melodies played at different ceremonies vary. So do most of the musical
instruments which form the ensembles that play the melodies. For example, the
melodies played at funerals tend to create the feeling of sadness while those
performed at merit-making rites tend to stimulate the feeling of happiness, and
therefore different musical instruments must be used. Thus Thai instruments are
grouped into many different kinds of Thai music ensembles and each Thai musical
composition was limited to certain kinds of ensembles at certain ceremonies.
Moreover, some ceremonies, like theet mahaachaat, tham khwan, tham bun, weddings
and funerals ceremonies, limit the titles of the compositions that may be played and
the standard order in which they are performed during the rituals. Many of these Thai
music compositions were adopted or adapted from melodies of other countries. The
title of each of these musical compositions normally begins with the name of the
country where the melody originated in order to honor that country. Moreover, some
music compositions were named by using the name of places whose beauty is
described in the lyrics.
The names of Thai instruments may refer to the sound they make, characteristic
shape or customary use in ensembles; the country from which they originally came; or
their original names (Yupho, 1987:6-7). The following list is a classification of names
of Thai musical instruments:
1. Onomatopoetic names
2. Names based on the characteristic shape
3

3. Names based on their use in ensemble
4. Names based on the country from which they were borrowed
5. Original names in the language of the country of origin.
The Publishing of Thai Music Articles
Nowadays people in many western countries becoming more and more
interested in Thai music. Foreigners have heard Thai music during their visits to
Thailand. European observers have taken interest in Thai music, and articles on Thai
music have been written by travellers, missionaries, officials, and musicologists since
the mid-16 th century, and by musicologists in the 20 th century (Moro, 1998:37).
Moreover, Thai people who have gone to live or study overseas have disseminated
Thai music by having it performed in Thai restaurants and offering courses at Thai
temples. A number of tertiary institutions in other countries have included it in their
music curricula in the fields of musicology and ethnomusicology. Many students, both
foreigners and Thais, studying at tertiary institutions offering musicology and
ethnomusicology are becoming more and more interested in writing papers, academic
articles, and books about Thai music.
The Translation of Thai Music
In articles written in English about Thai music, it is noticeable that each writer
uses a variety of terms to name, define and explain, songs, melodies, and instruments,
and this, very often, confuses people who read more than one article. Those who
already have background knowledge of Thai music may easily understand what they
4

are reading, but those who have little or no background knowledge may be confused
when they come across technical terms without any explanation or definition.
Different writers have used different terms in discussing the same thing about
Thai music because there are several strategies the writers have used to present terms.
In terms of lexis, one of the most important things that writers need to consider is
translation equivalence. The translators may encounter the problem of finding the
equivalent meaning when they translate Thai words to English words. Many strategies
have been used to represent those words. For example, some writers use transliteration
strategies and give the definition after each word; some use cultural substitutes, while
others use both of these strategies together in the same presentation.
In terms of transliteration, each writer has used his or her own system of
romanization to present terms of Thai music and this may confuse readers when they
find different transliterations in other papers.
English technical terms of Thai music are very interesting to study. Many of
them cannot be understood clearly by readers. When each writer uses different terms to
represent the same Thai word, the readers may be confused. Therefore it is beneficial
to the dissemination of Thai classical music to survey and collect the English terms of
Thai music used by prominent writers and study the strategies they used in presenting
Thai music in English.
5

Objectives of the Study
1. To survey and collect the English terms of Thai music
2. To analyze the strategies which the writers used in presenting technical
terms of Thai music in English
Importance of the Study
The finding of this study will be useful to both Thais and foreigners who are
interested in writing articles or translating documents about Thai music. It is also a
guideline for Thai teachers of Thai music for use in teaching foreigners to play Thai
instruments. Moreover, it is a guideline for developing a dictionary of Thai music
technical terms.
Scope of the Study
1. Terms were taken from the following Thai music books written in English:
1.1 Morton, David. 1976. The Traditional Music of Thailand. Los
Angeles: Institute of Ethnomusicology, UCLA.
1.2 Myer, Moro. 1998. Thai Music and Musicians in Contemporary
Bangkok. Los Angeles: Institute of Ethnomusicology, UCLA.
1.3 Phra Chen Duriyanga. 1968. Thai Music. Bangkok
6

1.4 Pradipasen, Pradhak. 1976. Thai Classical Music. Bangkok
1.5 Yupho, Dhanit. 1987. Thai Musical Instruments. Bangkok
2. The study focuses on analyzing names of Thai musical instruments,
names of Thai musical ensembles and names of types of Thai musical instruments.
Only the words from chapters concerning those topics were studied.
Definitions of Terms
1. SL stands for source language
Source language means the Thai terms of the Thai music as officially
defined in Saranukromsapdontrithai (Dictionary of Thai Music), which is in the
Thai language.
2. TL stands for target language
Target language means the English language
3. ST stands for source text
Source text means the Saranukromsapdontrithai
4. TT stands for target text
Target text means the five books from which the researcher collected
words and descriptions to analyze
5. Generic word means translating specific words by using a general terms.
For example: กลองแขก = foreign drum (the word แขก is translated as foreign)
7

Explanation: The word “แขก” is the specific word which refers to peoples of Asia to
the west of Thailand such as Arabs and Indians. But the word “foreign” is a generic
word; it is much more general.
6. Specific word means translating general words by using specific terms.
For example: แตรฝรั่ง
= European trumpet (the word ฝรั่ง
is translated as European)
Explanation: The word “ฝรั่ง”
is the generic word referring to both Europeans and
Westerners. But the translator renders it “European”, the meaning of which is more
limited, or specific, than that of “ฝรั่ง”
7. Cultural substitute means to translate with a word referring to an item or
concept of the receptor language culture.
8

CHAPTER II
LITERATURE REVIEW
There are two subjects relevant to this research
1. translation equivalence theories
2. relevant research
Translation Equivalences
Jakobson (1959) explained that there are three kinds of translation:
1. intralingual (within one language, i.e. rewording or paraphrase)
2. interlingual (between two different written languages)
3. intersemiotic or transmutation (between sign systems).
According to his theory, interlingual refers to translation between two different
languages. He focused on the problem of equivalence in meaning between words in
different languages saying that ‘there is ordinarily no full equivalence between codeunits.’
The translator uses synonyms in order to get the ST message across. From the
grammatical point of view, SL may differ from TL and this may cause problems in
finding a translation equivalent. Jakobson stated that ‘whenever there is deficiency,

terminology may be qualified and amplified by loanwords or loan-translations,
neologisms or semantic shifts, and finally, by circumlocutions.’
Catford (1965) stated that “Translation equivalence occurs when an SL (Source
Language) and a TL (Target Language) text or item are relatable to (at least some of)
the same features of substance”. He separated translation equivalence into two types:
textual equivalence and formal correspondence.
In his study, Catford defined textual equivalence as follows: “A textual
translation equivalent is any TL form (text or portion of text) which is observed to be
the equivalent of a given SL form (text or portion of text)”.
In terms of formal correspondence, there are five levels of translation
equivalence: sentence level, subordinate clause level, phrase level, lexical level and
morpheme level.
Baker (1992) also explained that there are different levels of “equivalence” She
distinguishes between:
1. Word equivalence: when translating from SL to TL, the first thing that a
translator needs to consider is word level. She said “a single word can sometimes be
assigned different meanings in different languages and might be regarded as being a
more complex unit or morpheme”. This means that the translator should pay attention
to a number of factors when considering a single word, such as number, gender and
tense.
10

2. Grammatical equivalence: when translating from SL to TL, problems of
finding a direct correspondence in the TL may occurred, and translators may add or
omit information because of the particular grammatical devices in the TL itself.
Amongst the grammatical devices which might cause problems in translation, Baker
focuses on number, tense and aspects, voice, person and gender.
3. Textual equivalence: when translating from SL to TL, a translator needs to
consider useful guidelines for the comprehension and analysis of the SL and whether
and how s/he will maintain the cohesion of the SL text or not. His or her decision will
be guided by three main factors: the target audience, the purpose of the translation and
the text type.
4. Pragmatic equivalence: when translating from SL to TL, the translator
needs to imply meanings in translation in order to get the ST message across. It is very
necessary to consider the aims of the authors in SL culture in order to make the reader
in TL understand it clearly.
As for word or lexical level, Supol (1999) said that translation equivalence can
be divided into:
1. one-to-one correspondence: one word in the source language can be
translated into one word in the target language
2. one-to-many correspondence: one word in the source language can be
translated into many words in the target language.
11

3. many-to-one correspondence: many words in the source language can
be translated into one word in target language.
4. one-to-nil correspondence: one word in the source language cannot be
translated into any words in the target language. The writer may use the original word
or add a definition to explain the word.
5. one-to-part correspondence: one word in the source language can give
only part of the meaning in the target language. For example, the word “ น้ําใจ”
can
be translated as “spirit” but this does not express the exact meaning of the word
“น้ําใจ”.
Newmark (1988) stated that lexis is a difficulty in translation. Lexis includes
words, collocations and fixed phrases or idioms, neologisms and ‘unfindable’ words.
The main problem in translating words is that the translator does not understand the
words or she/he finds that those words are hard to translate. Normally, unfindable word
can be transferred (or transliterated) with the addition of some generic information.
The strategy of transliteration is to replace each SL letter unit with a TL letter
(Catford, 1965)
Newmark called a word in the source language which cannot be transferred to
the target language as a “No-Equivalent word”. He said the translator needs to use
several words to explain that one word in the form of a footnote.
For technical and descriptive terms, Newmark explained that the translator may
use a descriptive term for a technical object for three reasons:
12

1. the object is new, and has not got a name yet.
2. the descriptive term is used as a familiar alternative, to avoid repetition.
3. the descriptive term is used to make a contrast with another one.
Nida (1982) divided translation equivalence into two types: formal
correspondence and dynamic equivalence. Formal corespondence focuses attention on
the message itself, in both form and content, whereas dynamic equivalence is based on
the relationship between receptor and message.
Formal correspondence consists of a TL item which represents the closest
equivalent of a SL word or phrase; there are not always formal equivalents between
language pairs. Formal equivalents should be used wherever possible if the translation
aims at achieving formal rather than dynamic equivalence. Formal correspondence is
said to distort the grammatical and stylistic patterns of the receptor language, and
hence can distort the message, and cause the receptor to misunderstand.
Dynamic equivalence provides the translator with a theory which can deal with
the cultural challenges. It is defined as a translation principle according to which a
translator seeks to translate the meaning of the original message. Nida also defines the
goal of dynamic equivalence as seeking ‘the closest natural equivalent to the sourcelanguage
message’.
Dynamic equivalence contains three terms;
1. equivalent, which refers to the source-language message
13

2. natural, which refers to the receptor language: a natural rendering
should fit the whole target language and culture, the context of the specific message
and the target language audience.
3. closest, which means the word used "binds the two orientations together on
the basis of the highest degree of approximation".
Apart from the types of formal correspondence and dynamic equivalence in his
translation equivalence theory, Nida also pointed out that a natural translation has to
deal with two main areas of adaptation, namely grammar and lexicon. The
grammatical adaptation takes place more readily since one is obliged to make
adjustments such as shifting word order or using nouns instead of verbs in the receptor
language. The lexical structure of the source message is less easily adjusted to the
semantic requirements of the receptor language because there are no strict grammatical
rules but a variety of options.
With regard to lexis, there are three levels which the translator has to consider;
1. terms for which there are many equivalents
2. terms which identify culturally different objects but with similar function;
the translator has to use a term which reflects the form of the referent or a term which
identifies the equivalent function.
3. terms which identify cultural specialities; these provide the translator with
truly cultural words, which bring with them foreign associations.
14

In his study, it appears that Nida is in favour of the application of dynamic
equivalence as a more effective translation procedure. Thus, the product of the
translation process, that is the text in the TL, must have the same impact on the
different readers it is addressing. Only in Nida and Taber (1969) is it clearly stated that
'dynamic equivalence in translation is far more than mere correct communication of
information'. Despite using a linguistic approach to translation, Nida is much more
interested in the message of the text or, in other words, in its semantic quality. He
therefore strives to make sure that this message remains clear in the target text.
Similar to Nida, Newmark (1988) suggested the use of the strategies of
‘semantic’ and ‘communicative’ translation. The communicative translation is the
same as Nida’s dynamic equivalence, while semantic translation is similar to Nida’s
formal equivalence.
The theory of dynamic equivalence of Nida is called by Newmark (1987)
“equivalent effect or equivalent response principle”. He explained that the overriding
purpose of any translation should be to achieve equivalent effect or to produce the
same effect on the readership of the translation as was obtained on the readership of
the original. This is the desirable result, rather than the aim of any translation. He
separated the factors of translation into two cases:
1. The result of the purpose of the SL text is to affect and the TL translation is
to inform (or vice versa)
2. There is a pronounced cultural gap between the SL and the TL text.
15

Cultural Based Translation
According to Larson (1984), to translate from a source language to a receptor
language, a translator needs to consider both language and culture. The goal is to
express the same meaning in the receptor language, and this may require forms that
may be very different from those of the source text. Translation consists of lexicon,
grammatical structure, communication situation, and cultural context of the source
language text which has to be transferred appropriately to the receptor language and its
cultural context. The process illustrated in Figure 1.
Figure 1 An overview of the translation task
Source: Larson (1984)
One of the most difficult problems in translating is to find lexical equivalents
as the words in SL and TL will not match because of the differences in geography,
customs, beliefs, worldview, and various other factors. When a speaker of a source
language talks about his culture, which is very different from that of speakers of the
receptor language, it is necessary for the translator to find the most comprehensible
way to convey the concept. There are two considerations in finding adequate lexical
equivalents.
16

1. If the concepts of a topic in the source language are known in the receptor
language, the translator may translate by using nonliteral lexical equivalents and
descriptive phrases and by using related words that are equivalents such as synonyms,
doublets, generic-specific words or sometimes negating antonyms.
2. When the concepts of a topic in the source language are not known in the
receptor language, the translator must find an appropriate way to explain them. This
means that if the objects and events in the source language are not known in the
receptor language, the translator needs to find an appropriate way to refer to them as
well as a way to express the concepts which are new in the receptor language. There
are three basic ways that a translator may use to find an equivalent expression in the
receptor lanugage. These are a generic word with a descriptive phrase, a loan word and
a cultural substitute (Beekman and Callow, 1974 cited in Larson,1984)
Regarding culture, Nida (1964) said that "no translation that attempts to bridge
a wide cultural gap can hope to eliminate all traces of the foreign setting". He stated
that “it is inevitable that when source and receptor languages represent very different
cultures there should be many basic themes and accounts which cannot be
‘naturalized’ by the process of translating”.
In his later study, Nida (1994) further states regarding cultural functions of
translation that “It is true that translation and interpretation of the source and target
languages must be implicitly or explicitly compared, but all such inter-lingual
communication extends far beyond the mechanics of linguistic similarities and
contrasts”. One of the main reasons for this is that the meaning of verbal symbols on
any and every level depends on the culture of the language community. Language is a
part of culture, and in fact, it is the most complex set of habits that any culture exhibits.
17

Language reflects the culture, provides access to the culture, and in many respects
constitutes a model of the culture.
For Nida, the success of translation depends on achieving equivalent response.
It is one of the following ‘four basic requirements of a translation, which are:
1. making sense
2. conveying the spirit and manner of the original
3. having a natural and easy form of expression
4. producing a similar response
Relevant Research
So far no research on an analysis of English lexical terms of Thai classical
music has been conducted. However, there are some studies of music and translation
as follows:
A study of music translation
Wichaidist (1997) studied Western musical instrument translation in Thai
music publishing. The names of about 33 Western musical instruments were gathered
from ten current music appreciation books and were analyzed from both the linguistic
and the sociolinguistic points of view, focusing on the translation strategies and the
most frequently used strategies.
18

The results indicated that there is not any set standard for Western music
instrument terms. She found that technical terms have been mainly used in two ways:
direct borrowings by transliteration and coining of new words for 17 categories.
In her study, she also mentioned the problems of general translation and music
translation of Pinitpouvadol (1986) who stated that there are a lot of problems in music
translation. The translator needs to have the following qualifications: knowledge, skill,
meticulousness, improvisation, harmony and logical concepts. The major problems are
the problems of language, the problems of general knowledge and the problems of
publishing and market.
Moreover, Leosiripong (1995) suggested that Thai translators can solve music
translation problems by using a dictionary and direct transliterations.
Wisedsook (2002) studied techniques in translating of song lyrics in animated
films from English into Thai. The translating was done by by Tanee Poonsuwan. The
data was twenty-six original lyrics and their Thai translations from four animated
films, “Anatasia”, “Hercules”, “The Little Mermaid”, and “The Prince Of Egypt”.
The results showed that the translation techniques applied by the translator
were both literal and free translation. There are three musical factors that influenced
the translation, which are the relation of music and lyrics, rhyme, and the tone of
songs.
19

A Study of Cultural Based Translation
Kaewsuwan (1998) analyzed culture-based text translation from Thai into
English. The study investigated the patterns of word, sentence and text level
translations presently used in culture-based text translations from Thai into English in
which Thai traditions were analyzed, compared and classified according to the theories
of semantics, syntax, text analysis and translation. The subjects used in this study were
13 articles on Thai traditions in life printed in Thai and English versions in Kinnaree
Magazine from 1995 to 1997. The contents were concerned with religion, beliefs and
values, which are major components of Thai culture.
Thirty-one translation patterns classified by using the lexical equivalents
proposed by Larson (1984). The researcher found interesting and unexpected
problems: differing roles of the translator and the researcher, ambiguities of language
used in the original and inappropriate words in the original.
Studies of Thai to English Translation
Meemeskul-Martin (1984) studied the translation process from Thai to English
and from English to Thai in the research entitled “Towards a Descriptive Model of
Thai-English Translation”. She discussed the translation process related to problems in
Thai – English translation. The problems were at both the sentence and word levels.
From her observations, the Thai grammatical notion of sentence has not been
standardized and does not match that in English. This causes problems and difficulties
in translation. Her results showed that the most suitable model of linguistic description
for comparing of English and Thai as background translation is the logico-semantic
model applied from Leech’s “Predication Analysis” (1974).
20

The Conclusions
The researcher was inspired to do an analysis of Thai music technical terms
after reading all translation strategies and relevant research, especially “The Analysis
of Western Musical Instrument Technical Terminology Translation in Thai Music
Publishing” by Wichaidist (1997). She focused on the translation of the names of
Western musical instruments used in the symphony orchestra, from English into Thai.
Her study is based on the strategy of Songsil (1983) which stated that in the
translation methods in Thai publications, there are two ways of dealing with English
loan word: transliterating and coining. Adapting her study, the translation of Thai
music terms, from Thai into English, was studied. Three categories of terms were
studied: The names of instruments, the names of ensembles, and the names of the types
of instruments. These were collected from the five books. Moreover, the description of
each instrument, ensemble, and type was analyzed.
Since the study aims to survey and to analyze the strategies which the writers
of the five books used for presenting technical terms of Thai classical music, the
analysis was based on translation theories which deal with translation at the lexical
level. The terms used in the data analysis are the following:
1. Translation: to translate from source language into target language
2. Transliteration: representing word from the source language with
combinations of letters of the target language
21

3. Descriptive phrases
3.1 Generic word: translating specific words by using general terms
3.2 Specific word: translating general words by using specific terms
4. Cultural substitute: using a word in the target language of an item which
may be similar in appearance and function.
The above topics are discussed by the authorities in translation: Catford (1965),
and Beekman and Callow (1974) cited in Larson (1984). However, the researcher
found that there are some other strategies that the writers of the five books have used
to present technical terms of Thai classical music. Therefore the researcher has used
the following list of these strategies, and will include them in the data analysis table:
1. Partial translation: translating only some part of word from the source
language with letters of the target langauge
For example: เครื่องดีด
= plucked
Explanation: The translator omitted the word “เครื่อง”
and translated only the word
“ดีด” as “plucked”
2. Partial transliteration: replacing only some letters of a word from the
source language with letters of the language
For example: พิณเพี๊ยะ
= phia
Explanation: The translator omitted the word “พิณ” and transliterated only the word
“เพี๊ยะ”
as “phia”
22

3. Descriptive phrases
3.1 Modifers
3.1.1 Type: whether that instrument is stringed, plucked, bowed, etc.
3.1.2 Shape: physical appearance of instrument (long, thin, stick, etc.)
3.1.3 Size: whether the instrument is big, small or medium sized
3.1.4 Sound: whether the instrument produces high pitch or low pitch
3.1.5 Material: whether the instrument is made of metal, wood, etc
3.1.6 Number: the number of the parts that make up the instrument
(two stringed fiddle…,etc
3.1.7 Hyphenated: hyphenated modifers
3.2 Similar Western instrument: when the Thai instrument is compared
with a Western instrument
3.3 Implement used in playing: things which are used for playing the
musical instruments (drum beaters, mallets)
23

3.4 Ensemble in which used: name of ensembles in which used
3.5 Component instruments (for ensembles): name of instruments which
are used in the ensemble
ensembles
3.6 Component ensembles (for ensembles): the combination of the
3.7 Occasion played: occasions or ceremonies in which the musical
instruments are played
3.8 Origin of name (ensemble): the original language or place from which
that ensemble came
3.9 Origin of name (ensemble): the original language or place from which
that ensemble came
supported
3.10 Position in ensemble: where it is in ensemble and how it is
3.11 Other names: the instruments or ensembles that have more
than one name
3.12 Function: function in an ensemble
3.13 How played: how the instrument is played
24

3.14 Region where played: the region in which the instrument is played
3.15 Age: the age of an instrument or ensemble
3.16 Reference to other instruments: reference is made to other Thai or
non-Thai instruments
Instrument
3.17 Part of instruments: things that are combined together to form an
3.18 About players: mentioning the players in the following aspects (not
played by females, played by a single musician)
3.19 Citation: referring to other books
The table which will be used to analyze technical terms of Thai classical
music will consist of the descriptive strategies above. The design of the table will be
discussed in the next chapter.
25

CHAPTER III
METHODOLOGY
Since the objectives of this research are to survey and collect the English terms
of Thai music used by prominent writers and study the strategies they used in
presenting Thai music in English, quantitative techniques are used in conducting this
study. The procedures are divided into the following stages: research design, data
collection procedure, data analysis, and reliability assurance.
Research Design
The researcher decided to focus on Thai music translation and used the search
engines of several universities and institutes to find the books on Thai music written in
English. Finally, five books were chosen since they could be easily found at those
universities and institutes and contained the most data to serve the purposes of this
study. Words in these books which were also found in Saranukromsapdontrithai
were picked out and classified into three categories: names of Thai musical
instruments, names of Thai musical ensembles, and names of types of Thai musical
instruments. Then these words were analyzed based on the strategy of transliteration
by Catford (1965), and the strategy of translation equivalence by Beekman and Callow
(1974 cited in Larson, 1984). In addition, it was found that the writers of the five
books also used some other strategies in presenting terms of Thai music. Therefore,
these strategies were also included in the data analysis tables. After that, the researcher
counted the frequencies of occurrence of each type of strategy and identified the
strategies which were most used by the five writers.

Data Collection Procedure
1. After using search engines to find Thai music books written in English in
the libraries of the following institutions: Chulalongkorn University, Thammasart
University, Kasetsart University, Mahidol University, The National Institute of
Development Administration and The National library and the research center, the
researcher decided to collect the data from the works listed below:
1.1 Morton, David. 1976. The Traditional Music of Thailand. Los
Angeles: Institute of Ethnomusicology, UCLA.
1.2 Myer, Moro. 1998. Thai Music and Musicians in Contemporary
Bangkok. Los Angeles: Institute of Ethnomusicology, UCLA.
1.3 Phra Chen Duriyanga. 1968. Thai Music. Bangkok
1.4 Pradipasen, Pradhak. 1976. Thai Classical Music. Bangkok
1.5 Yupho, Dhanit. 1987. Thai Musical Instruments. Bangkok
The data were collected from these five books because the author of each of
these books is a well-known authority on Thai music and the books presented general
information on Thai music. The words in the chapters which deal with Thai music
instruments, Thai music ensembles, and types of Thai music instruments and also
which were equivalent to those found in Saranukromsapdontrithai [Dictionary of
Thai Music (in Thai)] were picked out and analyzed
27

The first book was written by Morton when he came to study Thai traditional
music in Thailand from 1958 to 1960 and deals with the history, musical instruments,
tuning systems, melodies, rhythms, tempos, ensembles, and aspects of mode, form, and
compositional techniques.
The musical terms were taken from Chapter Two, in which Morton described
Thai music instruments, Thai music ensembles, and types of Thai music. In the
glossary section Morton also gave the phonetic symbols after each musical term to
help readers pronounce them correctly. However, these symbols are not included in the
study. The total number of terms collected from this book was 67 names of
instruments, 20 names of ensembles, and six types of instruments.
The second book was written by Myers after investigation of the classical
tradition of music in Thailand in 1985-6. The contents consist of an introduction to
Thai music, musical instruments, an overview of Bangkok and the Thai nation,
ensembles, songs, and Thai conceptions of music, its forms, structure and elements.
Moreover, the social organization and schools of musicians are also discussed. All the
terms for this study were taken from Chapter Three. The total number of terms was 53
names of instruments, 17 names of ensembles, and five names of types of instruments.
The third book was written by Phra Chen Duriyanga, a professor of Music of
the Fine Arts Department, Bangkok. This book was first published in 1948. The writer
divided it into three parts: 1) the technique of Thai music in relation to Western music,
2) the Piphat band and its instruments, and 3) scale, score, and pitch. In addition, lists
of Thai instruments and their equivalents among the Western instruments are given.
The terms were taken from the second part and totaled 15 names of instruments, one
name of an ensemble, and four names of types of instruments.
28

The fourth book is a translation of the “Soam Song Sang” written by Tramod.
It was translated by Pradipasen, Head of the Western Music Section, Music and Drama
Division, Fine Arts Department, in 1976. The characteristics of Thai music, families of
instruments, scale, ensembles, performing procedure, and classification of Thai music
are presented. The total number of terms collected was 26 names of instruments, 12
names of ensembles, and two names of types of instruments.
The last book was published in 1987 on the occasion of the Eightieth Birthday
Anniversary of Dhanit Yupho, who had been the Director-General of the Fine Arts
Department from 1956 to 1968. The book was translated by David Morton.
Yupho’s book describes the history of Thai music and Thai music instruments.
Transliteration strategies and full descriptions of the exact shape and characteristics of
each instrument were used in presenting terms. The total number of terms obtained
from this book was 82 names of instruments, 13 names of ensembles, and six types of
instruments.
2. The researcher looked for the Thai music terms in the five selected books
and made lists of names of Thai musical instruments, Thai musical ensembles, and
types of Thai musical instruments. The words collected are presented in Thai
alphabetical order in Tables 1, 2, and 3. The abbreviations below are used to represent
each book.
2.1 TMT stands for The Traditional Music of Thailand by David
Morton. 1976
29

2.2 TMMC stands for Thai Music and Musicians in Contemporary
Bangkok by Moro Myer. 1998
2.3 TM stands for Thai Music by Phra Chen Duriyanga. 1968
2.4 TCM stands for Thai Classical Music by Pradhak Pradipasen. 1976.
2.5 TMI stands for Thai Musical Instruments by Dhanit Yupho. 1987.
Table 1 Names of Thai Musical Instruments
Thai term Representation Source
Table 2 Names of Thai Musical Ensembles
Thai term Representation Source
Table 3 Names of types of Thai Musical Instruments.
Thai term Representation Source
30

Data Analysis
The collected terms of Thai music were divided into three different categories:
names of Thai musical instruments, names of Thai musical ensembles and names of
types of Thai musical instruments. Each category was analyzed separately. The
analyses are presented in Tables 4, 5, and 6
31

Table Table 4 Thai 4 musical Thai Musical instrumentsInstruments
Explaination of
description and picture
Description strategies
Thai terms Sources Representations
Word translation strategies
Citation
About players
Parts of instruments
Reference to other instruments
A ge
Region where played
How played
Function
Another name added
Position in ensemble
Origin of name (instrument)
Occasion played
Ensemble in which used
Implement used in playing
Similar W estern instrument
Specific word
Generic word
Cultural substitute
Partly
transliteration
Transliteration
Partial translation
Translation
Hyphenated
Modifiers
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
32

Table 5 Thai 5 Thai musical Musical ensembles Ensembles
Explanation
of description and picture
Description strategies
Word translation strategies
Thai terms Sources Representations
Citation
Comparison to other ensembles
A ge
Other names
Origin of name (ensemble)
Occasion played
Component ensembles (for ensembles)
Component
instruments (for ensembles)
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Modifiers
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
Transliteration+translation
Translation
Partial transliteration
Transliteration
33

Table 6 6 Types Types of Thai of Thai musical Musical instruments Instruments
Thai terms Sources Representations Word translation strategies Description strategies Explanation
Translation of description and picture
Partial translation+material
Translation+type
Translation+material
Partial translation
Translation
Transliteration
34

Since this study focused on analyzing the translation equivalence of technical
terms and specific words in Thai music books, the analysis was based on the
translation equivalence theory of Catford (1965) which explained the transliteration
theory, and the theory of Beekman and Callow (1974 cited in Larson, 1984) which
discussed the following ways for finding adequate equivalents:
1. Using nonliteral lexical equivalents, descriptive phrases and related
words as equivalents which includes the strategies of synonyms, doublets, genericspecific
words or sometimes using negating antonyms for translating a word which is
known in the receptor language.
2. Using three basic ways to find an equivalent expression: a generic
word with a descriptive phrase, a loan word, and a cultural substitute (Beckman and
Callow 1974) for a word which is not known in the receptor language.
After the names of Thai musical instruments, Thai musical ensembles and
types of Thai musical instruments had been analyzed, based on the theory reviewed in
the second chapter, the researcher counted the frequencies of occurrence of each type
of strategies and identified the strategies which were most used by the five writers.
Next, the researcher compared and counted the terms each writer used to represent
each Thai word to find out how many words differ and how they differ: two out of four
or five books counted as “different”.
35

Reliability Assurance
To ensure the reliability of the analysis, the research tools were presented to
three advisors which consisted of both native and non-native speakers of English from
the Department of Foreign Languages and a non-native speaker from the Department
of Linguistics. The analysis tables ,the use of language, and the analysis of lexical
translation equivalence were discussed and revised according to suggestions from all
advisors.
36

CHAPTER IV
RESULTS
This chapter is divided into two parts. The first section presents the English
terms of Thai music. The second section discusses the strategies which the writers used
in presenting technical terms of Thai music in English
The Findings on English Terms of Thai Music.
This part presents English terms found in each book.
Table 7 The number of English terms for Thai musical instruments, ensembles, and
types of instruments collected from the five books and in
Saranukromsapdontrithai [Dictionary of Thai Music (in Thai)]
Terms Saranukrom
sapdontrithai
Thai musical
89
instruments
Thai musical
ensembles
30
TMT TMMC TM TCM TMI
67
20
53
17
15
1
26
12
82
13

Table 7 (Continued)
Terms Saranukrom
sapdontrithai
Types of Thai musical 10
instruments
Total
129
TMT TMMC TM TCM TMI
In Table 7, the terms from the five books are divided into three categories:
names of Thai musical instruments, name of Thai musical ensemble, and names of
types of Thai musical instruments. The number of words collected from each of the
five books is as follows:
1. 93 words from TMT (The Traditional Music of Thailand), 67 of which
were names of Thai musical instruments, 20 were names of Thai musical ensembles,
and 10 were names of types of Thai musical instruments.
2. 75 words from TMMC (Thai Music and Musicians in Contemporary
Bangkok), 53 of which were names of Thai musical instruments, 17 were names of
Thai musical ensembles, and five were names of types of Thai musical instruments.
3. 20 words from TM (Thai Music), 15 of which were names of Thai
musical instruments, one was a name of a Thai musical ensemble, and four were
names of types of Thai musical instruments.
6
93
5
75
4
20
2
39
6
101
38

4. 40 words from TCM (Thai Classical Music), 26 of which were names of
Thai musical instruments, 12 were names of Thai musical ensembles, and two were
names of types of Thai musical instruments.
5. 101 words from TMI (Thai Musical Instruments), 82 of which were
names of Thai musical instruments, 13 were names of Thai musical ensembles, and six
were names of types of Thai musical instruments.
Strategies Used by Writers in Presenting English Terms of Thai Music
This section discusses the strategies that all writers used to present English
terms of Thai music. These strategies are categorized into two groups: word translation
strategies and description strategies. The latter is the description of the instrument,
ensemble or type of instrument after each English term.
Table 8 Frequency of occurrence of the all strategies that each writer used for
presenting English terms of Thai music instruments.
Strategies
Word translation strategies
- Transliteration
- Partial transliteration
- Transliteration +
cultural substitute
- Translation + cultural
substitute
39
Sources
TMT TMMC TM TCM TMI
65
2
0
0
51
2
0
0
10
2
3
0
20
0
0
3
80
2
0
0

Table 8 (Continued)
Strategies
- Cultural substitute
Total
Description strategies
- Modifiers
- Type
- Shape
- Size
- Sound
- Material
- Number
- Hyphenated
- Translation
- Partial translation
- Transliteration
- Partial transliteration
- Cultural substitute
- Generic word
- Specific word
- Similar Western instrument
40
Sources
TMT TMMC TM TCM TMI
0 0 0 2 0
67
15
35
19
5
17
19
38
21
0
7
2
55
1
0
0
53
6
32
10
9
17
19
26
15
3
5
1
41
0
0
1
15
0
7
6
4
4
1
5
2
0
0
0
8
0
0
13
25
5
0
5
2
5
4
5
2
0
0
0
11
0
0
0
82
2
1
5
0
2
4
3
9
0
4
5
17
0
1
0

Table 8 (Continued)
Strategies
- Implement used in playing
- Ensemble in which used
- Occasion played
- Origin of name (instrument)
- Position in ensemble
- Other names
- Function
- How played
- Region where played
- Age
- Reference to other
instruments
- Part of instruments
- About players
- Citation
41
Sources
TMT TMMC TM TCM TMI
1 8 0 0 0
3 33 0 0 0
1 11 0 0 0
11 3 0 0 2
15 13 1 0 0
4 4 4 0 3
1 19 1 2 0
1 4 0 0 0
2 3 0 0 0
4 1 0 0 0
5 16 0 0 0
Table 8 shows the frequency of occurrence of all strategies that each writer
used for presenting English terms of Thai music; it was found that five strategies were
used for word translation. Transliteration was the strategy used the most in every
book: 65 words in TMT, 51 words in TMMC, 10 words in TM, 20 words in TCM, and
80 words in TMI.
1
0
0
0
6
2
0
0
0
0
0
0
0
0
0

The strategy that was used the second most was the strategy of partial
transliteration: two words each in TMT, TMMC, TM, and TMI. The strategy of
translation + cultural substitute was represented by three words in TM, the strategy of
translation + cultural substitute by three words in TCM, and the strategy of cultural
substitute by two words in TCM.
The description strategies can be divided into 23 categories. In presenting short
descriptions, the following strategies: translation, cultural substitute, size, material,
number, and hyphenated modifiers were used by all writers. The results show that the
strategy of cultural substitute was used the most. The number of occurrences was 55
words in TMT, 41 words in TMMC, eight words in TM, 11 words in TCM, and 17
words in TMI.
The strategy that was used the second most was hyphenated modifier. There
were 38 words in TMT, 26 words in TMMC, five words in TM, five words in TCM,
and three words in TMI. Moreover, description of shape was employed the third most:
15 words in TMT, six words in TMMC, five words in TCM, and two words in TMI.
The use of generic and specific word was employed the least: there was a generic word
in TMT, and a specific word in TMI.
Besides these, a mistransliteration was found in TCM. The word “กลองแขก”
was mistransliterated as “glong tahd”
The word translation strategies and short description are listed as follows:
42

Word Translation Strategies
Examples
1. Transliteration
TMT ระนาดทุม
ranat thum
TMMC ระนาดทุม
ranaat thum
TM ระนาดทุม
ranad thume
TCM ระนาดทุม
ranad toom
TMI ระนาดทุม
rana-t thum
2. Partial transliteration
TMT พิณเพี๊ยะ
phia
TMMC ฆองมอญวงเล็ก khaung maun lek
TM ระนาดทุมเหล็ก
thume lek
TMI ซอสามสายหลีบ saw-li-p
3. Transliteration + cultural substitute
TM ฆองวงใหญ gong wong yai
Remarks: The word “gong” is normally categorized as cultural substitute strategy
but in this case, it may be counted as transliteration strategy because the modifier
“wong yai” is put after the word “gong”, similar to the word order in Thai structure, in
which normally the modifiers are put after nouns.
43

4. Translation + cultural substitute
TCM ฆองวงเล็ก small gong set
5. Cultural substitute
TCM ฉาบเล็ก cymbals
Description Strategies
Examples
1. TMT: พิณ phin (stick zither with one string and a half-gourd
resonator; India, from Sanskrit: Indian names for a plucked lute: vina (south India)
and bina (north India) (p. 45)
Strategies Used in Describing
Modifiers
Type: stick, plucked
Shape: half
Material: gourd resonator
Number: one string
Hyphenated: half-gourd
Cultural substitute: zither, lute
Origin of name/instrument: India, from Sanskrit
Reference to other instruments: vina (south India) and bina (north
India)
44

2. TMMC: กลองแขก (cylindrical, two-headed drums held horizontally
across performers’ laps. Leather heads are laced on. Played in pairs by two performers.
Commonly substituted for taphoon in piiphaat ensembles and thoon/rammanaa in
mahoorii and khrung saay ensembles)
(p. 471)
Strategies Used in Describing
Modifiers
Shape: cylindrical
Material : leather
Number : pair, two
Hyphenated : two-headed
Cultural substitute: drum
Ensemble in which used: …piiphaat ensembles, mahoorii
and khruang saay ensembles
Position in ensemble: horizontally across performers’
laps
Function: substitute for taphoon…and
thoon/rammanaa…
Reference to other instruments: taphoon…and thoon/rammanaa…
About players: …played in pairs by two
performers
3. TM: ระนาดทุ
ม ranad thume or thume mai (Approximate equivalents
among the Western instrument; Alto Xylophone with wooden-resonance bars or
Marimba) (p.36)
45

Strategies Used in Describing
Modifiers
Shape: bars
Sound: alto
Material: wooden
Hyphenated : wooden-resonance
Similar Western instrument: Xylophone, Marimba
Other names: thume mai
4. TCM: ซอสามสายหลีบ saw sam sai lib (a smaller three-string fiddle with
higher pitches) (p. 27)
Strategies Used in Describing
Modifiers
Type: string
Size: smaller
Sound: higher pitches
Hyphenated : three-string
Translation: three-string
Cultural substitute: fiddle
5. TMI: ฉาบ cha-p (a pair of small metal cymbals) (p. 24)
46

Strategies Used in Describing
Modifiers
Size: small
Material: metal
Number: pair
Cultural substitute: cymbals
Table 9 Frequency of occurrence of all strategies that each writer used for presenting
English terms of Thai music ensembles.
Strategies
Word translation strategies
- Transliteration
- Partial transliteration
- Translation
- Transliteration+translation
-Transliteration
+translation+size
- Partialtransliteration
+partial translation
- Partial transliteration+age
- Used both transliteration
and partial transliteration
Total
Sources
TMT TMMC TM TCM TMI
0
8
0
7
2
2
1
0
20
7
5
0
0
0
0
0
5
17
0
0
0
1
0
0
0
0
1
8
0
1
2
0
0
1
0
12
0
6
0
7
0
0
0
0
13
47

Table 9 (Continued)
Strategies
Description strategies
- Modifiers
Type
Size
Hyphenated
- Translation
- Partial translation
- Transliteration
- Partial transliteration
- Component instruments (for
ensembles)
- Component ensembles (for
ensembles)
- Occasion played
- Origin of name (ensemble)
- Other names
- Age
- Comparison to other
ensembles
- Citation
Sources
TMT TMMC TM TCM TMI
0
2
1
5
4
3
1
4
0
1
0
0
2
0
0
3
4
4
5
8
0
4
8
1
6
1
0
1
1
3
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
3
2
0
2
4
0
0
6
0
0
0
0
0
1
0
1
0
0
1
0
0
0
1
0
0
0
2
0
0
0
48

Table 9 shows the frequency of occurrence of all strategies which each writer
used for presenting English terms of Thai music ensembles. For word translation,
eight strategies were found. They are transliteration, partial transliteration, translation,
transliteration + translation, transliteration + translation + size, partial transliteration +
partial translation, partial transliteration+ age, and the use of both transliteration and
partial transliteration. In terms of description strategies, there were13 strategies,
namely translation, partial translation, transliteration, partial transliteration, modifiers,
component instruments (for ensembles), component ensembles (for ensembles),
occasion played, origin of name (ensemble), other names, age, comparison to other
ensembles, and citation.
The findings show that the strategy of partial transliteration was most used in
representing words: eight words in TMT, five in TMMC, and six in TMI, the strategy
that was used the second most was the strategy of transliteration + translation: seven
words was TMT, one in TM, two in TCM, and seven in TMI. The strategy used the
third most is the strategy of transliteration: seven words in TMMC and eight in TCM.
And the strategy of translation was used the least: there was only one word in TCM.
In giving short descriptions, component instruments was used the most. The
number of occurrences was four words in TMT, eight in TMMC, six in TCM and on in
TMI. The second most used was the strategy of partial translation: there were four
such words in TMT, eight in TMMC, and four words in TCM. The strategy of
translation was used the third most: there were five translations of words in TMT and
TMMC, two in TCM and one in TMI. The identification of the component ensemble
(for ensembles) and the statement of the origin of the name (ensemble) were used the
least: only one example was found, and that was in TMMC.
49

Word Translation Strategies
Examples
1. Transliteration
TMMC วงปพาทยชาตรี
wong piiphaat
chaatrii
TCM วงปพาทยเครื่องหา
wong pi-phat, khre-a-ng
ha
2. Partial transliteration
TMT วงเครื่องสาย
khruang sai
TMMC วงมโหรี mahori
TMI วงปพาทยดึกดําบรรพ
pi-pha-t derk dam-ban
3. Translation
TCM วงเครื่องสาย
the string ensemble
4. Transliteration+ translation
TMT วงกลองแขก klong khaek ensemble
TM วงปพาทย
piphat band
TCM วงมโหรี the mahori ensemble
TMI วงปพาทยชาตรี
pi- pha-t cha-tri ensemble
5. Transliteration+ translation+ size
TMT วงเครื่องสายเครื่องคู
medium-sized or double
khruangsai ensemble
50

6. Partial transliteration + partial translation
TMT วงปพาทยอยางเบา
light pi phat
่
่
7. Partial transliteration+ age
TMT วงมโหรีเครื่องสี
original mahori
TCM วงมโหรีเครื่องสี
wong mahori boran or
ancient mahori
8. Transliteration and partial transliteration
TMMC วงขับไม khap may or wong khap
may
Description Strategies
Examples
1. TMT: วงปพาทยเครื่องคู
(medium-sized or doubled ensemble, a pair of
instruments, medium-sized or doubled piphat ensemble) (p. 105, 107)
Strategies Used in Describing
Modifiers
Size: medium
Hyphenated : medium-sized
Translation: doubled, a pair, ensemble
Transliteration: piphat
51

2. TMMC: วงปพาทยมอญ
(the Mon-derived ensemble (which shares certain
similarities to Burmese ensembles) commonly played at cremation ceremonies.
Features Mon-derived versions of the regular piiphaat instruments, plus the set of
tuned drums, peeng maang khauk)
(p. 486)
Strategies Used in Describing
Modifiers
Hyphenated : Mon-derived
Translation: Mon
Component instrumets : …plus the set of tuned drum,
peeng maang khauk
Occasion played: …played at cremation ceremonies
Comparison to other ensembles: …similaritities to Burmese
ensembles
3. TCM: วงเครื่องสายวงเล็ก
( small string ensemble; one instrument of each
kind only is used comparable to the pi-phat khre-a-ng ha)
Strategies Used in Describing
Translation: small string ensemble
Component instruments: one instrument of each kind only
is used comparable to pi-phat
khre-a-ng ha
52

Comparison to other ensemble: one instrument of each kind only
is used comparable to pi-phat
khre-a-ng ha
4. TMI : วงมโหรี (mixed string and percussion)ensemble (p.43,47)
Strategies Used in Describing
Component instruments: mixed string and percussion
Table 10 Frequency of occurrence of all strategies that each writer used for presenting
English terms of types of Thai music.
Strategies
Word translation strategies
- Transliteration
- Translation
- Partial translation
- Translation+material
- Translation+type
- Partial translation+material
Total
Description strategies
Translation
Sources
TMT TMMC TM TCM TMI
0
3
2
0
0
1
6
0
4
0
1
0
0
0
5
4
0
3
0
1
0
0
4
0
0
2
0
0
0
0
2
0
0
3
0
1
2
0
6
0
53

Table 10 shows the frequency of occurrence of all strategies that each writer
used for presenting English terms for the types of Thai musical instruments. Six
strategies: transliteration, translation, translation + material, translation + type, and
partial translation + material, were used for presenting words, and only one strategy –
translation- was used in short description. The findings show that the strategy of
translation was used for representing words the most; there were three such words in
TMT, three in TM, two in TCM, and three words in TMI.
The strategy of transliteration was used the second most: four words in TMMC.
And the strategy used the third most was partial translation: two words in TMT and
one in TMMC.
As to description strategies, the strategy of translation was used the most: four
words in TMMC.
Word Translation Strategies
Examples
1. Transliteration
TMMC เครื่องดีด
khruang diit
2. Translation
TMT เครื่องสาย
stringed instruments
TM เครื่องตี
percussion section
TCM เครื่องดําเนินทํานอง
melodic percussion
TMI เครื่องตี
percussion instruments
54

3. Partial translation
TMT เครื่องดีด
plucked
TMMC เครื่องสาย
strings
4. Translation+ material
TM เครื่องเปา
wood-wind section
TMI เครื่องหนัง
percussion instruments
using skin or leather
5. Partial translation+ material
TMT เครื่องเปา
woodwinds
6. Translation+ type
TMI เครื่องดีด
plucked stringed
instruments
Description Strategies
Example
1. Translation
TMMC เครื่องดีด
plucked instruments
From all the findings, it can be concluded that the strategies most used in
representing words are transliteration, partial transliteration, and translation. Moreover,
the strategies most used for short descriptions are cultural substitute, partial translation,
and translation.
55

Moreover, the representations of Thai names of instruments, ensembles and
types of instruments taken from the five books were compared to find the differences
in detail. It was found that the representations of 63 out of 89 names of Thai
instruments differed in terms of the system of romanization although the same
translation strategy, namely, transliteration, was used; an example is the word
“กระจับป”
(as shown in Appendix B Table 4, page 125)
Whereas the representations of nine out of 89 names of Thai musical
instruments were totally different. The translation strategies differed as well as the
system of romanization; an example is the word “ซอสามสายหลีบ” (as shown in
Appendix B Table 4, page 133)
As for Thai musical ensembles, 14 out of 30 representations totally differed in
terms of the translation strategies and the system of romanization; an example is the
word “วงเครื่องสาย”
(as shown in Appendix B Table 5, page 195-196), whereas eight
names out of 30 differed in terms of the system of romanization, but the translation
strategies are similar.
Concerning the representation of the types of Thai musical instruments, fives
names out of ten were also totally different strategy and system of Romanization; an
example is the word “เครื่องดีด”
(as shown in Appendix B Table 6, page 210).
However, for three names the same strategies and the same system of romanization
were used.
56

In conclusion, this chapter has presented two main sections: 1) numbers of
terms for Thai musical instruments, ensembles, and types of instruments and 2) the
strategies which each writer used in presenting terms of Thai music in English. The
significant issues of these results are discussed in the next chapter.
57

CHAPTER V
DISCUSSION
This chapter consists of two sections. The first section is a summary of the
main findings of this research. The last section is a discussion and suggestions for
further research.
1. The Objectives of the Study
Summary of the Results
The objectives of the study were: to survey and to collect the English terms
for the names of Thai musical instruments, ensembles, and types of musical
instruments, and to analyze the strategies which the writers used for representing
technical terms of Thai music in English.
2. Methodology
In the first stage of the study, terms of Thai music were surveyed and collected
from the five works listed below:
1. Morton, David. 1976. The Traditional Music of Thailand. Los
Angeles: Institute of Ethnomusicology, UCLA.

2. Myer, Moro. 1998. Thai Music and Musicians in Contemporary
Bangkok. Los Angeles: Institute of Ethnomusicology, UCLA.
3. Phra Chen Duriyanga. 1968. Thai Music. Bangkok
4. Pradipasen, Pradhak. 1976. Thai Classical Music. Bangkok
5. Yupho, Dhanit. 1987. Thai Musical Instruments. Bangkok
Since this research focused on analyzing names of Thai musical instruments,
names of Thai musical ensembles and types of Thai musical instruments, only the
words from chapters concerning those topics were selected. After the terms were
collected from each book, they were divided into three categories: Thai musical
instruments, Thai musical ensembles, and types of Thai musical instruments, and then
each category was analyzed separately.
3. Results
1. Survey of terms of Thai music
The number of words collected from the five books was as follows: 93
words from TMT (The Traditional Music of Thailand), 75 words from TMMC (Thai
Music and Musicians in Contemporary Bangkok), 20 words from TM (Thai Music),
40 words from TCM (Thai Classical Music), and 101 words from TMI (Thai
Musical Instruments).
59

2. Analysis of translation strategies
2.1. In analyzing the word translation strategies, it was found that the
strategies used in presenting Thai musical instruments terms were 1.) word translation
strategies which included transliteration, partial transliteration, transliteration+ cultural
substitute, translation + cultural substitute, and cultural substitute, and 2.) description
strategies which included the use of modifiers, translation, partial translation,
transliteration, partial transliteration, cultural substitute, generic word, specific word,
similar western instrument, implement used in playing, ensemble in which used,
occasion played, origin of name (instrument), position in ensemble, other names,
function, how played, region where played, age, reference to other instruments, part of
instruments, about players, and citation. Most representations of the names of Thai
musical instruments were followed by descriptions (as shown in Appendix B)
The strategy of transliteration was used the most for presenting the
names of instruments, and the strategy of cultural substitute was used the most in short
descriptions.
It was also found that the representations of 63 out of 89 names of Thai
instruments differed in terms of the system of romanization although the same
translation strategy, namely, transliteration, was used.
2.2 In representing the names of Thai musical ensembles, it was found
that writers used the following strategies: transliteration, partial transliteration,
translation, transliteration + translation, transliteration + translation + size, partial
transliteration + partial translation, partial transliteration + age, and used both
transliteration and partial transliteration. The description strategies used by the writers
60

were: the use of modifiers, translation, partial translation, transliteration, partial
transliteration, component instruments (for ensembles), component ensembles (for
ensembles), occasion played, origin of name (ensemble), other names, age, comparison
to other ensembles, and citation. Most representations of the names Thai musical
instruments were followed by description (as shown in Appendix B)
The strategy of partial transliteration was used the most for representing the
names of ensembles, and the strategy of component instruments was used the most in
short description.
The results also indicated that about 14 out of 30 representations of the
names of Thai music ensembles differed totally whereas eight names out of 30 differed
in terms of system of romanization, but the translation strategies were similar.
2.3 As for the representations of the words for types of Thai musical
instruments, the word translation strategies employed were transliteration, translation,
partial translation, translation + material, translation + type, and partial translation +
material. However, only one strategy - translation- was used for description strategies.
The strategy of translation was used the most for presenting words and
short descriptions. Concerning the representation of the types of Thai musical
instruments, fives names out of ten also differed totally in terms of translation
strategies and the system of romanization. The same strategies and the same system of
romanization were used to represent three names.
61

Discussion and suggestion of further research
1. Discussion
Beekman and Callow’s translation strategies as cited by Larson (1984): 1)
Using the strategy of translation, and 2) Using descriptive phrases, which include the
strategies of generic-specific words, are appropriate for translating a word which is
known in the receptor language.
Words which are not known in the receptor language can be translated by
using cultural substitutes.
terms.
The strategy of transliteration by Catford (1965), was used to present most
Besides strategies stated by authorities above, the strategy of partial translation
and partial transliteration were also used in representing the names of the instruments,
ensembles and types of instruments.
It is noticeable that the strategy writers of the five books employed most in
representing Thai music terms is the strategy of transliteration. The strategy of
transliteration helps the readers to be able to pronounce the representation correctly
and the description helps the readers to easily understand what the representation refers
to. However, after using the transliteration, it would be helpful to either to translate it
into English or compare it by using cultural substitutes.
62

Besides the transliterating the Thai names of the instruments, ensembles, and
types of instruments mentioned above, the researcher found that the writers also used
strategies in describing instruments, ensembles, and types of instruments to help
readers understand the terms more clearly. These strategies are listed as follows:
1. Descriptive phrases
1.1 Modifiers
1.1.1 Type
1.1.2 Shape
1.1.3 Size
1.1.4 Sound
1.1.5 Material
1.1.6 Number
1.1.7 Hyphenated
1.2 Similar Western instrument
1.3 Implement used in playing
1.4 Ensemble in which used
1.5 Component instruments (for ensembles)
1.6 Component ensembles (for ensembles)
63

1.7 Occasion played
1.8 Origin of name (instrument)
1.9 Origin of name (ensemble)
1.10 Position in ensemble
1.11 Other names
1.12 Function
1.13 How played
1.14 Region where played
1.15 Age
1.16 Reference to other instruments
1.17 Part of instruments
1.18 About players
1.19 Citation
64

2. Suggestions
2.1 Enlarging the corpus
Books on Thai music in English written by well known authorities are
rare. It is true that there are a few books on Thai music written in English but most
have only one or two pages concerned with Thai instruments, ensembles, and types of
instruments. Even in the five books selected, not all of the names of Thai musical
instruments, Thai musical ensembles, and types of Thai musical instruments were
found in every book. However, a very large corpus could be collected. It would be
more beneficial and may support the results of this study if more books on Thai music
are available. However, while carrying out the survey, the researcher found that most
books and articles employed terms from these five books.
2.2 Examining other linguistic features
The present study focuses on only the lexical level of translation.
Therefore it would be useful to carry out further research focusing on sentence level,
subordinate clause level, phrase level, and morpheme level or on the same feature with
deeper analysis.
2.3 Studying terms in other categories
This research focused on terms of only three categories: the names
of Thai music instruments, the names of Thai music ensembles, and terms for types of
Thai music instruments. Therefore it would be beneficial to the dissemination of Thai
65

music to carry out studies on terms in other categories such as types of songs, types of
rhythms, and so on, which are interesting and worthwhile.
Furthermore, it would be very beneficial in the field of Thai music to
develop a dictionary of Thai music terms in English by listing all the different
representations for each Thai music term
This kind of analysis is time consuming, especially during the data
collection and classification processes. It requires a high degree of patience and effort
on the part of the researchers.
66

LITERATURE CITED
Assumption University. Thai art. (Online) Available: http://sunsite.au.ac.th/thailand/
Thai_Arts/music.html, January 9, 2003
Baker, M. 1992. A Coursebook on Translation. London: Routledge.
Catford, J. 1965. The linguistic Theory of Translation. London: Oxford University
Press.
Kaewsuwan, T. 1988. The Analysis Cultural-Based Text Translation from Thai
into English. Bangkok: Thesis, The National Institute of Development
Administration.
Larson, Mildred L. 1984. Meaning- Based Translation: A Guide to Aross-
Language Equivalence. USA: University Press.
Lize, B. Translating Culture. n.d. (Online) Available: http://ilze.org/semio/
016.html, June 21, 2003
Meemeskul Martin, Ruchirawan. 1985. Towards a Descriptive Model of Thai-
English Translation. Dissertation Abstracts International.
Morton, D. 1976. The Traditional Music of Thailand. Los Angeles: Institute of
Ethnomusicology, UCLA.

Myers, M. 1998. Thai Music and Musicians in Contemporary Bangkok. Los
Angeles: Institute of Ethnomusicology, UCLA.
Newmark, P. 1988. A Textbook of Translation. New York and London:
Prentice-Hall.
Newmark, P. 1995. Approaches to Translation. Cambridge: Phoenix ELT.
Nida, E. 1964. Towards a Science of Translating. Leiden: E. J. Brill.
Nida, E and C. Taber. 1969. The theory and practice of Translation. Leiden:
E. J. Brill.
Pra Chen Duriyanga. 1968. Thai music. Bangkok.
Pradipasen, Pradhak. 1976. Thai classical music. Bangkok.
Ratchabanditayasathan. 1998. Saranukromsapdontrithai. Bangkok: Chulalongkorn
University Press. (in Thai)
Supol, D. 1999. Theories and Strategies of Translation. Bangkok. (in Thai)
Vanessa, L. 2000. Equivalence in Translation: Between Myth and Reality.
Translation Journal. (Online) Available: http://accurapid.com/journal/
14equiv.htm, June 9, 2003.
68

Wichaidist, S. 1977. The analysis of Western Musical Instrument Technical
Terminology Translation in Thai Music Publishing. Bangkok: Research,
The National Institute of Development Administration.
Wisedsook, S. 2002. Translation Technique of Song Lyrics in Animation Films
for Thai Versions as Translated by Tanee Poonsuwan. Bangkok: Thesis,
Mahidol University.
Yupho, D. 1987. Thai Musical Instruments. Bangkok.
69

APPENDIX

Appendix A
The Lists of Thai Music Terms

Appendix Table 1 Lists of Thai Musical Instruments
Thai term Representation Source
1. กระจับป - krajappi (long-necked plucked lute; origin
TMT
2. กรับ
unknown, name from, Sanskrit: names in the
language of the culture form which they were
borrowed were retained) (p.45), กระจับป
(a
plucked lute-type stringed instrument) (glossary)
- kracappii (lute) (p.78), กระจับป
(fretted lute-like
instrument, strummed with a plectrum held in the
peformer’s right hand. Not used in standard
contemporary ensembles) (p.471)
- gra jap pi (p. 50) (description with picture)
- krap (rhythm sticks made from pieces of bamboo,
cut and polished (p.44), กรับ a wooden percussion
instrument; a pair is held in each hand (glossary)
- grap (p.13)
TMMC
TMI
TMT
3. กรับคู
- grap khu (pair of grap) (p.13) TMI
TMI
72

Appendix Table 1 (Continued)
Thai term Representation Source
4. กรับพวง - krap phuang (consists of several long thin sheets of TMT
5. กรับเสภา
metal alternated with thin pieces of wood) (p.102)
กรับพวง (a percussion instrument of loose pieces
tied together; held in the right hand and slapped
against the palm of the left) (glossary)
- grap phuang (cluster or bunch of grap) (p.14)
- krap sepha (two nearly square bars of hardwood
about one and a half inches wide on each side by
eight inches long) (p.54) กรับเสภา (a wooden
percussion instrument) (glossary)
- krap seephaa กรับเสภา (pair of wooden bars, held
in each hand of a performer. Clacked together to
produce rhythmic accompaniment for recited epic
genre, seephaa) (p.472)
- grap say-pha- (p.14)
TMI
TMT
TMMC
TMI
73

Appendix Table 1 (Continued)
Thai term Representation Source
6. กลอง - klong (drum) (p.44), กลอง (generic word for TMT
7. กลองแขก
“drum”) (glossary)
- glaw-ng (drum) (p.35)
- klong khaek (“foreign” or Indian drum) (p.45),
กลองแขก (“foreign drum”) (glossary)
- klaung kheek (pair of double-headed drums, held
on laps of two separate players) (p.79) กลองแขก
(cylindrical, two-headed drums held horizontally
across performer’s laps. Leather heads are laced
on. Played in pairs by two performers. Commonly
substituted for taphoon in piiphaat ensembles and
thoon/rammanaa in mahoorii and khrung saay
ensembles) (p.471)
- glong tahd
- glaw-ng khae-k (p.48)
TMI
TMT
TMMC
TCM
TMI
74

Appendix Table 1 (Continued)
Thai term Representation Source
8. กลองชนะ - klaung chana (drum similar to the klaung kheek but TMMC
9. กลองชวา
10. กลองชาตรี
appearing in the rare pageant ensemble, tree sang
klaung chana. Decorated in festive colors) (p.471)
- glaw-ng chana (p.51)
- klong chawa (Javanese drum) (p.73), กลองชวา
(“Javanese drum” – that is, a Javanese-derived
drum) (glossary)
- glaw-ng cha wa- (Javanese drums) (p.48)
- klong chatri (drum used in the southern theater
(p.44), (a drum with pegged heads, like the klong
that but much smaller –the body being about ten
inches high, the heads about eight inches in
diameter:104) (p.104), กลองชาตรี (a drum of
southern Thailand) (glossary)
- klaung chaatrii (p.112) , กลองชาตรี (goblet-
shaped drum unique to the piiphaat chaatrii,
TMI
TMT
TMI
TMT
75
TMMC

Appendix Table 1 (Continued)
Thai term Representation Source
once used for the dramatic genre lakhaun chaatrii.
11. กลองตะโพน
That ensemble can also be called the “light”
version of the small-sized piphaat ensemble, today
accompanying southern-style ( “chaatrii” or
“nooraa”) epic drama (p.470)
- glaw-ng cha-tri (p.38)
TMI
- glaw-ng ta pho-n (two ta pho-n drums) (p.41) TMI
12. กลองตุก
- glaw-ng tuk (p.38) (5) TMI
13. กลองทัด
- klong that (p.72) กลองทัด (large barrel –shaped
peg-headed drum) (glossary)
- klaung that (pair of upright drums, hit with sticks)
(p.79), กลองทัด (pair of drums played by single
performer; hit with sticks. Heads tacked on.
Appear in the piiphaat ensemble) (p.471)
TMT
76
TMMC

Appendix Table 1 (Continued)
Thai term Representation Source
- the klong thad (a thick large drum) (p.14)
TM
14. กลองมะริกัน
15. กลองมลายู
(Approximate equivalents among the Western
instrument; Timpani) (p.36)
- glong tahd (twin drums) (p.26)
- glaw-ng that (p.35)
- klong marigan (American bass drum) (p.45),
กลองมริกัน (American bass drum) (glossary)
- glaw-ng mari gan (glaw-ng amay-ri gan or
American drum) (p.63)
- klong malayu (Malayan drum) (p.45), กลองมลายู
(Malayan drum) (glossary)
- klaung malaayuu (a drum similar appearance to the
klaung kheek, and similarly played in pairs, Malay
drum) (p.118), กลองมลายู (drums, played in pairs,
similar glossaryearance to klaung kheek. Appear in
the rare ensembles, wong bua lauy and wong
piiphaat naang hong, both of which are used in
cremation ceremonies) (p.471)
TCM
TMI
TMT
TMI
TMT
77
TMMC

Appendix Table 1 (Continued)
16. กลองยาว
Thai term Representation Source
- glaw-ng mala-yu- (p.49) TMI
17. กลองสองหนา
- klong yao (long drum) (p.44) กลองยาว (long
drum) (glossary)
- glaw-ng yao- (p.58)
- song na (literally, “two faces,” that is, a two-
headed drum) (p.71), สองหนา (a medium-sized,
hand-played drum) (glossary)
- saung naa (lit “two -faced drums,” which replaces
the taphoon in certain types of piiphaat ensemble
repertoire) (p.79), สองหนา (lit” two faces”,
referring to this drum’s two heads. Cylindrical
shaped (in contrast to the barrel shape of the
taphoon); often substituted for taphoon in the
piiphaat ensemble serving as vocal
accompaniment) (p.491)
TMT
TMI
TMT
78
TMMC

Appendix Table 1 (Continued)
18. เกราะ
19. โกรง
Thai term Representation Source
- the song na (a small long drum used in conjunction TM
with other instruments, and also called Poeng
Mang (เปงมาง when it is differently used for
accompanying songs) (p.14)
- saw-ng na (two drumheads) (p.55)
- kro (small “slit drum” made from a piece of
bamboo with nodes at each end (p.44), เกราะ an
old bamboo percussion instrument
- graw (p.9)
- krong (large bamboo “slit drum,” several nodes in
length (p.44), โกรง an old bamboo percussion
instrument (glossary)
- gro-ng (p.11)
20. ขลุย
- khlui (vertical bamboo flute with pegged
mouthpiece) (p.77), ขลุย
(the bamboo flute)
(glossary)
TMI
TMT
TMI
TMT
TMI
TMT
79

Appendix Table 1 (Continued)
21. ขลุยกรวด
Thai term Representation Source
- khluy (vertical flute. Different sizes and ranges are TMMC
22. ขลุยเพียงออ
indicated by noun modifiers) (p.79) ขลุย
(vertically- held flute: appears in various named
sizes, each of which is associated with a different
mode or pitch level. Commonly used as a solo
instrument, it also appears in khruang say
ensemble, and in the “soft” version of piiphaat
ensembles. Used in the public schools for music
education.) (p.468)
- khlui (flute types) (p.72)
TMI
- khlui grua-t (p.74) TMI
- khlui phiang o (p.78) ขลุยเพียงออ
(the medium –
size bamboo flute) (glossary)
- khuly piang au (p.97)
- klui piang-or (a bamboo flute) (p.27)
- khlui phia-ng aw- (the middle-sized khlui) (p.74)
TMI
TMMC
TCM
TMI
80

Appendix Table 1 (Continued)
Thai term Representation Source
23. ขลุยหลีบ
- khlui lip (p.78) ขลุยหลีบ
(the small –size bamboo TMT
24. ขลุยอู
25. ขิม
flute) (glossary)
- khluy lip (another size of flute) (p.97)
- klui lib (a smaller and higher pitched bamboo
flute) (p.27)
- khlui-li-p (the smallest-sized khlui) (p.74)
- khlui u (p.78) ขลุยอู
(the large –size bamboo
flute) (glossary)
- khluy uu (p.83)
- khlui-u- (the largest-sized khlui) (p.74)
- khim ขิม (a zither –type stringed instrument = the
Chinese yang ch’in) (glossary)
- khim ขิม (hammered zither or dulcimer –like
instrument, derived within last century from China
and hence not a standard part of any ensemble; one
informant cited the year 1924 for its introduction
to Thailand. Popular with amateur
TMMC
TCM
TMI
TMT
TMMC
TMI
TMT
81
TMMC

Appendix Table 1 (Continued)
Thai term Representation Source
players and young students, the instrument can be
performed solo or added to mahoorii and khruang
saay ensembles) (p.467)
26. ฆอง - khong (gong or gong- kettles) (p.44), ฆอง (a gong
27. ฆองกระแต
or gong-kettles) (glossary)
- khaw-ng (gong) (p.25)
TMT
TMI
- khaw-ng gratae (p.28) (5) TMI
28. ฆองกลาง - khong (wong) klang (“medium-sized” circle of
29. ฆองคู
gongs) (p.51)
- medium gong set (p.27) (4)
- khong khu (kettles similar to those used on the
khong wong, fastened horizontally in a small
rectangular box frame) (p.104), ฆองคู
(a pair of
gong- kettles) (glossary)
- khaung khuu (a pair of small gongs set in a box)
(p.112), ฆองคู
(two kettle- shaped gongs inside a
rectangular frame. Appears in the “light” version
TMT
TCM
TMT
82
TMMC

Appendix Table 1 (Continued)
30. ฆองชัย
31. ฆองมอญ
Thai term Representation Source
of the smallest size of piiphaat ensembles)
32. ฆองมอญวงเล็ก
(p.466)
- khaw-ng khu- (a pair of gongs) (p.28)
TMI
- khaw-ng chai (p.27) (description with picture) (5) TMI
- khong mon ฆองมอญ (gong –circle on a crescent-
shaped rack) (glossary)
- khaung maun ฆองมอญ (Mon gongs; set of tuned,
kettle-shaped gongs, suspended on upright, u-
shaped rack. Appears in the piiphaat maun)
(p.466)
- khaw-ng maw-n (p.33)
- khaung maun lek (gong circle) (p. 116) (Mon
gongs; set of tuned, kettle-shaped gongs,
suspended on upright, u-shaped rack. Appears in
the piiphaat maun, smaller, higher-pitched,
melodically subordinate instrument) (p.466)
TMT
TMMC
TMI
83
TMMC

Appendix Table 1 (Continued)
Thai term Representation Source
33. ฆองระเบ็ง - khong rabeng (gong used for the rabeng, an ancient TMT
type of vocal entertainment music) (p.44), ฆอง
ระเบง (an old style gong) (glossary)
- khaw-ng rabay-ng (p.29)
34. ฆองราง - khong rang (eight kettles on a straight rack) (p.46)
35. ฆองราว
ฆองราง(row of gong –kettles on a rack) (glossary)
- khaw-ng ra-ng (p.30)
- khong rao or khong hui (set of gongs on a rack)
(p.67), ฆองราว (set of gongs on a stand) (glossary)
- khaung raaw (khaung huy) (p.124)
- khaw-ng rao- (p.29)
36. ฆองวง - khong wong (set or circle of gong-kettles on a
stand) (p.44)
- khaung wong ฆองวง (lit “gong circle”; circular
rack of kettle –shaped, bossed gongs which lies
TMI
TMT
TMI
TMT
TMMC
TMI
TMT
84
TMMC

Appendix Table 1 (Continued)
37. ฆองวงเล็ก
Thai term Representation Source
horizontally on the floor; performer sits inside the
“circle.”. Played with two mallets. Fills important
leadership role in piiphaat ensemble.) (p.466)
- khong wong lek (small circle of gongs, a small set
of gong-kettles) (p.50,51), ฆองวงเล็ก (small gong
–circle) (glossary)
- khaung wong lek (small gong- circle) (p.78), ฆอง
วงเล็ก (lit “gong circle”; circular rack of kettle –
shaped, bossed gongs which lies horizontally on
the floor; performer sits inside the “circle.”.
Played with two mallets. Fills important
leadership role in piiphaat ensemble, smaller,
higher-pitched, melodically subordinate
instrument.) (p.466)
- the gong wong lek Approximate equivalents
among the Western instrument; Celesta.) (p.36)
(Celesta) (p.48,49)
- small gong set (p.27)
TMT
TMMC
TM
TCM
85

Appendix Table 1 (Continued)
Thai term Representation Source
- khaw-ng wong lek (small circle of gongs) (p.32) TMI
38. ฆองวงใหญ
- khong wong yai (large circle of gongs) (p.45), ฆอง
วงใหญ (large gong- circle) (glossary)
- khaung wong yai (large gong- circle) (p.78) , ฆอง
วงใหญ (lit “gong circle”; circular rack of kettle –
shaped, bossed gongs which lies horizontally on
the floor; performer sits inside the “circle.”. Played
with two mallets. Fills important leadership role in
piiphaat ensemble, larger, lower-pitched,
melodically dominant instrument.)( p.466)
- the gong wong yai (Approximate equivalents
among the Western instrument; Resonophone or
Tubaphone or Glockenspiel.) (p.36) (Resonophone
or Clockenspiel) (p.50)
- big gong set (p. 26)
- khaw-ng wong yai (large circle of gong) (p.32)
TMT
TMMC
TM
TCM
TMI
86

Appendix Table 1 (Continued)
Thai term Representation Source
39. ฆองหุย
- khong rao or khong hui (set of three gongs on a TMT
40. ฆองเหมง
rack) (p.67), ฆองหุย
(a gong on a tripod stand)
(glossary)
- huy or khaung huy หุย,
ฆองหุย
(set of 3, 5 or 7
vertically –suspended gongs, used in piiphaat
during certain epic episodes) (p.465)
- the gong hooi (consisting of a set of 3,5, or 7
gongs of different sizes, and therefore of different
pitches) (p.14)
- khaw-ng mui or khaw-ng hui (p.27)
- khong meng (a small gong held up manually by a
curved wooden handle from which it is suspended
and struck with a piece of wood or a padded
beater) (p.103) ฆองเหมง (a small, suspended,
hand- held gong) (glossary)
- khaung meeng ฆองเมง (small gong, suspended
manually and hit with a mallet or stick. Appeared
in historical ensembles) (p.466)
TMMC
TM
TMI
TMT
87
TMMC

Appendix Table 1 (Continued)
41. ฆองโหมง
42. จะเข
Thai term Representation Source
- khaw-ng may-ng (p.27) TMI
- khaw-ng mo-ng (p.26) TMI
- chakae (“crocodile”, a three-stringed floor zither, a
zither –type instrument) (p.44), จะเข (a zither-type
stringed instrument) (glossary)
- chakhee (zither) (p.78) (fretted zither-type
instrument has three stings which are plucked with
a plectrum tied to the performer’s right hand. The
instrument lies horizontally on the floor. Appears
in mahoorii and khruang saay ensembles, and is
popular as a solo instrument) (p.461)
- jakay (s) (a medium size plucked string
instrument) (p.27)
- jakhay- (p.102)
TMT
TMMC
TCM
TMI
88

Appendix Table 1 (Continued)
Thai term Representation Source
43. ฉาบ - chap (medium-sized metal hand cymbals) (p.44) TMT
44. ฉาบเล็ก
- chaap ฉาบ (pair of metal hand –cymbals, larger
than the ching and somewhat flatter. Used to
emphasize important metric pulses in larger
piiphaat ensembles) (p.462)
- cha-p (a pair of small metal cymbals) (p.24)
- chap lek (a pair of medium-sized cymbals of flat
metal with a central rounded boss about three-
quarters of an inch deep) (p.66), ฉับเล็ก (medium –
size cymbals) (glossary)
- chaap lek (hand cymbals) (p.117), ฉาบเล็ก (pair of
metal hand-cymbals, larger than the ching and
somewhat flatter. Used to emphasize important
metric pulses in larger piiphaat ensembles, smaller
sized, used more frequently) (p.462)
- the charb lek (Approximate equivalents among the
Western instrument; Small cymbals) (p.36)
(Medium cymbals) (p.50)
TMMC
TMI
TMT
TMMC
TM
89

Appendix Table 1 (Continued)
45. ฉาบใหญ
Thai term Representation Source
- cymbals
TCM
- cha-p lek (p.24)
- chap yai (p.67) ฉับใหญ (large –size cymbals)
(glossary)
- chaap yay ฉาบใหญ (pair of metal hand-cymbals,
larger than the ching and somewhat flatter. Used to
emphasize important metric pulses in larger
piiphaat ensembles, larger size) (p.462)
- the charb yai, (Approximate equivalents among the
Western instrument; Large cymbals) (p.36)
(Large cymbals) (p.50)
- cymbals
- cha-p yai (p.24)
TMI
TMT
TMMC
TM
TCM
TMI
90

Appendix Table 1 (Continued)
46. ฉิ่ง
Thai term Representation Source
- ching (small metal hand cymbals) (p.44) , (a pair TMT
of cymbals made of thick metal and shaped like
teacups or small hollow cones.) (p.64), (small hand
cymbals) (p.65) , ฉิ่ง
(small hand cymbals)
(glossary)
- ching (small metal hand –cymbals) (p.79),
(cymbals) (p.117) , ฉิ่ง
(small metal hand-cymbals,
ubiquitous in Thai classical music. Mark important
metric pluses which indicate chan.) (p.464)
- the ching (Approximate equivalents among the
Western instrument; Triangle) (p.36) (Small
cymbals) (p.48,50)
- ching (small cymbals) (4)
- ching (a pair of cymbals) (p.23)
47. ซอ - so (generic term for bowed stringed instruments)
(p.44) ,ซอ (a generic term for bowed stringed
instruments) (glossary)
TMMC
TM
TCM
TMI
TMT
91

Appendix Table 1 (Continued)
Thai term Representation Source
48. ซอดวง - so duang (p.100)ซอดวง (a stringed instrument --- TMT
two –stringed bowed lute with cylindrical
resinator) (glossary)
- sau duang – (higher-pitched 2- stringed fiddle)
(p.78),ซอดวง (higher –pitched and melodically
dominant of the two-stringed fiddles. Resonating
body made of hardwood cylinder, with snake-skin
face. In contrast to Western fiddle –type
instruments, the strings are not depressed against a
fingerboard to produce pitches. Bow “attached” to
in strument by being strung through the in
strument’s strings) (p.491)
- saw duang (s) (a two-string solo fiddle) (p.26)
- saw- dua-ng (p.111)
TMMC
TCM
TMI
92

Appendix Table 1 (Continued)
Thai term Representation Source
49. ซอสามสาย - so sam sai (bowed, three-stringed instrument) TMT
50. ซอสามสายหลีบ
(p.44),ซอสามสาม (a stringed instrument ---three –
stringed bowed lute with triangular sound box)
(glossary)
- sau saam saay (3 –stringed fiddle) (p.78) , ซอสาม
สาย (three-stringed fiddle, used in mahoorii
ensembles and in solo, and solo plus vocal,
repetoire. Heart-shaped body stands on a peg.
Body of wood, face of leather. Unlike the sau
duang and sau uu, the bow is no “atttached.”)
(p.491)
- saw sam sai (a three-string fiddle with higher
pitches) (p.27)
- saw-sa-m sai (p.105)
- sau saam saay lip (p.99)
- saw sam sai lib (a smaller three-string fiddle with
higher pitches) (p.27)
- saw –li-p (small size saw) (p.109)
TMMC
TCM
TMI
TMMC
TCM
TMI
93

Appendix Table 1 (Continued)
Thai term Representation Source
51. ซออู
- so u (the bowed stringed instrument with a sound TMT
box (resonating chamber or disphram) made from
half an ordinary coconut shell) (p.97), ซออู
(a
string instrument ---two –stringed bowed lute with
half coconut shell sound box) (glossary)
- sau uu (lower –pitched 2-stringed fiddle) (p.78),
ซออู
(lower pitched and melodically subordinate of
the two-stringed fiddles. Resonating body made of
coconut shell, with leather face; sound-holes
carved into back. Bow is “attached” as on sau
duang) (p.491)
- saw oo (s) (a two-string accompanying fiddle)
(p.27)
- saw –u- (p.109)
TMMC
TCM
TMI
94

Appendix Table 1 (Continued)
Thai term Representation Source
52. ตะโพน - taphon (the main drum used in the pi phat
TMT
(percussion) ensemble) (p.68) (a barrel-shaped
drum on a stand) (glossary)
- taphoon (double headed drum. “the most important
rhythm instrument.” (p.79) ตะโพน (two headed
barrel shaped drum used in piiphaat ensemble. Ash
and rice mixture applied to lower head for tuning.
Heads tuned to an interval of approximately one
fifth, but not tuned definitely in relation to
ensemble. Of ritual significance, and not played by
females) (p.493)
- the tapone (a kind of hand timpano with drum-
heads covering both ends) (p.14) (Approximate
equivalents among the Western instrument; small
hand tympano) (p.36) (small hand tympano)
(p.48,50)
- tapohn (two-sided drum) (p.26)
- ta-pho-n (p.39)
TMMC
TM
TCM
TMI
95

Appendix Table 1 (Continued)
Thai term Representation Source
53. ตะโพนมอญ - taphon mon taphon mon (p.69), ตะโพนมอญ (the TMT
mon model of the taphon) (glossary)
- taphoon maun (two-sided drum) (p.117)
- ta pho-n maw-n (p.40)
TMMC
54. แตร - trae- (p.89) TMI
55. แตรงอน - tree ngaun (trumpets made from animal horns)
(p.116, 496)
- trae-ngaw-n (curved trumpet) (p.89)
TMI
TMMC
56. แตรฝรั่ง
- trae-farang (European trumpet) (p.91) TMI
57. แตรลางโพง - trae- la-ng pho-ng (p.91) TMI
58. แตรลําโพง - trae-lam pho-ng (p.91) TMI
59. แตรวิลันดา - trae-wilanda- (p.91) TMI
60. ทับ - tho-n or thap (p.42) TMI
61. โทน - thon (goblet or vase drum; India, from “dhol”?)
(p.45), โทน (a goblet or inverted vase-shaped
drum with a single head) (glossary)
TMI
TMT
96

Appendix Table 1 (Continued)
62. โทนชาตรี
Thai term Representation Source
- thoon (goblet-shaped drum, leather head laced on, TMMC
usually played simultaneously by one person, and
conceived of as one unit musically. Hence they are
referred to in conjunction, thoon/rammanaa.)
(p.79), โทน (goblet-shaped drum with ceramic
body, leather head laced on. Paired with
rammanaa and played by a single musician, for
the rhythmic parts of the two form one pattern.
Sometimes called thoon mahoorii to distinguish
from below (below describes thoon chatrii)
(p.495)
- tohn (p.27)
- tho-n or thap (p.42)
- thon chatri (p.76) โทนชาตรี (a drum of south
Thailand ; small-size klong that) (glossary)
- thoon chaatrii (p.112), โทนชาตรี (similar to above
but played in pairs in southern Thailand to
accompany shadow theater and lakhaun nooraa
TCM
TMI
TMT
97
TMMC

Appendix Table 1 (Continued)
Thai term Representation Source
(p.495) Remarks: the word “above” refers
“goblet-shaped drum with ceramic body, leather
head laced on. Paired with rammanaa and played
by a single musician, for the rhythmic parts of the
two form one pattern. Sometimes called thoon
mahoorii”, which describes thoon
- tho-n cha-tri- (p.43)
63. โทนมโหรี - thon mahori โทนมโหรี (the thon drum used in the
64. บัณเฑาะว
mahori ensemble) (glossary)
- tho-n maho-ri- (p.43)
- bando (small hourglass drum; India; Pali:
“panawa) (p.45), บัณเฑาะว (a small, hand drum)
(glossary)
- banthau (a small two –faced, hand-held drum)
(p.116), บัณเฑาะว (a percussion instrument. Two
drumheads attached to a stick, sounded by balls
attached to strings when rolled between the hands)
(p.460)
TMI
TMT
TMI
TMT
98
TMMC

Appendix Table 1 (Continued)
Thai term Representation Source
- ban daw (p.33) (description with picture) (5) TMI
65. ป
- pi (p.78) ป
(double-reed instrument) (glossary)
66. ปกลาง
- pii (oboe-like double –reed instruments of various
sizes and ranges. Different types are in dicated by
ensenbles) (p.79), ป
(oboe-like reed instruments,
used in piiphaat ensembles. Various sizes have
different ranges of pitch, and occur in different
musical contexts) (p.485)
- pi (reed or oboe types) (p.75)
- pi klang (about fifteen inches long, one and a half
inches in diameter) (p.79), ปกลาง
( medium –
sized pi) (glossary)
- pii klaang ปกลาง
(“medium” pii, according to
Morton used to accompany shadow theater
(1976:79) (p.485)
- pi –gla-ng (p.77)
TMT
TMMC
TMI
TMT
TMMC
TMI
99

Appendix Table 1 (Continued)
Thai term Representation Source
67. ปไฉน
- pi chanai (double –reed instrument, body with TMT
conical bore, about a foot long or less; India)
(p.45), ปไฉน
(early double-reed instrument)
(glossary)
- pii chanay ปไฉน
(pii chanay (rarely used today,
but formerly used in processions. Small and high-
pitched) (p.485)
- pi-cha nai (p.84)
68. ปชวา
- pi chawa (Javanese “oboe”) (p.89), ปชวา
(“Javanese pi”) (glossary)
- pii chaawaa ปชวา
(“Javanese” pii , appears in
certain specail ensembles, including the piiphaat
naang hong, and the wong khruang saay pii
chaawaa. Also used in certain dance-drama
contexts, and along with klaung kheek, to
accompany Thai boxing) (p.485)
- pi-chawa- (p.86)
100
TMMC
TMI
TMT
TMMC
TMI

Appendix Table 1 (Continued)
Thai term Representation Source
69. ปนอก
- pi nok (outdoor pi) (p.79), ปนอก
(outdoor pi) TMT
70. ปใน
(glossary)
- pii nauk (the “outside” pii, associated with lakhaun
nauk (“outside” dance-drama_ performed outside
of the royal palace. Shorter in length than the pii
nay) (p.485)
- pi-nok (p.26)
- pi –naw-k (p.77)
- pi nai (indoor pi) (p.79), ปใน
(indoor pi)
(glossary)
- pii nay ปใน
(the “inside” pii, because it was
associated with the khoon (masked dance-drama)
and lakhaun nay (“inside” dance-drama) once
confined to the palaces. This is the instrument
usually referred to simply as pii) (p.485)
- the pi nai (Approximate equivalents among the
Western instrument; Oboe or Piano-accordion or C
Clarinet) (p.36) (Oboe) (p.48)
101
TMMC
TCM
TMI
TMT
TMMC
TM

Appendix Table 1 (Continued)
71. ปมอญ
Thai term Representation Source
- pi-nai (p.26)
TCM
- pi-nai (p.77)
- pi mon ปมอญ
(mon –style pi) (glossary)
- pii maun (oboe) (p.116), ปมอญ
(“Mon” pii, used
only in the piiphaat maun. Conical shape) (p.485)
- pi-maw-n (p.88)
TMI
TMT
102
TMMC
72. ปหอ
- pi-haw- (p.87) TMI
73. ปออ
- pi-aw- (p.78) TMI
74. เปงมาง - poeng mang (p.113) เปงมาง (a small, thong –
wrapped barrel –shaped drum) (glossary)
- per-ng ma-ng (p.52)
75. เปงมางคอก - poeng mang khok (p.113) เปงมางคอก (a set of
drum on their stand) (glossary)
- peeng maang khauk (circle of tuned drums)
(p.117), เปงมางคอก (set of seven tuned drums
(each a peeng maang) arranged vertically in a
semicircular frame, used in the piiphaat maun
ensemble) (p.480)
TMI
TMT
TMI
TMT
TMMC

Appendix Table 1 (Continued)
76. พิณ
Thai term Representation Source
- per-ng ma-ng khaw-k (a group of seven per-ng ma- TMI
ng drums) (p.54)
- phin (stick zither with one string and a half-gourd
resonator; India, from Sanskrit:, Indian names for a
plucked lute: vina (south India) and bina (north
India)) (p.45), พิณ (a stick zither –type stringed
instrument) (glossary)
- phin (plucked lute-type instruments. Morton
explains that in former times the word was a cover
term for all lute-type instrument (1976:91).
Today, it usually appears in the names of several
folk instruments. In my experience, phin alone
referred to a lute-type instrument associated with
Northern Thai folk music and occasionally used in
folk-influenced urban pop music. (p.481)
- phi-n (p.93) (description) (5)
TMT
103
TMMC
TMI

Appendix Table 1 (Continued)
Thai term Representation Source
77. พิณน้ําเตา
- phin nam tao (p.91) พิณน้ําเตา
(a type of phin) TMT
(glossary)
- phi-n nam tao (a stringed instrument made from a
bottle gourd) (p.93)
78. พิณเพี๊ยะ
- phia (stick zither with four strings, the stick
79. มโหระทึก
attached to a half –gourd chest resonator, which is
placed against the vare chest of the performer
during performance) (p.44) พิณเพียะ (a type of
phin) (glossary)
- phi-n phia (p.96 )
TMI
TMT
TMI
- maho-ra therk (p.64) TMI
104

Appendix Table 1 (Continued)
Thai term Representation Source
80. ระนาด - ranat (xylophone – set of wooden keys on a stand) TMT
(p.44)
- ranad (a wooden xylophone) (p.26)
81. ระนาดทอง - ranat thong (p.62), ระนาดทอง (a metallophone ;
original name of the ranat ek lek) (glossary)
- rana-t thaw-ng or rana-t ay-k lek (p.20)
82. ระนาดทุม
- ranat thum (p.57) ระนาดทุม
(low –pitched
xylophone) ( glossary)
- ranaat thum (ranaat is xylophone; thum translated
to be low or deep in tone) (p.78), (xylophone)
(p.116), ระนาดทุม
(lower –pitched and
melodically subordinate of the wooden –keyed
xylophones; actually, the keys may be made of
bamboo. Wooden body is narrow and rectangular,
box-like compared to the ranaat eek.) (p.488)
TCM
TMT
TMI
TMT
105
TMMC

Appendix Table 1 (Continued)
Thai term Representation Source
- ranad thume or thume mai (Approximate
TM
equivalents among the Western instrument; Alto
Xylophone with wooden-resonance bars or
Marimba) (p.36) (Xylophone alto or Marimba)
(p.48,49)
- ranad toom (p.26)
83. ระนาดทุมเหล็ก
- ranat thum lek (p.63) ระนาดทุมเหล็ก
(low-pitched
metallophone ) (glossary)
- ranaat thum lek , (lek is iron; these iron-keyed
xylophones are musical partners to the wooden
ones above, and used only in the larger-sized
piiphaat ensembles) (p.78) , ระนาดทุมเหล็ก
(metal keyed version, used in the larger piiphaat
ensembles.) (p.488)
- ranad thong thume or thume lek (Approximate
equivalents among the Western instrument; Alto
Xylophone with steel-resonance bars) (p.36)
(Resonophone alto) (p.48,49)
TCM
TMT
106
TMMC
TM

Appendix Table 1 (Continued)
Thai term Representation Source
- ranad toom lek (with metal keys) (p.26)
TCM
- rana-t thum lek (p.21) (description)
84. ระนาดเอก - ranat ek (a xylophone with a boat-shaped
resonating box supported on a small pedistal)
(p.54) , ระนาดเอก (high –pitched xylophone)
(glossary)
- ranaat eek (ranaat is xylophone; eek means first, or
one) (p.78), (xylophone) (p.116), ระนาดเอก
(higher pitched and melodically dominant wooden
–keyed xylophone, played with pair of mallets.
Wooden body is boat-shaped) (p.488)
- the ranad ek (Approximate equivalents among the
Western instrument; Treble Xylophone with
wooden-resonamce bars (p.36) , (Xylophone,
treble) (p.48,50)
- ranad ek (p.26)
- rana-t ay-k (p.15)
TMI
TMT
107
TMMC
TM
TCM
TMI

Appendix Table 1 (Continued)
Thai term Representation Source
85. ระนาดเอกทอง - ranad thong ek or thume lek (Approximate
TM
equivalents among the Western instrument; Treble
Xylophone with steel- resonance bars) (p.36)
86. ระนาดเอกเหล็ก - ranat ek lek or ranat thong (iron ranat ek) (p.62),
ระนาดเอกเหล็ก (high-pitched metallophone)
(glossary)
- ranaat eek lek (lek is iron; these iron-keyed
xylophones are musical partners to the wooden
ones above, and used only in the larger-sized
piiphaat ensembles) (p.78), ระนาดเอกเหล็ก
(metal-keyed version, included in the larger
piiphaat ensembles) (p.488)
- ranad ek lek (with metal keys) (p.26)
- rana-t thaw-ng or rana-t ay-k lek (p.20)
87. รํามะนา - rammana (a shallow frame drum with one head,
about the size of a Western tambourine but without
the “jangles.”) (p.77) รํามะนา (a small frame
drum) (glossary)
TMT
108
TMMC
TCM
TMI
TMT

Appendix Table 1 (Continued)
Thai term Representation Source
- rammanaa (a frame drum, usually played
TMMC
simultaneously by one person, and conceived of as
one unit musically. Hence they are referred to in
conjunction, thoon/rammanaa) (p.79), รํามะนา
(frame drum, with shallow wooden (sometimes
ivory) body. Leather head is tacked on. Paired with
thoon and played by a single musician, for the
rhythmic parts of the two form one pattern) (p.487)
- ramana (a small hand drum) (p.27)
- ram mana- (p.46)
88. วงฆองชัย - wong khaung chay (a set of seven vertically-
suspended gongs, the gong pitches outline the
main melodic pitches of songs) (p.110) , วงฆองชัย
(circular rack of vertically suspended gongs, of
different sizes and pitches, used in the piiphaat
dukdamban enesmble) (p.497)
TCM
TMI
109
TMMC

Appendix Table 1 (Continued)
89. โหมง
Thai term Representation Source
- wong khaw-ng chai (circle of khaw-ng chai TMI
gongs)(p.35)
- mong (p.67)โหมง (a large gong) (glossary)
- moong or khaung moong (suspended gong) (p.117)
(ฆอง) โหมง (metal gong suspended from tripod.
Appears in some of the larger sized standard
ensembles) (p.476)
- the mong (Approximate equivalents among the
Western instrument; No equivalent except perhaps
tom-tom or gong) (p.36) (Large Gong) (p.48,50)
- mong (picture)
- mong (p.26)
TMT
110
TMMC
TM
TCM
TMI

Appendix Table 2 Lists of Thai classical musical ensembles
Thai term Representation Source
1. ปพาทยรามัญ
- pi-pha-t ra-man (p.34) TMI
2. วงกลองแขก - klong khaek ensemble (p.102) TMT
3. วงกลองแขกปชวา
- pi- chawa glaw-ng khae-k or glaw-ngkhae-k pi-
chawa- (p.87)
4. วงขับไม - khap mai ensemble (literally “to recite or sing
with a beat” or more figuratively “to perform on
musical instruments.”) (p.101) ขับไม (an old
ensemble) (glossary)
- khap may or wong khap may (a three-stringed
fiddle, vocalist, and small two-faced hand-held
drum called banthau) (p.116), (วง) ขับไม
(historical ensemble—today played occasionally
by university students—consisting of solo
vocalist, sau saam saay, and banthau) (p.465)
TMI
TMT
TMMC
111

Appendix Table 2 (Continued)
Thai term Representation Source
5. วงเครื่องสาย
- khruang sai เครื่องสาย
(the ensemble composed TMT
6. วงเครื่องสาย
เครื่องคู
of stringed instruments , flute, and rhythmic
percussion) (glossary)
- wong khruang saay (an ensemble of stringed
instruments(this is what its name refers to
literally), drums and hand cymbals (Morton’s
“rhythmic percussion”), and khluy or flute) (p.91),
วงเครื่องสาย
(wong khruang saay- ensemble of
stringed instruments.) (p.469)
- the string ensemble (p.26)
- khrer-a-ng sai- (string) ensemble (p.43,47)
- medium-sized or doubled khruang sai ensemble
(p.108) , medium-sized or doubled ensemble
(p.111)
- wong khruang saay khruang khuu (medium-sized
(lit. paired) ensemble of string instruments)
(p.102), เครื่องคู
(lit. “instruments; paired”; term
added to conventional ensembles to indicate
TMMC
TCM
TMI
TMT
TMMC
112

Appendix Table 2 (Continued)
Thai term Representation Source
7. วงเครื่องสายวง
เล็ก
medium size or type of instrumentation) (p.469)
- wong khre-a-ng sai, khre-a-ng khu (“doubled”
string ensemble: another instrument of each kind
is added, making a pair.)
- small khruang sai ensemble (p.108), small
ensemble (p.111)
- wong khre-a-ng sai wong lek ( small string
ensemble; one instrument of each kind only
is used compable to the pi-phat khre-a-ng ha)
8. วงเครื่องสายปชวา
- khruang saay pii chaawaa, wong khruang saay pii
9. วงเครื่องสายผสม
ไวโอลิน
10. วงเถิดเทิง,
วงเทิงบองกลองยาว
chaawaa (a standard type of stringed ensemble
with pii chaawaa added. Known for requiring
very skillful, masterful pii player.) (p.469)
TCM
TMT
TCM
TMMC
- wong khruang saay prasom violin (p.121) TMMC
- ther-t ther-ng or ther-ng baw-ng glaw-ng yao-
(p.60)
TMI
113

Appendix Table 2 (Continued)
Thai term Representation Source
11. วงบัวลอย - bua loi (an old ensemble) (glossary)
TMT
- bua lauy or wong bua lauy (floating lotus
ensemble) (p.116), (วง) บัวลอย (ensemble rarely
performed today, but intended for use in
cremation ceremonies for royalty, and has its own
specific repertoire. Consists of pii chaawaa and
rhythmic accompaniment. Morton views this as
the precursor to the wong piiphaat naang hong)
(p.460)
- bua law-i ensemble (description) (p.50)
12. วงปชวากลองแขก
- pi-chawa glaw-ng khae-k or glaw-ng khae-k pi
chawa (p.87)
13. วงปพาทย
- pi phat (the ensemble using melodic and rhythmic
percussion) (p.104) ปพาทย
(an ensemble
composed of melodic and rhythmic percussion
instruments and the pi) (glossary)
- piiphaat or wong piiphaat (an ensemble of
percussion instruments and the pii or oboe) (p.91),
TMMC
TMI
TMI
TMT
TMMC
114

Appendix Table 2 (Continued)
Thai term Representation
วงปพาทย
(melodic percussive ensemble, which
Source
does not include stringed instruments.
Accompanies rituals and theatrical genres but can
also perform entertainment music) (p.486)
- piphat band (p.3)
- the pi-paht ensemble (p.26)
- pi-pha-t (percussion) emsemble (p.43)
14. วงปพาทยเครื่องคู
- khruang khu (medium-sized or doubled
ensemble ,a pair of instruments, medium-sized or
doubled piphat ensemble) (p.105,107)
- wong pi-phat, khre-a-ng khu (medium size,
“khruang khuu” (lit. instruments/pair) (p.96)
เครื่องคู
(lit. “instruments; paired”; term added to
conventional ensembles to indicate medium size
or type of instrumentation) (p.469)
- wong pi-phat khre-a-ng khu (medium sized
precussion ensemble another instrument of each
kind is added, making a pair; a "double
TM
TCM
TMI
TMT
TMMC
TCM
115

Appendix Table 2 (Continued)
Thai term Representation Source
15. วงปพาทยเครื่อง
หา
16. วงปพาทยเครื่อง
ใหญ
ensemble.)
- khruang ha (literally, “five instruments) (p.105)
เครื่องหา
(a small ensemble ---“of five
instruments”) (glossary)
- khruang haa (small size, “khruang haa” (lit.
instruments/five) (p.95) , (the five –instrument or
small sized piiphaat ensemble) (p.112) , เครื่องหา
(lit. “instruments/five”; term added to
conventional ensembles to indicate small size or
type of instrumentation) (p.469)
- wong pi-phat, khre-a-ng ha (small percussion
ensemble consisting of five instruments and the
Ching)
- khruang yai (large ensemble, literally, “large
group of instruments, large pi phat ensemble)
(p.105, 107)
TMT
TMMC
TCM
TMT
116

Appendix Table 2 (Continued)
Thai term Representation Source
- khruang yay (large size. “khruang yay” (lit. TMMC
“instrument/large)) (p.96) , เครื่องใหญ
(lit.
“instruments/large”; term added to conventional
ensembles to indicate large size or type of
instrumentation) (p.469)
- wong pi-phat, khre-a-ng yai (large percussion
ensemble; all the important percussion
instruments are included)
17. วงปพาทยชาตรี
- wong piiphaat chaatrii (specialized ensemble)
18. วงปพาทยดึกดํา
บรรพ
(p.486)
- pi- pha-t cha-tri- ensemble (p.43)
- wong piiphaat dukdamban (วง) ปพาทยดึกดํา
บรรพ (ensemble which accompanies the dramatic
genre, lakhaun dukdamban, one of several
innovatiove forms developed largely by Prince
Naris in the time of King Chulalongkorn, late 19 th
century. A distinctive feature of this ensemble is
the wong khaung chay, seven tuned gongs
TCM
TMMC
TMI
TMMC
117

Appendix Table 2 (Continued)
Thai term Representation Source
vertically suspended in a frame. Which does not
appear in any other Thai ensembles) (p.486)
- wong pi-phat, duk-dam-bun
- pi-pha-t derk dam-ban (p. 34)
19. วงปพาทยนางหงส
- pi phat nang hong ensemble (p.112) , pi phat nang
hong ปพาทยนางหงส
(the pi phat funeral
ensemble) (glossary)
- wong piiphaat naang hong (วง) ปพาทยนางหงส
(ensemble formerly used in cremation
ceremonies, but rare today) (p.486)
- pi-pha-t na-ng hong ensemble (p.50,87)
20. วงปพาทยมอญ
- pi phat mon ensemble (p.113)
- wong piiphaat maun (p.116) (วง) ปพาทยมอญ
(the Mon-derived ensemble (which shares certain
similarities to Burmese ensembles) commonly
played at cremation ceremonies. Features Mon-
TCM
TMI
TMT
TMMC
TMI
TMT
TMMC
118

Appendix Table 2 (Continued)
Thai term Representation Source
derived versions of the regular piiphaat
instruments, plus the set of tuned drums, peeng
maang khauk) (p.486)
- pi-pha-t maw-n (p.34)
21. วงปพาทยมอญ
เครื่องคู
- piiphaat maun khruang khuu (p.116) TMMC
22. วงปพาทยไมนวม
- pi phat mai nuam (the pi phat ensemble using TMT
padded sticks) (glossary)
- may nuam (p.111) , ไมนวม (lit. “stick/ soft”;
indicates the “soft” version of piiphaat) (p.476)
- pi-pha-t mainuam ensemble (p.41)
TMI
TMMC
23. วงปพาทยอยางเบา
- light pi phat (p.104) TMT
24. วงปพาทยอยาง
หนัก
TMI
- heavy pi phat (p.104) TMT
25. วงมโหรี - mahori มโหรี (an ensemble composed of melodic
and rhythmic percussion instruments and flute)
(glossary)
TMT
119

Appendix Table 2 (Continued)
Thai term Representation Source
- mahoorii (wong) mahoorii (….actually a
TMMC
combination of khruang saay and piiphaat
ensembles”; Jearadithaporn ibid:4: cf. Morton
ibid:105 as well) (p.91), วงมโหรี (a standard type
of ensemble, including both stringed and melodic
percussive instruments. Ideally characterized by
instruments of smaller size than those commonly
used in piiphaat ensembles) (p.476)
- the mahori ensemble (p.26)
- maho-ri- (mixed string and percussion)ensemble
(p.43,47)
26. วงมโหรีเครื่องคู
- medium sized or doubled mahori ensemble
(p.109) , medium sized or doubled ensemble
(p.111)
TCM
TMI
TMT
120

Appendix Table 2 (Continued)
Thai term Representation Source
27. วงมโหรีเครื่องเล็ก
- small mahori ensemble (p.109), small ensemble TMT
(p.111)
- wong mahori khre-a-ng lek (small ensemble
consisting of both string and percussion type
instruments)
28. วงมโหรีเครื่องสี่
- original mahori (p.102)
- wong mahori boran or ancient mahori
TCM
TMT
TCM
29. วงมโหรีเครื่องหก
- wong mahori khre-a-ag hok TCM
30. วงมโหรีเครื่อง
ใหญ
- large mahori ensemble (p.110), large ensemble
(p.111)
TMT
121

Appendix Table 3 Lists of Types of Thai musical instruments
Thai term Representation Source
1. เครื่องกํากับจังหวะ
- rhythmic instruments (p.13)
TM
- rhythmic instruments (p.26)
2. เครื่องดีด
- plucked (p.91)
3. เครื่องดําเนิน
ทํานอง
- khruang diit (plucked instruments) (p.78)
- plucked stringed instruments (p.93)
- melodic instruments (p.13)
- melodic instruments (p.26)
4. เครื่องตี
- khruang tii (hit or beaten instruments) (p.78)
- percussion section (13)
- percussion instruments (p.8)
TCM
TMT
TMMC
TMI
TM
TCM
TMMC
5. เครื่องตีกํากับ
จังหวะ
- rhythmic percussion (p.64) TMT
6. เครื่องตีดําเนิน
ทํานอง
- melodic percussion (p.45) TMT
7. เครื่องเปา
- woodwinds (p.78)
TMT
- khruang paw (blown instruments) (p.79)
- wood-wind section (13)
- wind instruments (p.71)
TM
TMI
TMMC
TM
TMI
122

Appendix Table 3 (Continued)
Thai term Representation Source
8. เครื่องสาย
- stringed instruments (p.91)
TMT
- strings (p.80)
- stringed instruments (p.93)
9. เครื่องสี
- bowed (p.94)
- khruang sii (bowed instruments) (p.78)
- bowed stringed instruments (p.104)
TMMC
TMI
TMT
TMMC
10. เครื่องหนัง
- percussion instruments using skin or leather (p.35) TMI
TMI
123

Appendix B
Strategies that Each Writer Used in Presenting English Terms of Thai Music

Appendix Table 4 Strategies that Each Writer Used in Presenting English Terms of Thai Musical Instruments
Thai terms Sources Representations
Word translation strategies
เครื่องดีด
กระจับป TMT krajapppi (long-necked plucked lute;
origin unknown, name from
Sanskrit:) (p.45)
กระจับป (a plucked lute-type stringed
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Cultrual substitute
Modifiers
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Description strategies
How played
Function
Other names
Position in ensemble
Origin of name(instument)
occasion it is played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
instrument) (glossary)
appearance: shape,
dimension/ implements
used
in playing, picture
กระจับป TMMC kracappii (lute) (p.78)
กระจับป (fretted lute-like instrument,
strummed with a plectrum held in the
peformer’s right hand. Not used in
standard contemporary
type of name
ensembles) (p.471)
Age
Region where played
Citation
About players
Parts of instruments
Reference to other instruments
Explanation of
descriptions and
pictures
125

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
กระจับป
TMI gra jap pi (p.50)
จะเข TMT
chakae (“crocodile”, a three-stringed
floor zither, a zither –type
instrument) (p.44)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
จะเข (a zither-type stringed
instrument) (glossary)
appearance: shape,
dimension, material/
ensemble in which it is
used, origin of
name(instument),
occasion it is played,
picture
history, appearance:
shape, dimension,
material/
ensemble in which it is
used, pitch, picture
จะเข TMMC chakhee (zither) (p.78) type of name
จะเข (fretted zither-type instrument
has three stings which are plucked
with a plectrum tied to the
performer’s right hand. The
instrument lies horizontally on the
floor. Appears in mahoorii and
khruang saay ensembles, and is
popular as a solo instrument) (p.461)
Explanation of
descriptions and
pictures
position in ensemble,
picture
126

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
จะเข TCM jakay (s) (a medium size plucked
string instrument) (p.27)
จะเข TMI jakhay- (p.102)
พิณ TMT phin (stick zither with one string and
a half-gourd resonator ; India, from
Sanskrit: Indian names for a plucked
lute: vina (south India) and bina
(north India)) (p.45)
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Modifiers
Description strategies
พิณ (a stick zither –type stringed
instrument) (glossary)
Explanation of
descriptions and
pictures
picture
history, appearance:
shape, dimension,
material/ ensemble in
which it is used, how it
is played, origin of
name(instument),
compare with other
instruments, picture
127

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
Modifiers
พิณ TMMC phin (plucked lute-type instruments.
Morton explains that in former times
the word was a cover term for all lutetype
instrument (1976:91). Today, it
usually appears in the names of
several folk instruments. In my
experience, phin alone referred to a
lute-type instrument associated with
Northern Thai folk music and
occasionally used in folk-influenced
urban pop music. (p.481)
พิณ TMI phi-n (p.93) history
พิณน้ําเตา
TMT phin nam tao(p. 91) picture
พิณน้ําเตา
(a Type of phin) (glossary)
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Description strategies
Reference to other instruments
Age
Parts of instruments
Citation
About players
Explanation of
descriptions and
pictures
128

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
พิณน้ําเตา
TMI phi-n nam tao (a stringed instrument
made from a bottle gourd)(p.93)
พิณเพี๊ยะ
TMT
พิณเพี๊ยะ
TMI phi-n phia (p.96 )
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
phia (stick zither with four strings,
the stick attached to a half –gourd
chest resonator, which is placed
against the vare chest of the
performer during performance) (p.44)
พิณเพียะ (a type of phin) (glossary)
Modifiers
Description strategies
Explanation of
descriptions and
pictures
appearance: shape,
dimension, material/
origin of
name(instrument), how
it is played, picture
history, occasion it is
played, how it is
played, region where it
is played, picture
129

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Explanation of
Modifiers
descriptions and
pictures
เครื่องสี
ซอ TMT so (generic term for bowed stringed
instruments) (p.44)
ซอดวง TMT so duang (p.100)
ซอ (a generic term for bowed
stringed instruments) (glossary)
ซอดวง (a stringed instrument ---two
–stringed bowed lute with cylindrical
resonator) (glossary)
ซอดวง TMMC sau duang – (higher-pitched 2-
stringed fiddle) (p.78)
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Age
Region where played
Citation
About players
Parts of instruments
Reference to other instruments
picture
130

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ซอดวง (higher –pitched and
melodically dominant of the
two-stringed fiddles.Resonating body
made of hardwood cylinder, with
snake-skin face. In contrast to
Western fiddle –type instrument, the
strings are not depressed against a
fingerboard to produce pitches. Bow
“attached” to in strument by being
strung through the in strument’s
strings) (p.491)
ซอดวง TCM saw duang (s) (a two-string solo
fiddle) (p.26)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
Explanation of
descriptions and
pictures
appearance: shape,
material/ region where
it is played, picture
131

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ซอดวง TMI saw- dua-ng (p.111)
ซอสามสาย TMT so sam sai (bowed, three-stringed
instrument) (p.44)
ซอสามสาม (a stringed instrument --three
–stringed bowed lute with
triangular sound box) (glossary)
ซอสามสาย TMMC sau saam saay (3 –stringed fiddle)
(p.78)
ซอสามสาย (three-stringed fiddle,
used in mahoorii ensembles and in
solo, and solo plus vocal, repetoire.
the bow is no “atttached.” (p.491)
ซอสามสาย TCM saw sam sai (a three-string fiddle)
(p.27)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension,
material/ compare with
other instruments,
picture
type of name,
information about
players
appearance: shape,
material/ region where
it is played
132

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ซอสามสาย TMI saw-sa-m sai (p.105)
ซอสามสายหลีบ TMMC sau saam saay lip (p.99)
ซอสามสายหลีบ TCM saw sam sai lib (a smaller three-string
fiddle with higher pitches) (p.27)
ซอสามสายหลีบ TMI saw –li-p (small size saw) (p.109)
ซออู
TMT
so u (the bowed stringed instrument
with a sound box (resonating chamber
or disphram) made from half an
ordinary coconut shell) (p.97)
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitut
Partial transliteration
Transliteration
Modifiers
Description strategies
Age
Region where played
Parts of instruments
Reference to other instruments
Citation
About players
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension,
material/ ensemble in
which it is used,
compare with other
instruments, picture
133

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ซออู (a string instrument ---two –
stringed bowed lute with half coconut
shell sound box) (glossary)
ซออู
TMMC sau uu (lower –pitched 2-stringed
fiddle) (p.78)
ซออู (lower pitched and melodically
subordinate of the two-stringed
fiddles. Resonating body made of
coconut shell, with leather face;
sound-holes carved into back. Bow is
“attached” as on sau duang) (p.491)
ซออู TCM saw oo (s) (a two-string
accompanying fiddle) (p.27)
Partial transliteration
Transliteration
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Modifiers
Description strategies
Explanation of
descriptions and
pictures
body positions and
postures of players,
picture
appearance: shape,
material/ region where
it is played, picture
134

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ซออู
TMI saw –u- (p.109)
เครื่องตี
เครื่องตีดําเนินทํานอง
ขิม TMT khim ขิม (a zither –type stringed
instrument = the Chinese yang ch’in)
(glossary)
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
ขิม TMMC khim ขิม (hammered zither or
dulcimer –like instrument, derived
within last century from China and
hence not a standard part of any
ensemble; one informant cited the
year 1924 for its introduction to
Thailand. Popular with amateur
players and young students, the
instrument can be performed solo or
added to mahoorii and khruang saay
ensembles) (p.467)
Explanation of
descriptions and
pictures
appearance: shape,
dimension, material/
ensemble in which it is
used, compare with
other instruments,
picture
135

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฆอง TMT khong (gong or gong- kettles) (p.44)
ฆอง (a gong or gong-kettles)
(glossary)
ฆอง TMI khaw-ng (gong) (p.25)
appearance: shape,
material/ instrument
used for playing,
compare to other
instruments
ฆองกระแต TMI khaw-ng gratae (p.28) occasion it is played
ฆองกลาง TMT khong (wong) klang (“medium-sized”
circle of gongs) (p.51)
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
ฆองกลาง TCM medium gong set (p.27)
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Modifiers
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Explanation of
descriptions and
pictures
appearance: shape,
size/ ensemble in
which it is used, sound,
octave, picture
136

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ฆองชัย TMI khaw-ng chai (p.27)
ฆองมอญ TMT khong mon ฆองมอญ (gong –circle on
a crescent- shaped rack) (glossary)
ฆองมอญ TMMC khaung maun ฆองมอญ (Mon gongs;
set of tuned, kettle-shaped gongs,
suspended on upright, u-shaped rack.
Appears in the piiphaat maun) (p.466)
ฆองมอญ TMI khaw-ng maw-n (p.33)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension/
occasion it is played,
origin of
name(instument)
appearance: shape,
material/ occasion it is
played, ensemble in
which it is used, picture
type of name
appearance: shape/
type, ensemble in
which it is used,
occasion it is played,
picture
137

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ฆองมอญวงเล็ก TMMC 116)
ฆองมอญเล็ก (Mon gongs; set of
tuned, kettle-shaped gongs, suspended
on upright, u-shaped rack. Appears
in the piiphaat maun, ,smaller,
higher-pitched, melodically
subordinate instrument) (p.466)
ฆองราง TMT khong rang (eight kettles on a straight
rack) (p.46)
ฆองราง(row of gong –kettles on a
rack) (glossary)
ฆองราง TMI khaw-ng ra-ng (p.30)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
ฆองวง TMT khong wong (set or circle of gongkettles
on a stand) (p.44)
Explanation of
descriptions and
pictures
history, appearance:
shape/ picture
history, ensemble in
which it is used,
function, compare to
other instruments,
picture
138

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฆองวง TMMC khaung wong ฆองวง (lit “gong
circle”; circular rack of kettle –
shaped, bossed gongs which lies
horizontally on the floor; performer
sits inside the “circle.”. Played with
two mallets. Fills important
leadership role in piiphaat ensemble.)
(p.466)
ฆองวงเล็ก TMT
khong wong lek (small circle of
gongs, a small set of gong-kettles)
(p.50,51)
ฆองวงเล็ก (small gong –circle)
(glossary)
ฆองวงเล็ก TMMC khaung wong lek (small gong-circle)
(p.78)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitut
Partial transliteration
Transliteration
Modifiers
Explanation of
descriptions and
pictures
ensemble in which it is
used, octave, pitch,
picture
139

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ฆองวงเล็ก (lit “gong circle”; circular
rack of kettle –shaped, bossed gongs
which lies horizontally on the floor;
performer sits inside the “circle.”.
Played with two mallets. Fills
important leadership role in piiphaat
ensemble,smaller, higher-pitched,
melodically subordinate instrument)
(p.466)
ฆองวงเล็ก TM the gong wong lek (Approximate
equivalents among the Western
instrument; Celesta.) (p.36)
(Celesta) (p.48,49)
ฆองวงเล็ก TCM small gong set (p.26, 27)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
Explanation of
descriptions and
pictures
appearance: shape,
dimension/ scale, pitch
140

Appendix Table 4 (Continued)
Thai terms Sources Representations
ฆองวงเล็ก TMI khaw-ng wong lek (small circle of
gongs) (p.32)
ฆองวงใหญ TMT khong wong yai (large circle of
gongs) (p.45)
ฆองวงใหญ (large gong- circle)
(glossary)
Word translation strategies Description strategies
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Parts of instruments
Reference to other instruments
Age
Region where played
Citation
About players
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension/
ensemble in which it is
used, instrument in
which it is used
history, appearcnce:
shape, dimension,
material/
implement used in
playing, position in
ensemble, octave,
picture
141

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฆองวงใหญ TMMC khaung wong yai (large gong- circle)
(p.78)
ฆองวงใหญ (lit “gong circle”;
circular rack of kettle –shaped,
bossed gongs which lies horizontally
on the floor; performer sits inside the
“circle.”. Played with two mallets.
Fills important leadership role in
piiphaat ensemble, larger,
lower-pitched, melodically dominant
instrument.)(p.466)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Explanation of
descriptions and
pictures
type of name, type of
players,
position in ensemble,
function, picture
142

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฆองวงใหญ TM the gong wong yai (Approximate
equivalents among the Western
instrument; Resonophone or
Tubaphone or Glockenspiel.) (p.36)
(Resonophone or Clockenspiel) (p.50)
ฆองวงใหญ TCM big gong set (p. 26)
ฆองวงใหญ TMI khaw-ng wong yai (large circle of
gong) (p.32)
ระนาด TMT ranat (xylophone – set of wooden
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
keys on a stand) (p.44)
ระนาด TCM ranad (a wooden xylophone) (p. 26)
Explanation of
descriptions and
pictures
scale, appearance:
shape, material,
dimension/ pitch, about
performer, how it is
played, ensemble in
which it is used, picture
history, appearance:
shape, dimension/
instrument in which it
is used, picture
histoy, picture
information of material
143

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
ระนาดทอง TMT ranat thong (p.62)
ระนาดทอง (a metallophone ;
original name of the ranat ek lek)
(glossary)
ระนาดทอง TMI
rana-t thaw-ng or rana-t ay-k lek
(p.20)
ระนาดทุม
TMT ranat thum (p.57) history, appearance:
ระนาดทุม
(low –pitched xylophone) (
dimension/ pitch,
glossary)
picture
ระนาดทุม
TMMC ranaat thum (ranaat is xylophone;
thum translated to be low or deep in
tone) (p.78)
(xylophone) (p.116)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
ระนาดทุม
(lower –pitched and
melodically subordinate of the
wooden –keyed xylophones; actually,
the keys may be made of bamboo.
Wooden body is narrow and
rectangular, box-like compared to the
ranaat eek.) (p.488)
Explanation of
descriptions and
pictures
type of name, position
in ensemble, picture
144

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Explanation of
ระนาดทุม
TM
Number
Material
Sound
Size
Shape
Type
ranad thume or thume mai
(Approximate equivalents among the
Western instrument; Alto
Xylophone with wooden-resonance
bars or Marimba) (p.36)
(Xylophone alto or Marimba)
(p.48,49)
ระนาดทุม
TCM ranad toom (p.26) picture
ระนาดทุม
TMI rana-t thum (p.19)
Transliteration+cultural substitute
Partial transliteration
Transliteration
Hyphenated
history, appearance:
shape, dimension,
material/ picture
ระนาดทุมเหล็ก
TMT ranat thum lek (p.63) history, appearance:
ระนาดทุมเหล็ก
(low-pitched
metallophone ) (glossary)
Translation+cultrual substitute
Cultrual substitute
Modifiers
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
descriptions and
pictures
shape/ pitch, picture
145

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies Explanation of
Modifiers
descriptions and
pictures
ระนาดทุมเหล็ก
TMMC ranaat thum lek , (lek is iron; these
iron-keyed xylophones are musical
partners to the wooden ones above,
and used only in the larger-sized
piiphaat ensembles) (p.78)
ระนาดทุมเหล็ก
(metal keyed version,
used in the larger piiphaat
ensembles.) (p.488)
ระนาดทุมเหล็ก
TM ranad thong thume or thume lek
(Approximate equivalents among the
Western instrument; Alto Xylophone
with steel-resonance bars) (p.36)
(Resonophone alto) (p.48,49)
ระนาดทุมเหล็ก
TCM ranad toom lek (with metal keys)
Transliteration
(p.26)
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Citation
About players
picture
146

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ระนาดทุมเหล็ก
TMI rana-t thum lek (p.21)
ระนาดเอก TMT ranat ek (a xylophone with a boatshaped
resonating box supported on a
small pedistal) (p.54)
ระนาดเอก (high –pitched xylophone)
(glossary)
ระนาดเอก TMMC ranaat eek (ranaat is xylophone; eek
means first, or one) (p.78),
(xylophone) (p.116)
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
ระนาดเอก (higher pitched and
melodically dominant wooden –keyed
xylophone, played with pair of
mallets. Wooden body is
boat-shaped) (p.488).
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Citation
About players
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension,
material/ instrument
used for playing, picture
history, appearance:
shape, material/ sound,
ensemble in which it is
used, pitch, picture
type of name, position
in ensemble, function,
picture
147

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ระนาดเอก TM the ranad ek (Approximate
equivalents among the Western
instrument; Treble Xylophone with
wooden-resonamce bars (p.36)
(Xylophone, treble) (p.48,50)
ระนาดเอก TCM ranad ek (p.26)
ระนาดเอก TMI rana-t ay-k (p.15)
ระนาดเอกทอง TM
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
ranad thong ek or thume lek
(Approximate equivalents among
the Western instrument; Treble
Xylophone with steel- resonance
bars) (p.36)
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Citation
About players
Explanation of
descriptions and
pictures
scale, appearance:
material, dimension/
number, ensemble in
which it is used,
implements used for
playing, picture
history, appearance:
shape, dimension,
material/ function,
picture
scale, appearance:
shape, dimension,
material/ ensemble in
which it is used, picture
148

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ระนาดเอกเหล็ก TMT ranat ek lek or ranat thong (iron ranat
ek) (p.62)
ระนาดเอกเหล็ก (high-pitched
metallophone) (glossary)
ระนาดเอกเหล็ก TMMC ranaat eek lek (lek is iron; these ironkeyed
xylophones are musical
partners to the wooden ones above,
and used only in the larger-sized
piiphaat ensembles) (p.78)
ระนาดเอกเหล็ก TCM
ระนาดเอกเหล็ก (metal-keyed
version, included in the larger
piiphaat ensembles) (p.488)
ranad ek lek (with metal keys) (p.26)
ระนาดเอกเหล็ก TMI rana-t thaw-ng or rana-t ay-k lek
(p.20)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Explanation of
descriptions and
pictures
history, appearance:
shape, material/
picture
picture
history, appearance:
shape, dimension,
material/ picture
149

Appendix Table 4 (Continued)
วงฆองชัย TMMC
เครื่องตีกํากับจังหวะ
กรับ TMT
Thai terms Sources Representations Word translation strategies Description strategies
wong khaung chay (a set of seven
vertically- suspended gongs, the gong
pitches outline the main melodic
pitches of songs) (p.110)
วงฆองชัย (circular rack of vertically
suspended gongs, of different sizes
and pitches, used in the piiphaat
dukdamban enesmble) (p.497)
วงฆองชัย TMI wong khaw-ng chai (circle of khawng
chai gongs)(p.35)
krap (rhythm sticks made from pieces
of bamboo, cut and polished (p.44)
กรับ a wooden percussion
instrument; a pair is held in each hand
(glossary)
กรับ TMI grap (p.13)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Explanation of
descriptions and
pictures
history, appearance:
shape/ ensemble in
which it is used
150

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
กรับคู
TMI grap khu (pair of grap) (p.13)
กรับพวง TMT
krap phuang (consists of several long
thin sheets of metal alternated with
thin pieces of wood) (p.102)
กรับพวง (a percussion instrument of
loose pieces tied together; held in the
right hand and slapped against the
palm of the left) (glossary)
กรับพวง TMI grap phuang (cluster or bunch of
grap) (p.14)
กรับเสภา TMT
krap sepha (two nearly square bars of
hardwood about one and a half inches
wide on each side by eight inches
long) (p.54)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Explanation of
descriptions and
pictures
appearance: shape,
dimension, material/
picture
appearance: shape,
material/ how it is
played, picture (shown
in a picture
ensemble)
appearance: shape,
dimension, material/
how it is played,
occasion it is played,
picture
151

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
กรับเสภา TMMC
กรับเสภา TMI grap say-pha- (p.14)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
กรับเสภา (a wooden percussion
instrument) (glossary)
krap seephaa กรับเสภา (pair of
wooden bars, held in each hand of a
performer. Clacked together to
produce rhythmic accompaniment for
recited epic genre, seephaa) (p.472)
Modifiers
กลอง TMT klong (drum) (p.44)
กลอง (generic word for “drum”)
(glossary)
กลอง TMI glaw-ng (drum) (p.35)
Explanation of
descriptions and
pictures
appearance: shape,
dimension, material/
how it is played, picture
152

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
กลองแขก TMT klong khaek (“foreign” or Indian
drum) (p.45)
กลองแขก (“foreign drum”) (glossary)
กลองแขก TMMC klaung kheek (pair of double-headed
drums, held on laps of two separate
players) (p.79)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
กลองแขก (cylindrical, two-headed
drums held horizontally across
performer’s laps. Leather heads are
laced on. Played in pairs by two
performers. Commonly substituted
for taphoon in piiphaat ensembles and
thoon/rammanaa in mahoorii and
khrung saay ensembles) (p.471)
กลองแขก TCM glong tahd picture
Explanation of
descriptions and
pictures
history, appearance:
shape/ ensemble in
which it is used,
tempo, picture
gender of instruments,
picture
153

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
กลองแขก TMI glaw-ng khae-k (p.48)
กลองชนะ TMMC
กลองชนะ TMI glaw-ng chana (p.51)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
klaung chana กลองชนะ (drum
similar to the klaung kheek but
appearing in the rare pageant
ensemble, tree sang klaung chana.
Decorated in festive colors) (p.471)
Modifiers
Explanation of
descriptions and
pictures
appearance: shape,
dimension, material/
how it is played, origin
of name(instument),
compare to other
instruments, ensemble
in which it is used,
occasion it is played,
picture
history, appearance:
shape, dimension,
material/ occasion it is
played
154

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
กลองชวา TMT klong chawa (Javanese drum) (in
context:73)
กลองชวา (“Javanese drum” – that is,
a Javanese-derived drum) (glossary)
กลองชวา TMI glaw-ng cha wa- (Javanese drums)
(p.48)
กลองชาตรี TMT
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
klong chatri (drum used in the
southern theater (p.44), (a drum with
pegged heads, like the klong that but
much smaller –the body being about
ten inches high, the heads about eight
inches in diameter) (p.104)
กลองชาตรี (a drum of southern
Thailand) (glossary)
Explanation of
descriptions and
pictures
155

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
กลองชาตรี TMMC klaung chaatrii (p.112) type of name,
picture
กลองชาตรี (goblet-shaped drum
unique to the piiphaat chaatrii, oned
used for the dramatic genre lakhaun
chaatrii. That ensemble can also be
called chaatrii. the “light” version of
the small-sized piphaat ensemble,
today accompanying southern-style (
“chaatrii” or “nooraa”) epic drama
(p.470)
กลองชาตรี TMI glaw-ng cha-tri (p. 38)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Explanation of
descriptions and
pictures
appearance: dimension/
ensemble in which it is
used, occasion it is
played, region where it
is played, picture
156

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies Explanation of
Modifiers
descriptions and
pictures
กลองตะโพน TMI glaw-ng ta pho-n (two ta pho-n
drums) (p.41)
กลองตุก
TMI glaw-ng tuk (p.38)
history, appearance:
shape/ ensemble in
which it is used, type,
occasion it is played,
how it is played, picture
กลองทัด TMT klong that (p.72) history, appearance:
กลองทัด (large barrel –shaped
peg-headed drum) (glossary)
กลองทัด TMMC klaung that (pair of upright drums, hit
with sticks) (p.79)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
กลองทัด (pair of drums played by
single performer; hit with sticks.
Heads tacked on. Appear in the
piiphaat ensemble) (p.471)
dimension, material/
how it is played, picture
picture
157

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
กลองทัด TM the klong thad (a thick large drum)
(p.14) (Approximate equivalents
among the Western instrument;
Timpani) (p.36)
กลองทัด TCM glong tahd (twin drums) (p.26)
กลองทัด TMI glaw-ng that (p.35)
กลองมะริกัน TMT klong marigan (American bass drum)
(p.45)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
กลองมริกัน (American bass drum)
(glossary)
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension,
material/ ensemble in
which it is used,
occasion it is played,
compare to other
instruments, picture
158

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
กลองมะริกัน TMI glaw-ng mari gan (glaw-ng amay-ri
gan or American drum) (p.63)
กลองมลายู TMT klong malayu (Malayan drum) (p.45)
กลองมลายู TMMC
กลองมลายู (Malayan drum) (glossary)
klaung malaayuu (a drum similar in
appearance to the klaung kheek, and
similarly played in pairs, Malay drum)
Transliteration
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Modifiers
Function
Other names
Parts of instruments
Reference to other instruments
Age
Region where played
How played
กลองมลายู (drums, played in pairs,
similar in appearance to klaung
kheek. Appear in the rare ensembles,
wong bua lauy and wong piiphaat
naang hong, both of which are used in
cremation ceremonies) (p.471)
Citation
About players
Explanation of
descriptions and
pictures
history, ensemble in
which it is used,
occasion it is played,
origin of
name(instument),
type of name
159

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies Explanation of
Modifiers
descriptions and
pictures
กลองมลายู TMI glaw-ng mala-yu- (p.49)
กลองยาว TMT klong yao (long drum)
(p.44)
กลองยาว TMI glaw-ng yao- (p.58)
กลองสองหนา TMT
กลองยาว (long drum) (glossary)
song na (literally, “two faces,” that is,
a two-headed drum) (p.71)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
สองหนา (a medium-sized,
hand-played drum) (glossary)
appearance: shape,
dimension/ ensemble in
which it is used,
occasion it is played,
picture
history, appearance:
shape, dimension,
material/ how it is
played, origin of
name(instument),
ensemble in which it is
used, picture
appearance: shape,
dimension, material/
position in ensemble,
picture
160

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
กลองสองหนา TMMC
saung naa (lit “two -faced drums,”
which replaces the taphoon in certain
types of piiphaat ensemble repertoire)
(p.79)
สองหนา (lit” two faces”, referring to
this drum’s two heads. Cylindrical
shaped (in contrast to the barrel shape
of the taphoon); often substituted for
taphoon in the piiphaat ensemble
serving as vocal accompaniment)
(p.491)
กลองสองหนา TM the song na (a small long drum used
in conjunction with other instruments,
and also called Poeng Mang
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
(เปงมาง) when it is differently used
for accompanying songs) (p.14)
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Citation
About players
Explanation of
descriptions and
pictures
type of name, picture
161

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
กลองสองหนา TMI saw-ng na (two drumheads) (p.55)
เกราะ TMT kro (small “slit drum” made from a
piece of bamboo with nodes at each
end (p.44)
เกราะ an old bamboo percussion
instrument (glossary)
เกราะ TMI graw (p.9)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
โกรง TMT krong (large bamboo “slit drum,”
several nodes in length (p.44)
โกรง an old bamboo percussion
instrument (glossary)
Explanation of
descriptions and
pictures
appearance: shape,
dimension, material/
function, ensemble in
which it is used,
occasion it is played,
picture
appearance: shape,
material/ how it is
played, occasion it is
played, picture
162

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
โกรง TMI gro-ng (p.11)
ฆองคู
TMT
khong khu (kettles similar to those
used on the khong wong, fastened
horizontally in a small rectangular
box frame) (p.104)
ฆองคู (a pair of gong- kettles)
(glossary)
ฆองคู
TMMC khaung khuu (a pair of small gongs
set in a box) (p.112)
ฆองคู
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
(two kettle- shaped gongs
inside a rectangular frame. Appears in
the “light” version of the smallest
size of piiphaat ensembles) (p.466)
Explanation of
descriptions and
pictures
appearance: shape,
dimension, material/
occasion of plyaing,
ensemble in which it is
used, picture
picture
163

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฆองคู
TMI khaw-ng khu- (a pair of gongs) (p.28)
ฆองระเบ็ง TMT khong rabeng (gong used for the
rabeng, an ancient Type of vocal
entertainment music) (p.44)
ฆองระเบง (an old style gong)
(glossary)
ฆองระเบ็ง TMI khaw-ng rabay-ng (p.29)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
ฆองราว TMT khong rao or khong hui (set of gongs
on a rack) (p.67)
ฆองราว (set of gongs on a stand)
(glossary)
ฆองราว TMMC khaung raaw (khaung huy) (p.124)
Explanation of
descriptions and
pictures
history, appearance:
shape/ occasion it is
played, reginal of
playing, picture
164

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฆองราว TMI khaw-ng rao (p.29)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
ฆองหุย
TMT khong rao or khong hui (set of three
gongs on a rack) (p.67)
ฆองหุย
(a gong on a tripod stand)
(glossary)
ฆองหุย
TMMC huy or khaung huy หุย,
ฆองหุย
(set of
3, 5 or 7 vertically –suspended
gongs, used in piiphaat during certain
epic episodes) (p.465)
ฆองหุย
TM the gong hooi (consisting of a set of
3,5, or 7 gongs of different sizes, and
therefore of different pitches) (p.14)
Explanation of
descriptions and
pictures
appearance, how
played, occasion
played, other names,
picture
165

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฆองหุย
TMI khaw-ng mui or khaw-ng hui (p.27)
ฆองเหมง TMT
ฆองเหมง TMMC
khong meng (a small gong held up
manually by a curved wooden handle
from which it is suspended and struck
with a piece of wood or a padded
beater) (p.103)
ฆองเหมง (a small, suspended, hand-
held gong) (glossary)
khaung meeng ฆองเมง (small gong,
suspended manually and hit with a
mallet or stick. Appeared in historical
ensembles) (p.466)
ฆองเหมง TMI khaw-ng may-ng (p.27)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Explanation of
descriptions and
pictures
appearance: shape,
dimension/ ensemble in
which it is used,
occasion it is played,
instrument used for
playing, picture
166

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฆองโหมง TMI khaw-ng mo-ng (p.26)
ฉาบ TMT chap (medium-sized metal hand
cymbals) (p.44)
ฉาบ TMMC chaap ฉาบ (pair of metal hand –
cymbals, larger than the ching and
somewhat flatter. Used to emphasize
important metric pulses in larger
piiphaat ensembles) (p.462)
ฉาบ TMI cha-p (a pair of small metal cymbals)
(p.24)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension/
occasion it is played,
picture
appearance: shape,
dimension, material/
type, function, compare
to other instruments
167

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฉาบเล็ก TMT chap lek (a pair of medium-sized
cymbals of flat metal with a central
rounded boss about three-quarters of
an inch deep) (p.66)
ฉับเล็ก (medium –size cymbals)
(glossary)
ฉาบเล็ก TMMC chaap lek (hand cymbals) (p.117)
ฉาบเล็ก (pair of metal hand-cymbals,
larger than the ching and somewhat
flatter. Used to emphasize important
metric pulses in larger piiphaat
ensembles, smaller sized, used more
frequently) (p.462)
ฉาบเล็ก TM the charb lek (Approximate
equivalents among the Western
instrument; Small cymbals) (p.36)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
(Medium cymbals) (p.50)
Explanation of
descriptions and
pictures
appearance: shape,
dimension/ ensemble in
which it is used, how it
is played, picture
168

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฉาบเล็ก TCM cymbals picture
ฉาบเล็ก TMI cha-p lek (p.24)
appearance: dimension/
function, picture
ฉาบใหญ TMT chap yai (p.67) appearance: shape
ฉับใหญ (large –size cymbals)
(glossary)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
ฉาบใหญ TMMC chaap yay ฉาบใหญ (pair of metal
hand-cymbals, larger than the ching
and somewhat flatter. Used to
emphasize important metric pulses in
larger piiphaat ensembles, larger size)
(p.462)
Explanation of
descriptions and
pictures
dimension/ size,
ensemble in which it is
used, picture
169

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฉาบใหญ TM
the charb yai, (Approximate
equivalents among the Western
instrument; Large cymbals) (p.36)
(Large cymbals) (p.50)
ฉาบใหญ TCM cymbals picture
ฉาบใหญ TMI cha-p yai (p.24)
ฉิ่ง
TMT ching (small metal hand cymbals)
(p.44)
(a pair of cymbals made of thick
metal and shaped like teacups or
small hollow cones) (p.64),
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
(small hand cymbals) (p.65)
ฉิ ่ง (small hand cymbals) (glossary)
Explanation of
descriptions and
pictures
appearance: dimension/
function, picture
appearance: shape,
dimension, material/
how it is played,
tempo, picture
170

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ฉิ่ง
TMMC ching (small metal hand –cymbals)
(p.79)
type of name, position
in ensemble,
(cymbals) (p.117)
ฉิ่ง
(small metal hand-cymbals,
ubiquitous in Thai classical music.
Mark important metric pluses which
function, picture
indicate chan.) (p.464)
ฉิ่ง
TM the ching (Approximate equivalents
among the Western instrument;
Triangle) (p.36) (Small cymbals)
(p.48,50)
ฉิ่ง
TCM ching (small cymbals) (p.27)
ฉิ่ง
TMI ching (a pair of cymbals) (p.23)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension,
material/ function,
ensemble in which it is
used, picture
171

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ตะโพน TMT
taphon (the main drum used in the pi
phat (percussion) ensemble) (p.68)
ตะโพน (a barrel-shaped drum on a
stand) (glossary)
ตะโพน TMMC taphoon (double headed drum. “the
most important rhythm instrument.”
(p.79)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
ตะโพน (two headed barrel shaped
drum used in piiphaat ensemble. Ash
and rice mixture applied to lower
head for tuning. Heads tuned to an
interval of approximately one fifth,
but not tuned definitely in relation to
ensemble. Of ritual significance, and
not played by females) (p.493)
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension,
material/ sound,
ensemble in which it is
used, instruction of
playing, picture
gender of player, picture
172

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
ตะโพน TM the tapone (a kind of hand timpano
with drum-heads covering both ends)
(p.14) (Approximate equivalents
among the Western instrument; small
hand tympano) (p.36) (small hand
tympano) (p.48,50)
ตะโพน TCM tapohn (two-sided drum) (p.26)
ตะโพน TMI ta-pho-n (p.39)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension,
material/ ensemble in
which it is used,
occasion it is played,
how it is played,
compare to other
instruments, picture
173

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ตะโพนมอญ TMT taphon mon (p.69) appearance: shape,
taphon mon ตะโพนมอญ (the mon
model of the taphon) (glossary)
ตะโพนมอญ TMMC taphoon maun (two-sided drum)
(p.117)
ตะโพนมอญ TMI ta pho-n maw-n (p.40)
ทับ TMI tho-n or thap (p.42)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Explanation of
descriptions and
pictures
dimenstion/ size,
ensemble in which it is
used, picture
appearance: shape,
dimension/ ensemble in
which it is used,
occasion it is played,
compare to other
instruments, picture
history, appearance:
material/ occasion it is
played
174

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
โทน TMT thon (goblet or vase drum; India,
from “dhol”?) (p.45)
โทน TMMC
โทน (a goblet or inverted
vase-shaped drum with a single head)
(glossary)
thoon (goblet-shaped drum, leather
head laced on, usually played
simultaneously by one person, and
conceived of as one unit musically.
Hence they are referred to in
conjunction, thoon/rammanaa.) (p.79)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
โทน (goblet-shaped drum with
ceramic body, leather head laced on.
Paired with rammanaa and played by
a single musician, for the rhythmic
parts of the two form one pattern.
Sometimes called thoon mahoorii to
distinguish from below (below means
thon chaatrii) (p.495)
Explanation of
descriptions and
pictures
history, appearance:
shape/ picture
type of name, picture
175

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
โทน TCM tohn(p.27) picture
โทน TMI tho-n or thap (p.42)
history, appearance:
material/ occasion it is
played
โทนชาตรี TMT thon chatri (p.76) appearance: shape,
โทนชาตรี TMMC thoon chaatrii (p.112)
โทนชาตรี TMI tho-n cha-tri- (p.43)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
โทนชาตรี (a drum of south Thailand
; small-size klong that) (glossary)
โทนชาตรี (similar to above (above
means thoon mahoorii) but played in
pairs in southern Thailand to
accompany shadow theater and
lakhaun nooraa) (p.495)
Modifiers
Explanation of
descriptions and
pictures
material/ occasion it is
played, picture
appearance: dimension,
material/ ensemble in
which it is used,
occasion it is played,
how it is played, picture
176

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
โทนมโหรี TMT thon mahori โทนมโหรี (the thon
drum used in the mahori ensemble)
(glossary)
โทนมโหรี TMI tho-n maho-ri- (p.43)
บัณเฑาะว TMT bando (small hourglass drum; India;
Pali: “panawa” ) (p.45)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
บัณเฑาะว (a small, hand drum)
(glossary)
Explanation of
descriptions and
pictures
appearance: shape,
dimension, material/
picture
appearance: shape,
dimension, material/
ensemble in which it is
used, how it is played,
occasion it is played,
compare to other
instruments, picture
origin of
name(instument),
appearance: shape
177

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
บัณเฑาะว TMMC banthau (small two-faced ,hand-held
drum) (p.116)
บัณเฑาะว TMI ban daw (p.33)
เปงมาง TMT poeng mang (p.113)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
banthau บัณเฑาะว (a percussion
instrument. Two drumheads attached
to a stick, sounded by balls attached
to strings when rolled between the
hands) (p.460)
Modifiers
เปงมาง (a small, thong –wrapped
barrel –shaped drum) (glossary)
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension,
material/ origin of
name(instument),
occasion it is played,
compare to other
instruments, picture
178

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
เปงมาง TMI per-ng ma-ng (p.52)
เปงมางคอก TMT poeng mang khok (p.113)
เปงมางคอก (a set of drum on their
stand) (glossary)
เปงมางคอก TMMC peeng maang khauk (circle of tuned
drums) (p.117)
เปงมางคอก (set of seven tuned drums
(each a peeng maang) arranged
vertically in a semicircular frame,
used in the piiphaat maun ensemble)
(p.480)
เปงมางคอก TMI per-ng ma-ng khaw-k (a group of
seven per-ng ma-ng drums) (p.54)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies Explanation of
descriptions and
pictures
history, appearance:
shape, dimension,
material/ occasion it is
played, picture
appearance: shape,
dimension, material/
function, ensemble in
which it is used, picture
179

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
มโหระทึก TMI maho-ra therk (p.64)
รํามะนา TMT
รํามะนา TMMC
rammana (a shallow frame drum with
one head, about the size of a Western
tambourine but without the
“jangles.”) (p.77)
รํามะนา (a small frame drum)
(glossary)
rammanaa (a frame drum, usually
played simultaneously by one person,
and conceived of as one unit
musically. Hence they are referred to
in conjunction,
thoon/rammanaa) (p.79)
Transliteration
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Modifiers
Description strategies
Explanation of
descriptions and
pictures
history, appearance:
shape, dimension,
material/ occasion it is
played, origin of
name(instument),
picture
history, appearance:
shape, dimension,
material/ reference to
another book, picture
picture
180

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
รํามะนา (frame drum, with shallow
wooden (sometimes ivory) body.
Leather head is tacked on. Paired with
thoon and played by a single
musician, for the rhythmic parts of
the two form one pattern) (p.487)
รํามะนา TCM ramana (a small hand drum) (p.27) picture
รํามะนา TMI ram mana- (p.46)
appearance: shape/
type, origin of
name(instument),
compare to other
instruments, picture
โหมง TMT mong (p.67) appearance: shape,
โหมง (a large gong) (glossary)
Partial transliteration
Transliteration
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Modifiers
Explanation of
descriptions and
pictures
material, dimension,
picture
181

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
โหมง TMMC moong or khaung moong (suspended
gong) (p.117)
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
(ฆอง) โหมง (metal gong suspended
from tripod. Appears in some of the
larger sized standard ensembles)
(p.476)
โหมง TM the mong (Approximate equivalents
among the Western instrument; No
equivalent except perhaps tom-tom or
gong) (p.36) (Large Gong) (p.48,50)
Parts of instruments
Citation
About players
Explanation of
descriptions and
pictures
picture
182

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
โหมง TCM mong picture
โหมง TMI mong (p.26)
เครื่องเปา
เครื่องเปาไมมีลิ้น
ขลุย
TMT khlui (vertical bamboo flute with
pegged mouthpiece) (p.77)
ขลุย
(the bamboo flute) (glossary)
ขลุย
TMMC khluy (vertical flute. Different sizes
and ranges are indicated by noun
modifiers) (p.79)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
ขลุย
(vertically- held flute: appears in
various named sizes, each of which
is associated with a different mode or
pitch level. Commonly used as a
solo instrument, it also appears in
khruang saay ensemble, and in the
“soft” version of piiphaat ensembles.
Used in the public schools for music
education.) (p.468)
Explanation of
descriptions and
pictures
appearance: shape,
dimension, material
type of name, picture
183

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
ขลุย
TMI khlui (flute types) (p.72)
ขลุยกรวด
TMI khlui grua-t (p.74)
appearance: shape,
dimension, material/
type, compare with
other instruments
ขลุยเพียงออ
TMT khlui phiang o (p.78) appearance: dimension/
ขลุยเพียงออ
(the medium –size
bamboo flute) (glossary)
ขลุยเพียงออ
TMMC khuly piang au (p.97) picture
ขลุยเพียงออ
TCM klui piang-or (a bamboo flute) (p.27) picture
ขลุยเพียงออ
TMI khlui phia-ng aw- (the middle-sized
khlui) (p.74)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Explanation of
descriptions and
pictures
size,
ensemble in which it is
used, picture
appearance: dimension/
ensemble in which it is
used, picture
184

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Explanation of
Modifiers
descriptions and
pictures
ขลุยหลีบ
TMT khlui lip (p.78) appearance: dimension/
ขลุยหลีบ
(the small –size bamboo
flute) (glossary)
ขลุยหลีบ
TMMC khluy lip (another size of flute) (p.97) picture
ขลุยหลีบ
TCM
klui lib (a smaller and higher pitched
bamboo flute) (p.27)
ขลุยหลีบ
TMI khlui-li-p (the smallest-sized khlui)
(p.74)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
size,
ensemble in which it is
used, picture
picture
appearance: dimension/
ensemble in which it is
used, picture
ขลุยอู
TMT khlui u (p.78) appearance: dimension/
ขลุยอู
(the large –size bamboo flute)
(glossary)
ขลุยอู
TMMC khluy uu (p.83) picture
size,
ensemble in which it is
used, picture
185

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
ขลุยอู
TMI khlui-u- (the largest-sized khlui)
(p.74)
แตร TMI trae- (p.89)
แตรงอน TMMC tree ngaun (trumpets made from
animal horns) (p.116, 496)
แตรงอน TMI trae-ngaw-n (curved trumpet) (p.89)
แตรฝรั่ง
TMI
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
trae-farang (European trumpet) (p.91)
แตรลางโพง TMI trae- la-ng pho-ng (p.91)
Modifiers
Explanation of
descriptions and
pictures
appearance: dimension/
ensemble in which it is
used, picture
occasion it is played,
type
history, appearance:
shape, dimension/
occasion it is played,
origin of
name(instument),
picture
history, occasion it is
played, picture
186

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
แตรลําโพง TMI trae-lam pho-ng (p.91)
แตรวิลันดา TMI trae-wilanda- (p.91)
เครื่องเปามีลิ้น
ปTMT
pi (p.78)
ป
history
(double-reed instrument) (glossary)
ป
TMMC pii (oboe-like double -reed
instruments of various sizes and
ranges. Different types are in dicated
by ensenbles) (p.79)
ป (oboe-like reed instruments, used in
piiphaat ensembles. Various sizes
have different ranges of pitch, and
occur in different musical contexts)
(p.485)
ป
TMI pi (reed or oboe types) (p.75)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
Explanation of
descriptions and
pictures
appearance: shape,
dimensio/, ensemble in
which it is used,
occasion it is played,
type
187

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ปกลาง
TMT pi klang (about fifteen inches long,
one and a half inches in diameter)
(p.79)
ปกลาง
( medium – sized pi) (glossary)
ปกลาง
TMMC pii klaang ปกลาง (“medium” pii,
according to Morton used to
accompany shadow theater (1976:79)
(p.485)
ปกลาง
TMI pi –gla-ng (p.77)
ปไฉน
TMT pi chanai (double –reed instrument,
body with conical bore, about a foot
long or less; India) (p.45)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
ป ไฉน (early double-reed instrument)
(glossary)
Explanation of
descriptions and
pictures
appearance: dimension/
picture
appearance: dimension/
picture
history
188

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ปไฉน
TMMC pii chanay
ป
picture
ปไฉน
TMI pi-cha nai (p.84)
ไฉน (pii chanay (rarely used today,
but formerly used in processions.
Small and high-pitched) (p.485)
history, appearance:
shape, dimension,
material/ compare with
other instruments,
occasion it is played,
picture
ปชวา
TMT pi chawa (Javanese “oboe”) (p.89) history, appearance:
shape, dimension,
material/
ปชวา
(“Javanese pi”) (glossary)
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Citation
About players
Explanation of
descriptions and
pictures
ensemble in which it is
used, occasion it is
played, pitch, picture
189

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ปชวา
TMMC pii chaawaa ปชวา (“Javanese” pii ,
appears in certain specail ensembles,
including the piiphaat naang hong,
and the wong khruang saay pii
ปชวา
TMI pi-chawa- (p.86)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Also used in certain dance-drama
contexts, and along with klaung
kheek, to accompany Thai boxing)
(p.485)
Modifiers
Description strategies
ปนอก
TMT pi nok (outdoor pi) (p.79) picture
ปนอก
(outdoor pi) (glossary)
Explanation of
descriptions and
pictures
type of name
appearance: shape,
dimension, material/
ensemble in which it is
used, occasion it is
played, origin of
name(instument),
picture
190

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ปนอก
TMMC pii nauk ปนอก (the “outside” pii,
associated with lakhaun nauk
(“outside” dance-drama- performed
outside of the royal palace.
Shorter in length than the pii nay)
(p.485)
ปนอก
TCM pi-nok (p.26)
ปนอก
TMI pi –naw-k (p.77)
picture
appearance: dimension/
picture
ปใน
TMT pi nai (indoor pi) (p.79) appearance: shape/ size
ปใน
(indoor pi) (glossary)
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
Explanation of
descriptions and
pictures
appearance: dimension/
parts of instument,
process of making the
reed for pi nai, picture
191

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
ปใน
TMMC
pii nay ปใน
(the “inside” pii, because
it was associated with the khoon
(masked dance-drama) and lakhaun
nay (“inside” dance-drama) once
confined to the palaces. This is the
instrument usually referred to simply
as pii) (p.485)
ปใน
TM the pi nai (Approximate equivalents
among the Western instrument; Oboe
or Piano-accordion or C Clarinet)
(p.36) (Oboe) (p.48)
ปใน
TCM pi-nai (p.26)
ปใน
TMI pi-nai (p.77)
ปมอญ
TMT pi mon ปมอญ
(mon –style pi)
(glossary)
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
Cultrual substitute
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Modifiers
Description strategies
Age
Region where played
Parts of instruments
Reference to other instruments
Citation
About players
Explanation of
descriptions and
pictures
picture
appearance: shape,
dimension, material/
tones, scale, Function,
parts of instruments,
how it is played, picture
appearance: dimension/
picture
appearance: shape,
dimension, material/
picture
192

Appendix Table 4 (Continued)
Thai terms Sources Representations Word translation strategies
Transliteration
Partial translation
Translation
Hyphenated
Number
Material
Sound
Size
Shape
Type
ปมอญ
TMMC pii maun (oboe) (p.116) picture
ปมอญ
TMI pi-maw-n (p.88)
ปมอญ
(“Mon” pii, used only in the
piiphaat maun. Conical shape) (p.485)
ปหอ
TMI pi-haw- (p.87)
ปออ
TMI pi-aw- (p.78)
Translation+cultrual substitute
Transliteration+cultural substitute
Partial transliteration
Transliteration
Cultrual substitute
Modifiers
Description strategies
Citation
About players
Parts of instruments
Reference to other instruments
Age
Region where played
How played
Function
Other names
Position in ensemble
Origin of name(instument)
Occasion played
Ensemble in which used
Implement used in playing
Similar Western instrument
Specific word
Generic word
Cultural substitute
Partly transliteration
Explanation of
descriptions and
pictures
appearance: shape,
dimension, material/
ensemble in which it is
used, occasion it is
played, picture
appearance: shape,
dimension, material/
ensemble in which it is
used, picture
193

Appendix Table 5 Strategies that Each Writer Used in Presenting English Terms of Thai Musical Ensembles
Thai terms Sources Representations
ปพาทยรามัญ
TMI pi-pha-t ra-man (p.34)
Size
Type
Citation
Comparison to other ensembles
Age
Other names
Origin of name (ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Explanation
of description and picture
วงกลองแขก TMT klong khaek ensemble (p.102) names of instruments, picture
วงกลองแขกปชวา
TMI pi- chawa glaw-ng khae-k or glaw-ngkhae-k
pi-chawa- (p.87)
วงขับไม TMT khap mai ensemble (literally “to recite or
sing with a beat” or more figuratively “to
perform on musical instruments.”) (p.101)
Word translation strategies
transliteration+translation
Translation
Partial transliteration
Transliteration
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
Modifiers
Description strategies
ขับไม (an old ensemble) (glossary)
names of instruments, picture
194

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
วงขับไม TMMC khap may or wong khap may (a threestringed
fiddle, vocalist, and small two-faced
hand-held drum called banthau) (p.116)
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
(วง) ขับไม (historical ensemble—today
played occasionally by university students—
consisting of solo vocalist, sau saam saay,
and banthau) (p.465)
วงเครื่องสาย
TMT khruang sai เครื่องสาย
(the ensemble
composed of stringed instruments , flute, and
rhythmic percussion) (glossary)
วงเครื่องสาย
TMMC wong khruang saay (an ensemble of stringed
instruments(this is what its name refers to
literally), drums and hand cymbals
(Morton’s “rhythmic percussion”), and khluy
or flute) (p.91)
Citation
Comparison to other ensembles
Age
Other names
Origin of name (ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
วงเครื ่องสาย (wong khruang saay- ensemble
of stringed instruments.) (p.469)
Explanation
of description and picture
names of instruments,
occasion played
names of instruments
names of instruments
195

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
Explanation
of description and picture
วงเครื่องสาย
TCM the string ensemble (p.26) names of instruments
วงเครื่องสาย
TMI khrer-a-ng sai- (string) ensemble (p.43,47)
วงเครื่องสายเครื่องคู
TMT medium-sized or doubled khruang sai
ensemble (p.108) , medium-sized or doubled
ensemble (p.111)
วงเครื่องสายเครื่องคู
TMMC wong khruang saay khruang khuu (mediumsized
(lit. paired) ensemble of string
instruments) (p.102)
added to conventional ensembles to indicate
medium size or type of instrumentation)
(p.469)
วงเครื่องสายเครื่องคู
TCM (“doubled” string ensemble: another
instrument of each kind is added, making a
pair)
Origin of name (ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Citation
Comparison to other ensembles
Age
Other names
names of instruments, picture
names of instruments
picture
196

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
วงเครื่องสายวงเล็ก
TMT
small khruang sai ensemble (p.108), small
ensemble (p.111)
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
วงเครื่องสายวงเล็ก
TCM wong khre-a-ng sai wong lek ( small string
ensemble; one instrument of each kind only
is used compable to the pi-phat khre-a-ng ha)
วงเครื่องสายปชวา
TMMC khruang saay pii chaawaa, wong khruang
saay pii chaawaa (a standard type of stringed
ensemble with pii chaawaa added. Known
for requiring very skillful, masterful pii
player.) (p.469)
วงเครื่องสายผสมไวโอลิน
TMMC
wong khruang saay prasom violin (p.121)
วงเถิดเทิง,
วงเทิงบองกลองยาว
TCM ther-t ther-ng or ther-ng baw-ng glaw-ng yao-
(p.60)
Origin of name (ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Citation
Comparison to other ensembles
Age
Other names
Explanation
of description and picture
names of instruments, picture
picture
names of instruments,
occasion played
197

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
วงบัวลอย TMT bua loi (an old ensemble) (glossary)
วงบัวลอย TMMC bua lauy or wong bua lauy (floating lotus
ensemble) (p.116)
(วง) บัวลอย (ensemble rarely performed
today, but intended for use in cremation
ceremonies for royalty, and has its own
specific repertoire. Consists of pii chaawaa
and rhythmic accom accompaniment. Morton
views this as the precursor to the wong
piiphaat naang hong) (p.460)
วงบัวลอย TMI bua law-i ensemble (p.50)
Citation
Comparison to other ensembles
Age
Other names
Origin of name (ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
วงปชวากลองแขก
TMI pi- chawa glaw-ng khae-k or glaw-ngkhae-k
pi-chawa- (p.87)
Explanation
of description and picture
occasion played
198

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
วงปพาทย
TMT
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
pi phat (the ensemble using melodic and
rhythmic percussion) (p.104) ปพาทย
(an
ensemble composed of melodic and rhythmic
percussion instruments and the pi) (glossary)
วงปพาทย
TMMC piiphaat or wong piiphaat (an ensemble of
percussion instruments and the pii or oboe)
(p.91)
วงปพาทย(melodic
percussive ensemble,
which does not include stringed instruments.
Accompanies rituals and theatrical genres
but can also perform entertainment music)
(p.486)
Citation
Comparison to other ensembles
Age
Other names
Origin of name (ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Explanation
of description and picture
occasion played, types, names
of instruments, history
the meaning of word; wong,
pii, phaat
names of instruments, type
วงปพาทย
TM piphat band (p.3) types, names of instruments
วงปพาทย
TCM the pi-phat ensemble (p.26) names of instruments
199

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
วงปพาทย
TMI pi-pha-t (percussion) ensemble (p.43)
วงปพาทยเครื่องคู
TMT ensemble , a pair of instruments, medium-
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
sized or doubled piphat ensemble)
(p.105,107)
Explanation
of description and picture
names of instruments, picture
วงปพาทยเครื่องคู
TMMC khruang khuu (lit. instruments/pair) (p.96)
เครื่องคู
(lit. “instruments; paired”; term
names of instruments
วงปพาทยเครื่องคู
TCM
added to conventional ensembles to indicate
medium size or type of instrumentation)
(p.469)
wong pi-phat khre-a-ng khu (medium sized
precussion ensemble another instrument of
each kind is added, making a pair; a "double
ensemble.)
Origin of name (ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Citation
Comparison to other ensembles
Age
Other names
picture
200

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
วงปพาทยเครื่องหา
TMT khruang ha (literally, “five instruments)
(p.105) เครื่องหา
(a small ensemble ---“of
five instruments”) (glossary)
วงปพาทยเครื่องหา
TMMC khruang haa (small size, “khruang haa” (lit.
instruments/five) (p.95) , (the five
–instrument or small sized piiphaat
ensemble) (p.112)
เครื ่องหา (lit. “instruments/five”; term added
to conventional ensembles to indicate small
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
size or type of instrumentation) (p.469)
วงปพาทยเครื่องหา
TCM wong pi-phat, khre-a-ng ha (small percussion
ensemble consisting of five instruments and
the Ching)
วงปพาทยเครื่องใหญ
TMT khruang yai (large ensemble, literally, “large
group of instruments, large pi phat
ensemble) (p.105, 107)
Citation
Comparison to other ensembles
Age
Other names
Origin of name (ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Explanation
of description and picture
names of instruments, picture
type
picture
names of instruments, picture
201

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
วงปพาทยเครื่องใหญ
TMMC khruang yay (large size. “khruang yay” (lit.
“instrument/large))(p.96)
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
เครื่องใหญ
(lit. “instruments/large”; term
added to conventional ensembles to indicate
large size or type of instrumentation) (p.469)
วงปพาทยเครื่องใหญ
TCM wong pi-phat, khre-a-ng yai (large
percussion ensemble; all the important
percussion instruments are included)
วงปพาทยชาตรี
TMMC wong piiphaat chaatrii (specialized
ensemble) (p.486)
วงปพาทยชาตรี
TMI pi- pha-t cha-tri- ensemble (p.43)
Origin of name(ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Citation
Comparison to other ensembles
Age
Other names
Explanation
of description and picture
names of instruments
picture
occasion played
202

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
วงปพาทยดึกดําบรรพ
TMMC wong piiphaat dukdamban (วง) ปพาทยดึก
ดําบรรพ (ensemble which accompanies the
dramatic genre, lakhaun dukdamban, one of
several innovatiove forms developed largely
by Prince Naris in the time of King
Chulalongkorn, late 19th century. A
distinctive feature of this ensemble is the
wong khaung chay, seven tuned gongs
vertically suspended in a frame. Which does
not appear in any other Thai ensembles)
(p.486)
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
วงปพาทยดึกดําบรรพ
TCM wong pi-phat, duk-dam-bun picture
วงปพาทยดึกดําบรรพ
TMI pi-pha-t derk dam-ban (p.34)
Origin of name(ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Citation
Comparison to other ensembles
Age
Other names
Explanation
of description and picture
203

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies
วงปพาทยนางหงส
TMT pi phat nang hong ensemble (p.112) , pi phat
nang hong ปพาทยนางหงส
(the pi phat
funeral ensemble) (glossary)
วงปพาทยนางหงส
TMMC wong piiphaat naang hong (วง) ป พาทย
นางหงส (ensemble formerly used in
cremation ceremonies, but rare today) (p.486)
วงปพาทยนางหงส
TMI pi-pha-t na-ng hong ensemble (p.50,87)
วงปพาทยมอญ
TMT pi phat mon ensemble (p.113)
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Modifiers
Description strategies
Citation
Comparison to other ensembles
Age
Other names
Origin of name(ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Explanation
of description and picture
names of instruments, picture
names of instruments,
occasion played
names of instruments,
occasion played, picture
204

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Explanation
of description and picture
วงปพาทยมอญ
TMMC wong piiphaat maun (p.116) names of instruments,
(วง) ปพาทยมอญ (the Mon-derived
ensemble (which shares certain similarities
to Burmese ensembles) commonly played at
cremation ceremonies.
Features Mon-derived versions of the
regular piiphaat instruments, plus the set of
tuned drums, peeng maang khauk) (p.486)
วงปพาทยมอญ
TMI pi-pha-t maw-n (incontent:34)
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
Modifiers
Description strategies
occasion played
วงปพาทยมอญเครื่องคู
TMMC piiphaat maun khruang khuu (p.116) names of instruments
วงปพาทยไมนวม
TMT pi phat mai nuam (the pi phat ensemble
using padded sticks) (glossary) .
Citation
Comparison to other ensembles
Age
Other names
Origin of name(ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
205

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies
Modifiers
วงปพาทยไมนวม
TMMC may nuam (p.111)
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
ไมนวม (lit. “stick/ soft”; indicates the
“soft” version of piiphaat) (p.476)
วงปพาทยไมนวม
TMI pi-pha-t mainuam ensemble (incontent:41)
Description strategies
Explanation
of description and picture
วงปพาทยอยางเบา
TMT light pi phat (p.104) occasion played
วงปพาทยอยางหนัก
TMT heavy pi phat (p.104) occasion played
วงมโหรี TMT mahori มโหรี (an ensemble composed of
melodic and rhythmic percussion instruments
and flute) (glossary)
Origin of name(ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Citation
Comparison to other ensembles
Age
Other names
206

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies
วงมโหรี TMMC mahoorii (wong) mahoorii (….actually a
combination of khruang saay and piiphaat
ensembles”; Jearadithaporn ibid:4: cf.
Morton ibid:105 as well) (p.91)
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
วงมโหรี (a standard type of ensemble,
including both stringed and melodic
percussive instruments. Ideally characterized
by instruments of smaller size than those
commonly used in piiphaat ensembles)
(p.476)
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Modifiers
Description strategies
Origin of name(ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Citation
Comparison to other ensembles
Age
Other names
Explanation
of description and picture
names of instruments, picture
วงมโหรี TCM the mahori ensemble (p.26) names of instruments
207

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
วงมโหรี TMI maho-ri- (mixed string and
percussion)ensemble (p.43,47)
วงมโหรีเครื่องคู
TMT medium sized or doubled mahori ensemble
(p.109) , medium sized or doubled ensemble
(p.111)
วงมโหรีเครื่องเล็ก
TMT small mahori ensemble (p.109), small
ensemble (p.111)
วงมโหรีเครื่องเล็ก
TCM wong mahori khre-a-ng lek (small ensemble
consisting of both string and percussion type
instruments)
วงมโหรีเครื่องสี่
TMT original mahori (p.102)
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
Size
Type
Transliteration and partial transliteration
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
transliteration+translation
Translation
Partial transliteration
Transliteration
วงมโหรีเครื่องสี่
TCM wong mahori boran or ancient mahori picture
Citation
Comparison to other ensembles
Age
Other names
Origin of name(ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Explanation
of description and picture
names of instruments, picture
names of instruments, picture
picture
history, names of instruments,
picture
208

Appendix Table 5 (Continued)
Thai terms Sources Representations Word translation strategies Description strategies
Modifiers
Partial transliteration+age
Partial transliteration+partial translation
Transliteration+translation+size
Transliteration+translation
Translation
Partial transliteration
Transliteration
Size
Type
Citation
Comparison to other ensembles
Age
Other names
Origin of name(ensemble)
Occasion played
Component ensembles (for ensembles)
Component instruments (for ensembles)
Partial transliteration
Transliteration
Partial translation
Translation
Hyphenated
วงมโหรีเครื่องหก
TCM wong mahori khre-a-ag hok picture
วงมโหรีเครื่องใหญ
TMT large mahori ensemble (p.110), large
ensemble (p.111)
Transliteration and partial transliteration
Explanation
of description and picture
names of instruments, picture
209

Appendix Table 6 Strategies that Each Writer Used in Presenting English Terms of Types of Thai Music Instruments
Thai terms Sources Representations Word translation strategies
Description strategies Explanation
เครื่องสาย
TMT stringed instruments (p.91)
เครื่องสาย
TMMC strings (p.80)
Transliteration
เครื่องสาย
TMI stringed instruments (p.93)
เครื่องดีด
TMT plucked (p.91)
Translation
Partial translation
Translation+material
Translation+type
Partial translation+material
Translation of descriptions and pictures
names and explanation of
instruments
names and explanation of
instruments
เครื่องดีด
TMMC khruang diit (plucked instruments) (p.78) names of instruments, type
เครื่องดีด
TMI plucked stringed instruments (p.93)
appearance, names and
explanation of instruments
210

Appendix Table 6 (Continued)
Thai terms Sources Representations Word translation strategies
Description strategies Explanation
เครื่องสี
TMT bowed (p.94)
Transliteration
Translation
Partial translation
Translation+material
Translation+type
Partial translation+material
Translation of descriptions and pictures
names and explanation of
instruments
เครื่องสี
TMMC khruang sii (bowed instruments) (p.78) names of instruments, type
เครื่องสี
TMI bowed stringed instruments (p.104)
type, names and explanation
of instruments
เครื่องตี
TMMC khruang tii (hit or beaten instruments) (p.78) names of instruments, type
เครื่องตี
TM percussion section (13) types, names of instruments
เครื่องตี
TMI percussion instruments (p.8) type
เครื่องดําเนินทํานอง
TM melodic instruments (p.13) names of instruments
เครื่องดําเนินทํานอง
TCM melodic instruments (p.26) names of instruments
เครื่องตีดําเนินทํานอง
TMT melodic percussion (p.45)
names and explanation of
instruments
211

Appendix Table 6 (Continued)
Thai terms Sources Representations Word translation strategies
Description strategies Explanation
เครื่องกํากับจังหวะ
TM rhythmic instruments (p.13)
Transliteration
Translation
Partial translation
Translation+material
Translation+type
Partial translation+material
Translation of descriptions and pictures
names and explanation of
instruments
เครื่องกํากับจังหวะ
TCM rhythmic instruments (p.26) names of instruments
เครื่องตีกํากับจังหวะ
TMT rhythmic percussion (p.64)
เครื่องหนัง
TMI percussion instruments using skin or leather
(p.35)
เครื่องเปา
TMT woodwinds (p.78)
names and explanation of
instruments
names and explanation of
instruments
names and explanation of
instruments
เครื ่องเปา TMMC khruang paw (blown instruments) (p.79) names of instruments, type
เครื่องเปา
TM wood-wind section (p.13) names of instruments
เครื่องเปา
TMI wind instruments (p.71)
type, names and explanation
of instruments
212

Appendix C
The Lists of Strategies Used in Presenting Thai Music Terms

The lists of strategies used in presenting Thai musical instruments
Word translation strategies
1. Transliteration
TMT
กระจับป
krajappi/ จะเข chakae/ พิณ phin/ พิณน้ําเตา
phin nam tao/ ซอ so/ ซอ
ดวง so duang/ ซอสามสาย so sam sai/ ซออู
so u/ ขิม khim /ฆอง khong/ ฆองกลาง khong (wong)
klang/ ฆองมอญ khong mon/ ฆองราง khong rang/ ฆองวง khong wong/ ฆองวงเล็ก khong wong
lek/ ฆองวงใหญ khong wong yai/ ระนาด ranat/ ระนาดทอง ranat thong/ ระนาดทุม
ranat thum/
ระนาดทุมเหล็ก
ranat thum lek/ ระนาดเอก ranat ek/ ระนาดเอกเหล็ก ranat ek lek/ กรับ krap/ กรับ
พวง krap phuang/ กรับเสภา krap sepha/ กลอง klong/ กลองแขก klong khaek/ กลองชวา klong
chawa/ กลองชาตรี klong chatri/ กลองทัด klong that/ กลองมะริกัน Klong marigan/ กลองมลายู
klong malayu/ กลองยาว klong yao/ เกราะ kro/ โกรง krong/ ฆองคู
khong khu/ ฆองระเบ็ง khong
rabeng/ ฆองราว khong rao/ ฆองหุย
khong hui/ ฆองเหมง khong meng/ ฉาบ chap/ ฉาบเล็ก chap
lek/ ฉาบใหญ chap yai/ ฉิ่ง
ching/ ตะโพน taphon/ ตะโพนมอญ taphon mon/ โทน thon/ โทน
ชาตรี thon chatri/ โทนมโหรี thon mahori/ บัณเฑาะว bando/ เปงมาง poeng mang/ เปงมางคอก
poeng mang khok/ รํามะนา rammana/ โหมง mong/ ขลุย
khlui/ ขลุยเพียงออ
khui phiang o/ ขลุย
หลีบ khlui lip/ ขลุยอู
khlui u/ ป
pi/ ปกลาง
pi klang/ ปไฉน
pi chanai/ ปชวา
pi chawa/ ปนอก
pi
nok/ ปใน
pi nai/ ปมอญ
pi mon/
TMMC
กระจับป
kracappii/ จะเข chakhee/ พิณ phin/ ซอดวง sau duang/ ซอสามสาย sau
sam saay/ ซอสามสายหลีบ sau saam saaylip/ ซออู
sau uu/ ขิม khim/ ฆองมอญ khaung maun/
ฆองวง khaung wong/ ฆองวงเล็ก khaung wong lek/ ฆองวงใหญ khuang wong yai/ ระนาดทุม
ranaat thum/ ระนาดทุมเหล็ก
ranaat thum lek/ ระนาดเอก ranaat eek/ ระนาดเอกเหล็ก ranaat eek
214

lek/ วงฆองชัย wong khaung chay/ กรับเสภา krap seephaa/ กลองแขก kluaung kheek/ กลองชนะ
klaung chana/ กลองชาตรี klaung chaatrii/ กลองทัด klaung that/ กลองมลายู klaung malaayuu/
ฆองคู
kaung khuu/ ฆองราว khaung raaw/ ฆองหุย
khaung huy/ ฆองเหมง khaung meeng/ ฉาบ
chap/ ฉาบเล็ก chap lek/ ฉาบใหญ chap yay/ ฉิ่ง
ching/ ตะโพน taphoon/ ตะโพนมอญ taphoon
maun/ โทน thoon/ โทนชาตรี thoon chatrii/ บัณเฑาะว banthau/ เปงมางคอก peeng maang khauk/
รํามะนา rammanaa/ โหมง moong/ ขลุย
khluy/ ขลุยเพียงออ
khluy piang au/ ขลุยหลีบ
khluy lip/
ขลุยอู
khluy uu/ แตรงอน tree ngaun/ ป
pii/ ปกลาง
pii klaang/ ปไฉน
pii chanay/ ปชวา
pii
chaawaa/ ปนอก
pii nauk/ ปใน
pii nay/ ปมอญ
pii maun/
TM
ระนาดทุม
ranad thume/ ระนาดเอก ranad ek/ ระนาดเอกทอง ranad thong ek/ กลองทัด
the klong thad/ ฉาบเล็ก the charb lek/ ฉาบใหญ the charb yai/ ฉิ่ง
the ching/ ตะโพน the tapone/
โหมง the mong/ ปใน
the pi nai/
TCM
215
จะเข jakay (s)/ ซอดวง saw duang (s)/ ซอสามสาย saw sam sai/ ซอสามสายหลีบ saw sam
sai lib/ ซออู
saw oo (s)/ ระนาด ranad /ระนาดทุม
ranad toom/ ระนาดทุมเหล็ก
ranad toom lek/
ระนาดเอก ranad ek/ ระนาดเอกเหล็ก ranad ek lek/ กลองทัด glong tahd/ ฉิ่ง
ching/ ตะโพน
tapohn/ โทน tohn/ รํามะนา ramana/ โหมง mong/ ขลุยเพียงออ
klui piang-or/ ขลุยหลีบ
klui lip/ ป
นอก pi-nok/ ปใน
pi-nai/
TMI
กระจับป
gra jap pi/ จะเข jakhay- / พิณ phi-n / พิณน้ําเตา
phi- n nam tao/ พิณเพี๊ยะ
phi-n
phia/ ซอดวง saw- dau-ng / ซอสามสาย saw- sa-m sai / ซออู
saw- u-/ ฆอง khaw-ng/ ฆองกระแต
khaw-ng gratae/ ฆองชัย khaw-ng chai/ ฆองมอญ khaw-ng maw-n / ฆองราง khaw-ng ra-ng/ ฆอง
วงเล็ก khaw-ng wong lek / ฆองวงใหญ khaw-ng wong yai / ระนาดทอง rana-t thaw-ng/ ระนาด
ทุม
rana-t thum/ ระนาดทุมเหล็ก
rana-t thum lek/ ระนาดเอก rana-t ay-k/ ระนาดเอกเหล็ก

216
rana-t ay-k lek/ วงฆองชัย wong khaw-ng chai/ กรับ grap/ กรับคู
grap khu/ กรับพวง grap phuang/
กรับเสภา grap say-pha- / กลอง glaw-ng/ กลองแขก glaw-ng khae-k/ กลองชนะ glaw-ng chana/
กลองชวา glaw-ng cha wa- / กลองชาตรี glaw-ng cha-tri/ กลองทัด glaw-ng that/ กลองตะโพน
glaw-ng ta pho-n/ กลองตุก
glaw-ng tuk/ กลองมะริกัน glaw-ng mari gan/ กลองมลายู glaw-ng
mala-yu-/ กลองยาว glaw-ng yao-/ เกราะ graw/ โกรง gro-ng/ ฆองคู
khaw-ng khu/ ฆองระเบ็ง
khaw-ng rabay-ng/ ฆองราว khaw-ng rao/ ฆองหุย
khaw-ng hui/ ฆองเหมง khaw-ng may-ng/ ฆอง
โหมง khaw-ng mo-ng/ ฉาบ cha-p / ฉาบเล็ก cha-p lek/ ฉาบใหญ cha-p yai/ ฉิ่ง
ching/
ตะโพน ta- pho-n/ ตะโพนมอญ ta pho-n mow-n/ ทับ thap/ โทน tho-n or thap/ โทนชาตรี tho-n
cha-tri-/ โทนมโหรี tho-n maho-ri-/ บัณเฑาะว ban daw/ เปงมาง per-ng ma-ng/ เปงมางคอก perng
ma-ng khaw-k/ มโหระทึก maho-ra therk/ รํามะนา ram mana-/ โหมง mong/ ขลุย
khlui/ ขลุย
กรวด khlui grua-t/ ขลุยเพียงออ
khlui phia-ng aw-/ ขลุยหลีบ
khlui- li-p / ขลุยอู
khlui-u-/ แตร
trae-/ แตรงอน trae- ngaw-n/ แตรฝรั่ง
trae- farang/ แตรลางโพง trae- la-ng pho-ng/ แตรลําโพง
trae- lam pho-ng/ แตรวิลันดา trae- wilanda-/ ป
pi/ ปกลาง
pi- gla-ng/ ปไฉน
pi-cha nai / ปชวาpi
chawa- / ปนอก
pi –naw-k / ปในpi-nai
/ ปมอญ
pi-maw-n/ ปหอ
pi-haw- / ปออ
pi-aw-/
2. Partial transliteration
TMT
พิณเพี๊ยะ
phia/ กลองสองหนา song na/
TMMC
ฆองมอญวงเล็ก khaung maun lek/ กลองสองหนา saung naa/
TM
ระนาดทุมเหล็ก
thume lek/ กลองสองหนา the song na/

TMI
ซอสามสายหลีบ saw – li-p/ กลองสองหนา saw-ng na/
3. Transliteration + cultural substitute
TM
ฆองวงเล็ก gong wong lek/ ฆองวงใหญ gong wong yai/ ฆองหุย
the gong hooi/
4. Translation + cultural substitute
TCM
ฆองกลาง medium gong set/ ฆองวงเล็ก small gong set/ ฆองวงใหญ big gong set/
5. Cultural substitute
TCM
Description strategies
ฉาบเล็ก cymbals/ ฉาบใหญ cymbals/
1. Modifiers
1.1 Type
217

TMT
กระจับป
pluck, stringed instrument/ จะเข a stringed instrument/ พิณ a
stringed instrument, / ซอ bowed stringed instruments/ ซอดวง a stringed instrument/ ซอสาม
สาย stringed bowed lute/ ซออู
…bowed stringed instrument/ ขิม stringed instrument/ กรับ
rhythm…,percussion instrument/ กรับพวง a percussion instrument/ กรับเสภา percussion
instrument/ เกราะ …percussion instrument/ โกรง …percussion instrument/ ป
reed instrument/
ปไฉน
..reed instrument/
TMMC
จะเข …three stringed which are plucked…/ พิณ plucked lute-type instruments/
ซอดวง …two-stringed fiddle/ ตะโพน the most important rhythm instrument…/ บัณเฑาะว a
percussion instrument/ ป
reed instrument/
TCM
จะเข plucked string instrument/ ซอดวง string solo fiddle/ ซอสามสาย a threestring
fiddle ซอสามสายหลีบ a three-string fiddle / ซออู
a two-string fiddle/
TMI
พิณน้ําเตา
a stringed instrument…/ป
reed or oboe type/
1.2 Shape
TMT
กระจับป
long-necked…/ พิณ …stick zither…, …half gourd resenator/
218

219
พิณเพี๊ยะ
the stick attached to a half-gourd resonator/ ซอดวง …lute with cylindrical resonator/
ซอสามสาย … lute with triangular sound box / ซออู
…lute with triangular sound box/ ซออู
lute with half coconut shell sound box/ ฆอง gong-kettles/ ฆองมอญ …on a crescent-shaped
rack/ ฆองราง …kettles on a straight rack…/ ฆองวง …gong-kettles…/ ฆองวงเล็ก …gongkettles…./
ระนาดเอก …a boat-shaped…/ กรับ …stickes..., cut and polished/ กรับพวง
…several long thin sheets…, …loose pieces tied together/ กรับเสภา …square bar…, about
one half inches wide on each side by eight inches long/ กลองทัด barrel-shaped peg headed
drum/ กลองชาตรี …pegged heads…, the body being about ten inches high, the heads about
eight inches in diameter/ กลองสองหนา two –headed drum./ เกราะ slit drum…with nodes at
each end/ โกรง …slit drum…nodes in length/ ฆองคู
…kettles, small rectangular box frame…/
ฆองราว …gong on a rack/ ฆองหุย
gongs on a rack.., on a tripod stand/ ฆองเหมง …a curved
wooden handle from which it is suspended and struck with a piece of wood…/ ฉาบเล็ก…of flat
metal with a central rounded boss about three-quarters of an inch deep/ ฉิ่ง
…made of thick
metal…like teacups or small hollow cones/ ตะโพน a barrel shaped drum…/ โทน goblet or
inverted vase drum/ บัณเฑาะว …hourglass drum/ เปงมาง …thong-wrapped barrel-shaped
drum/ เปงมางคอก a set of drum on their stand/ รํามะนา a shallow frame drum with one head…/
ขลุย
vertical bamboo flute/ ปกลาง
about fifteen inches long, one and a half inches in diameter/
ปไฉน…
body with conical bore, about a foot long or less/
TMMC
กระจับป
fretted lute/ จะเข fretted lute/ ซอดวง …hardwood cylinder/ ซออู
sound-holes carved into back/ ขิม hammered zither/ ฆองมอญ kettle-shaped, suspended on
upright, u-shaped rack/ ฆองมอญวงเล็ก kettle-shaped, suspended on upright, u-shaped rack/
ฆองวง circular rack of kettle- shaped…/ ฆองวงเล็ก circular rack of kettle- shaped…/ ฆอง
วงใหญ circular rack of kettle- shaped…/ ระนาดทุม
…body is narrow and rectangular, box
–like …/ ระนาดเอก …is boat-shaped/ วงฆองชัย circular rack of vertically suspended gongs,
of different sized and pitches/ กรับเสภา pair of wooden bars…/ กลองแขก…cylindrical, twoheaded
drums/ กลองชนะ decorated in festive colors/ กลองชาตรี goblet-shaped…/ กลองทัด

pair of upright drum, heads tacked on…/ กลองสองหนา cylindrical shaped../ ฆองคู
kettleshaped..inside
a rectangular frame/ ฆองหุย
vertically-suspended…/ ฆองเหมง …suspended
manually…/ ฉาบ …somewhat flatter/ ฉาบเล็ก …somewhat flatter/ ฉาบใหญ …somewhat
flatter/ ตะโพน two headed barrel-shaped drum/ โทน goblet-shaped drum…/บัณเฑาะว two
drumheaded attached to a stick, / เปงมางคอก circle of tuned drums, arranged vertically in a
semicircular frame/ รํามะนา frame drum, with shallow wooden body/ โหมง suspened gong/
ขลุย
vertical flute/ ปมอญ
conical shape/
TM
ระนาดทุม
wooden-resonance bars/ ระนาดทุมเหล็ก
steel-resonance bars/
ระนาดเอก wooden-resonance bars/ ระนาดเอกทอง steel-resonance bars/ กลองทัด a thick large
drum/ กลองสองหนา a small long drum/ ตะโพน drum-heads covering both ends/ โหมง large
gong/
TMI
แตรงอน curved trumpet/
1.3 Size
TMT
220
ระนาดเอก …on a small pedistal/ กลองทัด large barrel-shaped…/ กลองชาตรี
like the klong that but much smaller/ กลองสองหนา a medium-sized…/ เกราะ small slit
drum…/ โกรง large bamboo…/ ฆองคู…
in a small rectangular box frame/ ฆองเหมง a small
gong…/ ฉาบ medium-sized …/ ฉาบเล็ก a pair of medium-sized cymbals/ ฉิ่ง
small metal hand
cymbals/ โทนชาตรี small-size../ บัณเฑาะว small hourglass drum/ เปงมาง a small, thongwrapped…/
รํามะนา a small frame drum../ โหมง a large gong/ ขลุยเพียงออ
the medium –size…/
ขลุยหลีบ
the small –size…/ ขลุยอู
the large –size…/

TMMC
ฆองมอญวงเล็ก smaller…/ ฆองคู
a pair of small gong set../ ฆองเหมง small
gong../ ฉาบเล็ก smaller sized/ ฉาบใหญ larger size/ ฉิ่ง
small metal hand –cymbals/ บัณเฑาะว
small two-faced …/ ขลุยหลีบ
another size/ ปไฉน
small and high pitched/ ปนอก
shorter in
length/
TM
กลองทัด a thick large drum/ กลองสองหนา a small long drum/ ฉาบเล็ก
medium cymbals/ ฉิ่ง
small cymbals/ ตะโพน small hand tympano/ โหมง large gong/
TCM
จะเข a medium size…/ ซอสามสายหลีบ a smaller three-string fiddle…/ ฉิ่ง
small cymbals/ รํามะนา a small hand drum/ ขลุยหลีบ
a smaller and higher pitched bamboo
flute/
TMI
ซอสามสายหลีบ small size saw/ ฉาบ a pair of small metal cymbals/ ขลุย
เพียงออ the middle-sized khlui/ ขลุยหลีบ
the smallest –sized khlui/ ขลุยอู
the largest –sized
khlui/
221

1.4 Sound
TMT
ระนาดทุม
low-pitch xylophone/ ระนาดทุมเหล็ก
low-pitch metallophone/
ระนาดเอก high-pitch xylophone/ ระนาดเอกเหล็ก high-pitch metallophone/ กลองมะริกัน
American bass drum/
TMMC
ซอดวง higher-pitched 2 stringed fiddle/ ซออู
lower-pitched 2 stringed fiddle/
ฆองมอญวงเล็ก higher pitched/ ฆองวงเล็ก higher-pitched/ ฆองวงใหญ lower-pitched/ ระนาด
ทุม
lower-pitched/ ระนาดเอก higher pitched/ ตะโพน …to lower head for tuning. Heads tuned
to an interval of approximately one fifth, but not tuned definitely in relation to ensemble/ ปไฉน
high-pitched/
TM
ระนาดทุม
alto xylophone…/ ระนาดทุมเหล็ก
alto xylophone…/ ระนาดเอก
treble xylophone…/ ระนาดเอกทอง treble xylophone…/
bamboo flute/
TCM
ซอสามสายหลีบ with higher pitches / ขลุยหลีบ
a smaller and higher pitched
222

1.5 Material
TMT
พิณ one string and a half-gourd resenator/ ซออู
…made from half an ordinary
coconut shell/ ระนาด ..wooden keys…/ กรับ made from pieces of bamboo, …wooden
percussion…/ กรับพวง …long thin sheets of metal…, pieces of wood…/ กรับเสภา …bars of
hardwood.., a wooden percussion…/ กลองแขก leather heads are laced on/ เกราะ… made from
bamboo…/ โกรง …old bamboo…/ ฆองเหมง …by a curved wooden…, with a piece of wood/
ฉาบ …metal hand cymbals/ ฉาบเล็ก …of flat metal…/ ฉิ่ง
…metal hand cymbals/
เปงมาง …thong –wrapped/ ขลุย
..bamboo flute…/ ขลุยเพียงออ…bamboo
flute/ ขลุย
หลีบ…bamboo flute/ ขลุยอู…bamboo
flute/
TMMC
ซอดวง …body made of hardwood.., with snake-skin face/ ซออู
…made of
coconut shell, with leather face/ ระนาดทุม…wooden-keyed
xylophones, …made of bamboo/
ระนาดทุมเหล็ก
iron-keyed, metal keyed/ ระนาดเอก wooden-keyed xylophone/ ระนาดเอก
เหล็ก ..iron-keyed, metal-keyed/ กรับเสภา leather heads…/ ฉาบ pair of metal …/ ฉาบเล็ก pair
of metal …/ ฉาบใหญ pair of metal …/ ฉิ่ง
small metal hand –cymbals/ ตะโพน ash and rice
mixture applied…/ โทน ceramic body, leather head laced on…/ รํามะนา frame drum. With
shallow wooden (sometimes ivory) body. Leather head is tacked on/ โหมง metal gong…/ แตร
งอน trumpets made from animal horns/
TM
ระนาดทุม
wooden-resonance bars/ ระนาดทุมเหล็ก
steel-resonance bars/ ระนาด
เอก wooden-resonance bars/ ระนาดเอกทอง steel-resonance bars/
223

TCM
ระนาด a wooden xylophone/ ระนาดทุมเหล็ก
with metal keys/ ระนาดเอกเหล็ก
with metal keys/ ขลุยเพียงออ
a bamboo flute/ ขลุยหลีบ
a smaller and higher pitched bamboo
flute/
TMI
พิณน้ําเตา
…made from a bottle gourd/ ฉาบ a pair of small metal cymbals/
1.6 Number
TMT
จะเข a three-stringed floor zither/ พิณ …zither with one string…/ พิณเพี๊ยะ
…stick zither with four strings/ ซอดวง two-stringed bowed lute…/ ซออู
two-stringed…/ ฆอง
ราง eight ketlles…/ ระนาด set of wooden keys/ กรับพวง …several long thin…/ กรับเสภา two
nearly square bars…/ โกรง …several nodes…/ ฆองราว set of gong…/ ฆองหุย
set of three
gongs…/ ฉาบเล็ก a pair of medium-sized…/ ฉิ่ง
a pair of cymbals/ โทน …with a single head/
เปงมางคอก a set of drum…/ รํามะนา drum with one head/ ป
double reed…/ ปไฉน
double –
reed../
TMMC
จะเข …has three strings…/ ซอดวง 2 stringed fiddle/ ซออู
2 stringed fiddle/
ฆองมอญ set of tuned/ฆองมอญวงเล็ก set of tuned…/ วงฆองชัย a set of seven…/ กรับเสภา pair
of wooden bar/ กลองแขก pair of double headed drum/ กลองแขก two-headed drums/ กลองทัด
pair of upright drum/ ฆองหุย
set of 3, 5, or 7…/ ฉาบเล็ก pair of metal…/ ฉาบใหญ pair of
metal…/ ฉาบ pair of metal…/ ตะโพน double headed drum…, two headed barrel-shaped drum/
224

ตะโพนมอญ two-sided drum/ โทน paired with rammana…/ บัณเฑาะว two –faced drum, two
drumheads…/ ป
double reed instruments/
TM
ฆองหุย
a set of 3, 5, or 7 gongs/
TCM
ซอดวง a two-string solo fiddle/ ซออุ
a two-string accompanying fiddle/ กลอง
ทัด twin drums/ ตะโพน two-sided drum/
TMI
กลองตะโพน two ta pho-n drums/ ฉาบ a pair of small metal cymbals/ ฉิ่ง
a pair
of cymbals/ เปงมางคอก a group of seven per-ng ma-ng drums/
1.7 Hyphenated
TMT
กระจับป
long-necked…/ จะเข a three-stringed floor zither…, a zither-type…/
พิณ a stick zither-type stringed instrument/ พิณเพี๊ยะ
half-gourd…/ ซอดวง two-stringed bowed
lute…/ ซอสามสาย … three-stringed…/ ซออู
two-stringed…/ฆอง gong-kettles/ ขิม …zithertype…/ฆองกลาง
medium-sized circle of gongs/ฆองมอญ …on a crescent-shaped rack/ ฆองราง
gong-kettles/ ฆองวง gong-kettles/ ฆองวงเล็ก …gong-kettles…./ ฆองวงใหญ gong-circle/ ระนาด
ทุม
low-pitch/ ระนาดทุมเหล็ก
low-pitch/ ระนาดเอก low-pitch/ ระนาดเอกเหล็ก high-pitch/ กลอง
ชวา Javanese-derived drum/ กลองทัด barrel-shaped drum/ กลองสองหนา two-headed drum,
hand-played drum/ ฆองคู
a pair of gong-kettles/ ฆองเหมง hand-held gong/ ฉาบ medium-size…/
ฉาบเล็ก ..medium-sized/ ฉาบใหญ large –sized/ ตะโพน a barrel –shaped/ โทน ..vase –shaped/
225

โทนชาตรี small-sized/ เปงมาง thong-wrapped barrel-shaped/ ขลุยเพียงออ
medium-sized/ ขลุย
หลีบ small-sized/ ขลุยอู
large-sized/ ป
double-reed…/ปกลาง
medium-sized pi/ ปไฉน
doublereed…/
ปมอญ
mon-style pi/
TMMC
จะเข ..zither-type/ พิณ plucked lute-type instruments/ ซอดวง higher-pitched../
ซอสามสาย three-stringed fiddle/ ซออู
lower-pitched/ ขิม dulcimer-like instrument/ ฆองมอญ
kettle- shaped/ ฆองมอญวงเล็ก kettle- shaped/ ฆองวง kettle-shaped/ ฆองวงเล็ก kettle-shaped,
small gong-circle /ฆองวงใหญ kettle-shaped, large gong-circle/ ระนาดทุม
lower-pitched,
wooden-keyed/ ระนาดเอก wooden-keyed…/ระนาดเอกเหล็ก ..iron-keyed, metal-keyed/ วงฆอง
ชัย …vertically-suspended…/ กลองแขก two-headed drums/ ฆองหุย
vertically-suspended…/
ฉาบ …metal hand-cymbals/ ฉาบเล็ก …metal hand-cymbals/ ฉาบใหญ …metal hand-cymbals/
ฉิ่ง
small metal hand –cymbals/ ตะโพนมอญ two-sided drum/ บัณเฑาะว two –faced drum/ ขลุย
vertically –held flute/ ป
oboe-like instrument/ ปไฉน
high-pitched/
TM
ระนาดทุม
wooden-resonance bars/ ระนาดทุมเหล็ก
steel-resonance bars/ ระนาด
เอก wooden-resonance bars/ ระนาดเอกทอง steel-resonance bars/ ตะโพน drum-heads covering
both ends/
TCM
ซอดวง a two-string solo fiddle/ ซอสามสาย a three-string fiddle ซอสามสาย
หลีบ a three-string fiddle / ซออู
a two-string fiddle/ ตะโพน two-sided drum/
TMI
ขลุยเพียงออ
the middle-sized khlui/ ขลุยหลีบ
the smallest –sized khlui/ ขลุยอู
226

the largest –sized khlui/
2. Translation
TMT
จะเข crocodile/ ซอสามสาย …three-stringed bowed lute/ ฆองกลาง mediumsized
circle of gongs/ ฆองวง ..circle of gong-kettles/ ฆองวงเล็ก small circle of gongs, small set
of gong-kettles, small gong-circle/ ฆองวงใหญ large circle of gong, large gong-circle/ ระนาดเอก
เหล็ก iron ranat ek/ กลองแขก Indian drum/ กลองชวา Javanese drum/ กลองมะริกัน American
bass drum/ กลองมลายู Malayan drum/ กลองยาว drum/ กลองสองหนา two faces/ ฆองคู
a pair of
gong-kettles/ ฉาบใหญ large –sized cymbals/ ตะโพนมอญ the mon model of the taphon/ ปกลาง
medium-sized pi/ ปชวา
Javanese oboe/ ปนอก
outdoor pi/ ปใน
indoor pi/ ปมอญ
mon –style pi)
TMMC
ซอสามสาย three-stringed fiddle/ ฆองมอญ Mon gongs/ ฆองวง gong circle/ฆองวง
เล็ก small gong-circle/ ฆองวงใหญ large gong-circle/ ระนาดทุม
ranaat is xylophone, thum
translated to be low or deep in tone/ ระนาดเอก ranaat is xylophone, eek means first, or one/
กลองมลายู Malay drum/ กลองสองหนา two-faced drum/ ฆองคู
a pair of small gong set../ ปกลาง
medium pii/ ปชวา
Javanese pii/ ปนอก
the outside pii/ ปใน
the inside pii/ ปมอญ
Mon pii/
TM
ฉาบเล็ก small cymbals/ ฉาบใหญ large cymbals/
TCM
ซอสามสาย a three-string fiddle/ ซอสามสายหลีบ a smaller three-string fiddle with
higher pitches/
227

TMI
ฆองวงเล็ก small circle of gong/ ฆองวงใหญ large circle of gong/ วงฆองชัย circle of
khaw-ng chai gongs/ กรับคู
pair of grap/ กรับพวง cluster or bunch of grap/ กลองชวา Javanese
drums/ กลองมะริกัน American drum/ กลองสองหนา two drumheads/ ฆองคู
a pair of gong/
3. Partial translation
TMMC
ฆองมอญวงเล็ก gong circle, mon gongs/ ระนาดทุมเหล็ก
lek is iron/ ระนาดเอกเหล็ก
lek is iron/
4. Transliteration
TMT
ระนาดเอกเหล็ก iron ranat ek/ ตะโพนมอญ the mon model of the taphon/ ปกลาง
medium-sized pi/ ปชวา
Javanese pi/ ปนอก
outdoor pi/ ปใน
indoor pi/ ปมอญ
mon –style pi/
TMMC
ปกลาง
medium pii/ ปชวา
Javanese pii/ ปนอก
the outside pii/ ปใน
the inside pii/ ป
มอญ Mon pii/
TMI
วงฆองชัย circle of khaw-ng chai gongs/ กรับพวง cluster or bunch of grap/ กลอง
ตะโพน two ta pho-n drums/ กลองมะริกัน glaw-ng amay-ri gan/
228

5. Partial transliteration
TMT
พิณน้ําเตา
a type of phin/ โทนมโหรี the thon drum…/
TMMC
เปงมางคอก each a peeng maang/
TMI
229
ซอสามสายหลีบ small size saw/ เปงมางคอก a group of seven per-ng ma-ng drums/
ขลุยเพียงออ
the middle-sized khlui/ ขลุยหลีบ
the smallest –sized khlui/ ขลุยอู
the largest –sized
khlui/
6. Cultural substitute
TMT
กระจับป
lute/ จะเข zither/ พิณ zither/ พิณเพี๊ยะ
zither/ ซอดวง lute/ ซอสามสาย lute/
ซออู
lute/ ฆอง gong/ ขิม zither/ฆองกลาง gong/ ฆองมอญ gong/ ฆองราง gong/ ฆองวง gong/
ฆองวงเล็ก gong/ ฆองวงใหญ gong/ ระนาด xylophone/ ระนาดทอง metallaphone/ ระนาดทุม
xylophone/ ระนาดทุมเหล็ก
metallophone/ ระนาดเอก xylophone/ ระนาดเอกเหล็ก metallophone/
กลอง drum/ กลองแขก drum/ กลองชวา drum/ กลองชาตรี drum/ กลองทัด drum/ กลองมะริกัน
drum/ กลองมลายู drum/ กลองยาว long drum/ กลองสองหนา drum/ เกราะ drum/ โกรง drum/
ฆองคู
gong/ ฆองระเบ็ง gong/ ฆองราว gong/ ฆองหุย
gong/ ฆองเหมง gong/ ฉาบ cymbals/ ฉาบ
เล็ก cymbals/ ฉาบใหญ cymbals/ ฉิ่ง
cymbals/ ตะโพน drum/ โทน drum/ โทนชาตรี drum/ โทน

มโหรี drum/ บัณเฑาะว drum/ เปงมาง drum/ เปงมางคอก drum/ รํามะนา drum/ โหมง gong/ ขลุย
flute/ ขลุยเพียงออ
flute/ ขลุยหลีบ
flute/ ขลุยอู
flute/ ปชวา
oboe/
TMMC
กระจับป
lute/ จะเข zither/ พิณ lute/ ซอดวง fiddle/ ซอสามสาย fiddle/ ซออู
fiddle/ ขิม
zither/ฆองมอญ gong/ ฆองมอญวงเล็ก gong/ ฆองวง gong/ ฆองวงเล็ก gong / ฆองวงใหญ gong/
ระนาดทุม
xylophone/ ระนาดทุมเหล็ก
xylophone/ ระนาดเอก xylophone/ ระนาดเอกเหล็ก
xylophone/ วงฆองชัย gong/ กลองแขก drum/ กลองชนะ drum/ กลองชาตรี drum/ กลองทัด drum/
กลองมลายู drum/ กลองสองหนา drum/ ฉิ่ง
cymbals/ ฆองคู
gong/ ฆองหุย
gong/ ฆองเหมง gong/
ฉาบ cymbals/ ฉาบเล็ก cymbals/ ฉาบใหญ cymbals/ ตะโพน drum/ ตะโพนมอญ two-sided drum/
โทน drum/ บัณเฑาะว drum/ เปงมางคอก drum/ รํามะนา drum/ โหมง gong/ ขลุย
flute/ ขลุยหลีบ
flute/ แตรงอน trumpets/ ปมอญ
oboe/
TM
กลองทัด drum/ กลองสองหนา drum/ ฆองหุย
gong/ ฉาบเล็ก cymbals/ ฉาบใหญ
cymbals ฉิ่ง
cymbals/ ตะโพน drum/ โหมง gong/
TCM
ซอดวง fiddle/ ซอสามสาย fiddle ซอสามสายหลีบ fiddle / ซออู
fiddle/ กลองทัด drums/
ฉิ่ง
cymbals/ ตะโพน drum/ ระนาด xylophone/ รํามะนา drum/ ขลุยเพียงออ
flute/ ขลุยหลีบ
flute/
TMI
ฆอง gong/ ฆองวงเล็ก gong/ ฆองวงใหญ gong/ วงฆองชัย gongs/ กลอง drum/ กลองชวา
drums/ กลองตะโพน drums/ กลองมะริกัน drum/ กลองสองหนา drum/ ฆองคู
gong/ ฉาบ
cymbals/ ฉิ่ง
cymbals/ เปงมางคอก drum/ ขลุย
flute/ แตรงอน trumpet/ แตรฝรั่ง
trumpet/ ป
oboe/
230

7. Generic word
TMT
กลองแขก foreign drum/
8. Specific word
TMI
แตรฝรั่ง
European trumpet/
9. Similar Western instrument
TMMC
ป
oboe-like instrument/
TM
231
ฆองวงเล็ก Celesta/ ฆองวงใหญ Resonophone or Tubaphone or Glockenspiel/ ระนาด
ทุม
Alto Xylophone with wooden-resonance bars or Marimba/ ระนาดทุมเหล็ก
Alto xylophone
with steel-resonance bars/ ระนาดเอก Treble Xylophone with wooden-bars/ ระนาดเอกทอง Treble
Xylophone with steel-resonance bars/ กลองทัด Timpani/ ฉาบเล็ก Small cymbals, medium
cymbals/ ฉาบใหญ Large cymbals/ ฉิ่ง
Small cymbals/ ตะโพน small hand tympano/ โหมง tomtom
or gong/ ปใน
Oboe or Piano –accordion or C Clarinet/

10. Implement used in playing
TMT
ฆองเหมง …or a padded beater/
TMMC
กระจับป
strummed with a plectrum held in the performer’s hand/ จะเข …plucked
with a plectrum…/ ฆองวง …played with two mallets/ ฆองวงเล็ก …played with two mallets /
ฆองวงใหญ …played with two mallets/ ระนาดเอก …played with pair of mallets/ กลองทัด hit
with sticks/ ฆองเหมง …hit with a mallet or stick/
11. Ensemble in which used
TMT
ฆองระเบ็ง …used for the rabeng…/ ตะโพน …used in pi phat (percussion)
ensemble/ โทนมโหรี…used in mahori ensemble/
TMMC
232
กระจับป
..not used in standard contemporary ensembles/ จะเข …appears in
mahorii and khruang saay ensembles…/ ซอสามสาย used in mahoorii ensembles and in solo
and solo plus vocal, repetoire/ขิม …can be performed solo or added to mahoorii and
khruang saay ensembles/ ฆองมอญ appeared in the piiphaat maun/ ฆองมอญวงเล็ก appeared in
the piiphaat maun/ ฆองวง …in piiphaat ensemble/ฆองวงเล็ก … in piiphaat ensemble /ฆอง
วงใหญ … in piiphaat ensemble/ ระนาดทุมเหล็ก
used only in the larger-sized piiphaat
ensembles, used in the larger piiphaat ensembles/ ระนาดเอกเหล็ก used only in the larger-sized
piiphaat ensembles, used in the larger piiphaat ensembles / วงฆองชัย used in piiphaat

dukdamban ensemble/ กรับเสภา …for recited epic genre, seephaa/ กลองแขก commomly
substituted for taphoon in piiphaat ensemmbles and thoon rammanaa in mahoorii and khruang
saay ensembles/ กลองชนะ… but appearing in the rare pageant ensemble, tree sang klaung
chana/ กลองชาตรี …unique to the piiphaat chaatrii…/ กลองทัด appear in the piiphaat
ensemble/ กลองมลายู appear in the rare ensembles, wong bua lauy and wong piiphaat naang
hong…/ กลองสองหนา often substituted for taphoon in the piiphaat ensemble serving as vocal
accompaniment/ ฆองคู
appear in the “light” version of the smallest size of piiphaat ensembles/
ฆองหุย…
used in piiphaat…/ ฆองเหมง appeared in historical ensembles/ ฉาบ used to
emphasize important metric pulses in larger piiphaat ensembles/ ฉาบเล็ก used to emphasize
important metric pulses in larger piiphaat ensembles/ ฉาบใหญ used to emphasize important
metric pulses in larger piiphaat ensembles/ ฉิ่ง
…ubiquitous in Thai classical music…/
ตะโพน …used in piiphaat ensemble/ เปงมางคอก used in the piiphaat maun ensemble/ โหมง
appears in some of the larger sized standard ensembles/ ขลุย
also appears in khruang saay
ensemble, and in the “soft” version of piiphaat ensembles/ ป
…used in piiphaat ensembles/
ปชวา
appears in certain special ensembles, including the piiphaat naang hong, and the wong
khruang saay pii chaawaa/ ปมอญ
used only in the piiphaat naun/
12. Occasion played
TMT
ฆองระเบ็ง …type of vocal entertainment music/
TMMC
พิณ occasionally used in folk-influenced urban pop music/ กลองชาตรี once used
for the dramatic genre lakhaun chaatrii, today accompanying southern-style (“chaatrii” or
“nooraa”) epic drama/ กลองมลายู …are used in cremation ceremonies/ ฆองหุย…
used in
piiphaat during certain epic episodes/ โทนชาตรี…to accompany shadow theater and lakhaun
nooraa/ ขลุย
used in the public schools for music education/ ปกลาง
used to accompany
233

shadow theater/ ปไฉน
formerly used in processions/ ปชวา
…to accompany Thai boxing/ ป
นอก associated with lakhaun nauk (“outside” dance drama- performed outside of the royal
palace/ ปใน
it was associated with the khoon (masked- dance-drama) and lakhaun nay
(“inside” dance-drama) once confined to the palaces.
13. Origin of name (instrument)
TMT
ระจับป
origin unknown, name from Sanskrit/ พิณ India, from Sanskrit/ ขิม a
Chinese yang ch’in/ กลองแขก Indian drum/กลองชวา Javanese-derived drum/ กลองมะริกัน
American bass drum/ ตะโพนมอญ the mon model…/ โทน …vase drum; India , from “dhol”?/
บัณเฑาะว …hourglass drum; India; Pali: “panawa”/ ปไฉน
…India/ ปชวา
Javanese pi/
TMMC
ขิม …from China…/ ฆองมอญ Mon gongs/ กลองมลายู Malay drum/
TMI
กลองชวา Javanese drums/แตรฝรั่ง
European trumpet/
14. Position in ensemble
TMT
234
จะเข three-stringed floor zither/ พิณเพี
๊ยะ which is placed against the vare chest of the
performer during performance/ ฆองวง …gong-kettles on a stand/ ระนาด set of wooden keys on a
stand/ กรับ a pair is held in each hand/ กรับพวง held in the right hand…/ กลองสองหนา … hand

play drum../ ฆองราว …gongs on a stand/ ฆองหุย
gong on a tripod stand/ ฆองเหมง …hand-held
gong/ ฉาบ …metal hand cymbles/ ฉิ่ง
small hand cymbals/ ตะโพน …drum on a stand/
บัณเฑาะว …hand drum/ เปงมางคอก a set of drum on their stand/
TMMC
จะเข…lies horizontally on the floor/ ฆองวง lies hozontally on the floor, performer
sits inside the circle/ ฆองวงเล็ก lies hozontally on the floor, performer sits inside the circle /ฆอง
วงใหญ lies hozontally on the floor, performer sits inside the circle/ กรับเสภา held in each hand
of a performer/ กลองแขก held on laps of two separate players, held horizontally across
performer’s laps/ ฆองคู…
gongs set in a box/ ฉาบ …metal hand-cymbals/ ฉาบเล็ก …metal
hand-cymbals// ฉาบใหญ …metal hand-cymbals/ บัณเฑาะว hand –held drum/ โหมง metal gong
suspended from tripod/ ขลุย
vertically –held flute/
15. Other names
TMT
ระนาดทอง original name of ranat ek lek/ ระนาดเอกเหล็ก ranat ek lek or ranat
thong/ ฆองราว khong rao or khong hui/ ฆองหุย
khong rao or khong hui/
TMMC
ฆองราว khaung raaw (khaung huy)/ ฆองหุย
huy or khaung huy/ โทน sometimes
called thoon mahorii…/ โหมง moong or khaung moong/
TM
ระนาดทุม
ranad thume or thume mai/ ระนาดทุมเหล็ก
ranad thong thume or thume
lek/ ระนาดเอกทอง ranad thong ek or thume lek/ กลองสองหนา …and also called Poeng Mang/
235

TMI
ระนาดทอง rana-t thaw-ng or rana-t ay-k lek/ ระนาดเอกเหล็ก rana-t thaw-ng or ranat
ay-k lek/ ฆองหุย
khaw-mui or khaw-ng hui/
16. Function
TMT
กรับ rhythm…/
TMMC
ซอดวง …melodically dominant/ ซออู
melodically dominant/ ฆองมอญวงเล็ก
melodically subordinate instrument/ ฆองวง fills important leadership role in piiphaat ensemble/
ฆองวงเล็ก fills important leadership role in piiphaat ensemble/ฆองวงใหญ fills important
leadership role in piiphaat ensemble/ ระนาดทุม
…melodically subordinate/ ระนาด
เอก …melodically dominant/ วงฆองชัย the gong pitched outline the main melodic pitches of
songs/ กรับเสภา …held in each hand of a performer. Clacked together to produce rhythmic
accompaniment…/ กลองแขก commmonly substituted for taphoon in piiphaat ensembles and
thoon rammanaa in mahoorii and khruang saay ensembles/ กลองสองหนา replaces the taphoon
in certain types of piiphaat ensemble repertoire, ..serving as vocal accompaniment/ ฉาบ used to
emphasize important metric pulses…/ ฉาบเล็ก used to emphasize important metric pulses…,
used more frequently/ ฉาบ ใหญ used to emphasize important metric pulses…/ ฉิ่ง
mark
important metric pluses which indicate chan/ โทน …conceived of as one unit musically.
Hence they are referred to in conjunction, thoon/rammanaa/ รํามะนา played simultaneously by
one person, and conceived of as one unit musically. Hence they are referred to in conjunction,
thoon/rammanaa. Paired with thoon and played by a single musician, for the rhythmic parts of the
two form one pattern/ ขลุย
commonly used as a solo instrument/
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TM
กลองสองหนา …used in conjunction with other instruments/
TCM
ซอดวง a two-string solo fiddle/ ซออุ
a two-string accompanying fiddle/
17. How played
TMT
กรับพวง …held in the right hand and slapped against the palm of the left/
TMMC
กระจับป
strummed with a plectrum held in the performer’s hand/ ซอดวง the
strings are not depressed against a fingerboard to produce pitches. Bow “attached” to
instrument by being strung through the instrument’s strings/ กรับเสภา …held in each hand
of a performer. Clacked together to produce rhythmic accompaniment…/บัณเฑาะว sound by
balls attached to strings when rolled between the hands/
18. Region where played
TMT
กลองชาตรี drum used in the southern theater, a drum of southern Thailand/ โทน
ชาตรี a drum of south Thailand/
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TMMC
พิณ …associated with Northern Thai folk music/ กลองชาตรี …accompanying
southern-style …/ โทนชาตรี …played in pair in southern Thailand…/
19. Age
TMT
เกราะ an old bamboo…/ โกรง an old bamboo…/ ฆองระเบ็ง ..an ancient type of …/
ปไฉน
early double-reed…/
TMMC
ฆองเหมง appeared in historical ensembles/
20. Reference to other instruments
TMT
238
พิณ Indian names for a plucked lute: vina (south India) and bina (north India) / กลอง
ชาตรี …like the klong that but much smaller…/ ฆองคู
…similar to those used on the khong
wong/ โทนชาตรี …small-size klong that/ รํามะนา about the size of a Western tambourine but
without the “jangles” /
TMMC
ซออู
…as on sau duang/ ขิม dulcimer-like instrument/ ระนาดทุม
…compared to the
ranaat eek/ ระนาดทุมเหล็ก
…are musical partners to the wooden ones above…(referring to
ระนาด)/ ระนาดเอกเหล็ก .. are musical partners to the wooden ones above…(referring to

239
ระนาด)/ กลองแขก commonly substituted for taphoon in piiphaat ensembles and thoon
rammanaa in mahoorii and khruang saay ensembles/ กลองชนะ similar to the klaung
kheek…/ กลองมลายู similar in appearance to the klaung kheek/ กลองสองหนา ..replaced the
the taphoon, in contrast to the barrel shape of the taphoon/ ฉาบ …larger than the ching…/ ฉาบ
เล็ก …larger than the ching…/ ฉาบใหญ …larger than the ching…/ โทนชาตรี …similar to above
but played in pairs in southern Thailand (above means thoon mahoorii/ รํามะนา Hence they are
referred to in conjunction, thoon/rammanaa/ ปชวา
…and along wih klaung kheek, to
accompany Thai boxing/ ปนอก
shorter in length than the pii nay/
21. Parts of instrument
TMT
ขลุย
…with pegged mouthpiece…/
22. About players
TMMC
กลองแขก played in pairs by two performers/ กลองทัด played by single performer/
กลองมลายู played in pairs/ ตะโพน of ritual significance, and not played by females/ โทน
played simultaneously by one person…, by a single musician/ รํามะนา played simultaneously by
one person…, played by a single musician/
23. Citation
TMMC
พิณ Morton explains that in former times the word was a cover term for all lutetype…/
ปกลาง
… Morton use to accompany shadow theater/

The lists of strategies used in presenting Thai musical ensembles
Word translation strategies
1. Transliteration
TMMC
วงเครื่องสาย
wong khruang saay/ วงเครื่องสายเครื่องคู
wong khruang saay khruang
khuu/ วงเครื่องสายผสมไวโอลิน
wong khruang saay prasom violin/ วงปพาทยชาตรี
wong piiphaat
chaatrii/ วงปพาทยดึกดําบรรพ
wong piiphaat dukdaman/ วงปพาทยนางหงส
wong piiphaat nang
hong/ วงปพาทยมอญ
wong piiphaat maun/
TCM
240
วงเครื่องสายเครื่องคู
wong khre-a-ng sai, khre-a-ng khu/ วงเครื่องสายวงเล็ก
wong
khre-a-ng sai wong lek/ วงปพาทยเครื่องคู
wong pi-phat khre-a-ng khu/ วงปพาทยเครื่องหา
wong
pi-phat khre-a-ng ha/ วงปพาทยเครื่องใหญ
wong pi-phat, khre-a-ng yai/ วงปพาทยดึกดําบรรพ
wong pi-phat, duk –dam-bun/ วงมโหรีเครื่องเล็ก
wong mahori-khre-a-ng lek/ วงมโหรีเครื่องหก
wong mahori khre-a-ng hok/
2. Partial transliteration
TMT
วงเครื่องสาย
khruang sai/ วงบัวลอย bua loi/ วงปพาทย
pi phat/ วงปพาทยเครื่องคู
khruang khu/ วงปพาทยเครื่องหา
khruang ha/ วงปพาทยเครื่องใหญ
khruang yai/ วงปพาทยไมนวม
pi
phat mai nuam/ วงมโหรี mahori/

TMMC
วงปพาทยเครื่องคู
khruang khuu/ วงปพาทยเครื่องหา
khruang haa/ วงปพาทยเครื่องใหญ
khruang yay/ วงปพาทยมอญเครื่องคู
piiphaat naun khruang khuu/ วงปพาทยไมนวม
may nuam/
TMI
ปพาทยรามัญ
pi-pha-t ra-man/ วงกลองแขกปชวา
glaw-ng khae-k pi-chawa-/ วงปชวา
กลองแขก pi-chawa glaw-ng khae-k/ วงเถิดเทิง, วงเทิงบองกลองยาว ther-t ther-ng or ther-ng baw-ng
klaw-ng yao-/ วงปพาทยดึกดําบีรรพ
pi-pha-t derk dam-ban/ วงปพาทยมอญ
pi-pha-t maw-n/
3. Translation
TCM
วงเครื่องสาย
the string ensemble/
4. Transliteration+translation
TMT
วงกลองแขก klong khaek ensemble/ วงขับไม khap mai ensemble/ วงเครื่องสายวงเล็ก
small khruang sai ensemble/ วงปพาทยนางหงส
pi phat nang hong ensemble/ วงปพาทยมอญ
pi phat
mon ensemble/ วงมโหรีเครื่องเล็ก
small mahori ensemble/ วงมโหรีเครื่องใหญ
large mahori
ensemble/
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TM
วงปพาทย
piphat band/
TCM
วงปพาทย
the pi-phat ensemble/ วงมโหรี the mahori ensemble/
TMI
242
วงเครื่องสาย
khrer-ng sai- (string) ensemble/ วงบัวลอย bua law-i ensemble/ วงปพาทย
pi-pha-t (percussion) ensemble/ วงปพาทยชาตรี
pi-pha-t cha-tri- ensemble/ วงปพาทยนางหงส
pi-phat
na-ng hong ensemble/ วงปพาทยไมนวม
pi- pha-t mainuam ensemble/ วงมโหรี maho-ri- (mixed and
string and percussion) ensemble/
5. Transliteration+translation+size
TMT
วงเครื่องสายเครื่องคู
medium-sized or doubled khruang sai ensemble/ วงมโหรีเครื่องคู
medium sized or doubled mahori ensemble/
6. Partial transliteration+partial translation
TMT
วงปพาทยอยางเบา
light piphat/ วงปพาทยอยางหนัก
heavy pi phat/

7. Partial transliteration+age
TMT
วงมโหรีเครื่องสี่
original mahori/
TM
วงมโหรีเครื่องสี่
wong mahori boran or ancient mahori
8. Used both transliteration and partial transliteration
TMMC
วงขับไม khap may or wong khap may/ วงเครื่องสายปชวา
khruang saay pii chaawaa,
wong khruang saay pii chaawaa/ วงบัวลอย bua lauy or wong bua lauy/ วงปพาทย
piiphaat or wong
piiphaat/วงมโหรี mahoorii (wong) mahoorii/
Description strategies
1. Modifiers
1.1 Type
TMMC
วงเครื่องสายปชวา
a standard type of stringed ensemble with pii chaawaa added/ วง
243

ปพาทย
an ensemble of percussion instruments and the pii or oboe, melodic percussive ensemble/ วง
ปพาทยชาตรี
specialized ensemble/
TCM
วงปพาทยเครื่องคู
medium sized percussion ensemble/ วงปพาทยเครื่องหา
small
percussion ensemble/ วงปพาทยเครื่องใหญ
large percussion ensemble/
TMI
1.2 Size
วงปพาทย
pi-pha-t (percussion) ensemble
TMT
วงปพาทยเครื่องคู
medium-sized or doubled ensemble/ วงปพาทยเครื่องหา
a small
ensemble “of five instrument”/
TMMC
วงเครื่องสายเครื่องคู
medium- sized (lit.paired) ensemble of string instruments/ วงป
พาทยเครื่องคู
medium size, khruang khuu…/ วงปพาทยเครื่องหา
small size, khruang haa/ วงมโหรี …
characterized by instruments of smaller size…/
244

TCM
วงปพาทยเครื่องคู
medium sized percussion ensemble/วงปพาทยเครื่องหา
small
percussion ensemble/
1.3 Hyphenated
TMT
วงปพาทยเครื่องคู
medium-sized or doubled ensemble/
TMMC
วงขับไม a three-stringed fiddle/ วงเครื่องสาย
wong khruang saay-ensemble…/ วงป
พาทยเครื่องหา
the five-instrument…/ วงปพาทยมอญ
the Mon-derived ensemble/
2. Translation
TMT
วงขับไม Literally “to recite or sing with a beat” or more figuratively “to perform on
musical instrument.”/ วงเครื่องสาย
the ensemble composed of stringed instruments…/ วงปพาทย
เครื่องคู
medium-sized or doubled ensemble/ วงปพาทยเครื่องใหญ
large group of instrument/ วงป
พาทยไมนวม the pi phat ensemble using padded sticks/
245

TMMC
วงเครื่องสาย
an ensemble of stringed instruments/ วงเครื่องสายเครื่องคู
medium sized
(lit.paired) ensemble of string instruments/ วงเครื่องสายปชวา
a standard type of stringed ensemble
with pii chaawaa added/ วงบัวลอย floating lotus ensemble/ วงปพาทยมอญ
the Mon-derived
ensemble/
TCM
ensemble/
วงเครื่องสายเครื่องคู
doubled string ensemble/ วงเครื่องสายวงเล็ก
small string
TMI
วงเครื่องสาย
khrer-ng sai- (string) ensemble
3. Partial translation
TMT
วงบัวลอย an old ensemble/ / วงปพาทยเครื่องหา
literally, “five instruments”/ วงปพาทย
นางหงส the pi phat funeral ensemble/ วงมโหรี an ensemble …/
TMMC
วงขับไม historical ensemble…/ วงปพาทย
an ensemble of percussion instruments and
the pii or oboe/วงปพาทยเครื่องคู
instrument; paired/วงปพาทยเครื่องหา
instrument; five,…the five -
instrument/ วงปพาทยเครื่องใหญ
instrument; large/ วงปพาทยดึกดําบรรพ
ensemble which
246

accompanies …/ วงปพาทยไมนวม
stick/soft; indicates the soft version of piiphaat/ วงมโหรี a
standard type of ensemble/
TCM
วงปพาทยเครื่องคู
medium sized percussion ensemble/วงปพาทยเครื่องหา
small
percussion ensemble/ วงปพาทยเครื่องใหญ
large percussion ensemble/ วงมโหรีเครื่องเล็ก
small
ensemble…/
4. Transliteration
TMT
วงปพาทยเครื่องคู
medium-sized or doubled piphat ensemble/ วงปพาทยเครื่องใหญ
large
pi phat ensemble/ วงปพาทยไมนวม
the pi phat ensemble using padded sticks/
5. Partial transliteration
TMT
วงปพาทยนางหงส
the pi phat funeral ensemble/
TMMC
วงปพาทยเครื่องคู
medium size, khruang khuu…/วงปพาทยเครื่องหา
small size, khruang
haa,..piphaat ensemble/ วงปพาทยเครื่องใหญ
large size khruang yay/ วงปพาทยไมนวม
stick/soft;
indicates the soft version of piiphaat/
247

6. Component instruments (for ensembles)
TMT
วงเครื่องสาย
the ensemble composed of stringed instruments, flute, and rhythmic
percussion/ วงปพาทย
an ensemble composed of melodic and rhythmic percussion instruments and
the pi/ วงปพาทยไมนวม
the pi phat ensemble using padded sticks/ วงมโหรี an ensemble composed
of melodic and rhythmic percussion instruments and flute/
TMMC
วงขับไม …consisting ofsolo vocalist,sau saam saay,andbanthau/ วงเครื่องสาย
drums
and hand cymbals, and khluy or flute…/ วงเครื่องสายปชวา
a standard type of stringed ensemble with
pii chaawaa added/ วงบัวลอย consists of pii chaawaa and rhythmic accompaniment/ วงปพาทย
an
ensemble of percussion instruments and the pii or oboe, melodic percussive ensemble, which does not
include stringed instruments/ วงปพาทยดึกดําบรรพ
a distinctive feature of this ensemble is the wong
khaung chay, seven tuned gongs vertically suspended in a frame…/ วงปพาทยมอญ…plus
the set of
tuned drums, peeng maang khauk/ วงมโหรี …including both stringed and melodix percussive
instruments/
TCM
วงเครื่องสายเครื่องคู
another instrument of each kind is added, making a pair/ วง
เครื่องสายวงเล็ก
one instrument of each kind only is used…/ วงปพาทยเครื่องคู
another instrument of
each kind is added, making a pair/ วงปพาทยเครื่องหา
consisting of five instruments and the Ching/
วงปพาทยเครื่องใหญ
all the important percussion instruments are included/ วงมโหรีเครื่อง
เล็ก …consisting of both string and percussion type instruments/
248

TMI
วงมโหรี maho-ri- (mixed and string and percussion) ensemble/
7. Component ensembles (for ensembles)
TMMC
วงมโหรี a combination of khruang saay and piiphaat ensembles/
8. Occasion played
TMT
วงปพาทยนางหงส
the pi phat funeral ensemble/
TMMC
วงขับไม today played occasionally by university students/ วงบัวลอย use in cremation
ceremonies for royalty and has its own specific repertoire/ วงปพาทย
accompanies rituals and
theatrical genres but can also perform entertainment music/ วงปพาทยดึกดําบรรพ
ensemble which
accompanies the dramatic genre, lakhaun dukdamban, …./ วงปพาทยนางหงส
…ensemble formerly
used in cremation ceremonies, but rare today/ วงปพาทยมอญ…
commonly played at cremation
ceremonies…/
249

9. Origin of name (ensemble)
TMMC
วงปพาทยมอญ
the Mon-derived ensemble/
10. Other names
TMI
วงกลองแขกปชวา
pi-chawa glaw-ng khae-k or glaw-ng khae-k pi-chawa-/ วงปชวา
กลองแขก pi-chawa glaw-ng khae-k or glaw-ng khae-k pi-chawa-/
11. Age
TMT
วงขับไม an old ensemble/ วงบัวลอย an old ensemble/
TMMC
วงขับไม historical ensemble
12. Comparison to other ensembles
TMMC
วงปพาทยมอญ
… which shares certain similarities to Burmese ensembles…/
250

TCM
วงเครื่องสายวงเล็ก
one instrument of each kind only is used compable to the pi-phat
khre-a-ng ha/
13. Citation
TMMC
วงเครื
่องสาย Morton’s “rhythmic percussion”…/ วงบัวลอยMorton views this as the
precursor to the wong piiphaat naang hong/ วงมโหรี Jeradithaporn…, Morton…/
251

The lists of strategies used in presenting types of Thai musical instruments
Word translation strategies
1. Transliteration
TMMC
เครื่องดีด
khruang ditt/ เครื่องสี
khruang sii/ เครื่องตี
khruang tii/ เครื่องเปา
khruang paw/
2. Translation
TMT
เครื่องสาย
stringed instruments/ เครื่องตีดําเนินทํานอง
melodic percussion/ เครื่องตีกํากับ
จังหวะ rhythmic percussion/
TM
เครื่องดําเนินทํานอง
melodic instruments/ เครื่องกํากับจังหวะ
rhythmic instruments/
เครื่องตี
percussion section/
TCM
เครื่องดําเนินทํานอง
melodic instruments/ เครื่องกํากับจังหวะ
rhythmic instruments/
252

TMI
เครื่องสาย
stringed instruments/ เครื่องตี
percussion instruments/ เครื่องเปา
wind
instruments/
3. Partial translation
TMT
เครื่องดีด
plucked/ เครื่องสี
bowed/
TMMC
เครื่องสาย
strings/
4. Translation+material
TM
เครื่องเปา
wood-wind section/
TMI
เครื่องหนัง
percussion instruments using skin or leather/
5. Translation+type
253

TMI
เครื่องดีด
plucked stringed instruments /เครื่องสี
bowed stringed instruments/
6. Partial translation+material
TMT
Description strategies
เครื่องเปา
woodwinds/
1. Translation
TMT
เครื่องดีด
plucked instruments/ เครื่องสี
bowed instruments/ เครื่องตี
hit or beaten
instruments/ เครื่องเปา
blown instruments/
254

Appendix D
The Differences on Strategies Used in Presenting Thai Music Terms

Appendix Table 7 The Differences in Strategies Used in Presenting Thai Musical Instruments
Word translation strategies
Thai music terms The total number of words Same strategies
Same words Different words/romanizations
Different strategies
กระจับป
3 3
จะเข 4 4
พิณ 3 3
พิณน้ําเตา
2 2
พิณเพี ๊ยะ 2 2
ซอ 1
ซอดวง 4 4
ซอสามสาย 4 2 2
ซอสามสายหลีบ 3 2 1
ซออู
4 4
ขิม 2 2
ฆอง 2 2
ฆองกระแต 1
ฆองกลาง 2 2
ฆองชัย 1
ฆองมอญ 3 3
ฆองมอญวงเล็ก 1
256

Appendix Table 7 (Continued)
Word translation strategies
Thai music terms The total number of words Same strategies
Same words Different words/romanizations
Different strategies
ฆองราง 2 2
ฆองวง 2 2
ฆองวงเล็ก 5 4 1
ฆองวงใหญ 5 4 1
ระนาด 2 2
ระนาดทอง 2 2
ระนาดทุม
5 2 3
ระนาดทุมเหล็ก
5 2 2 1
ระนาดเอก 5 2 3
ระนาดเอกทอง 1
ระนาดเอกเหล็ก 4 4
วงฆองชัย 2 2
กรับ 2 2
กรับคู
1
กรับพวง 2 2
กรับเสภา 3 3
กลอง 2 2
257

Appendix Table 7 (Continued)
Word translation strategies
Thai music terms The total number of words Same strategies
Same words Different words/romanizations
Different strategies
ฆองราง 2 2
กลองชนะ 2 2
กลองชวา 2 2
กลองชาตรี 3 3
กลองตะโพน 1
กลองตุก
1
กลองทัด 5 5
กลองมะริกัน 2 2
กลองมลายู 3 3
กลองยาว 2 2
กลองสองหนา 4 2 2
เกราะ 2 2
โกรง 2 2
ฆองคู
3 3
ฆองระเบ็ง 2 2
ฆองราว 3 3
ฆองหุย
4 3 1
258

Appendix Table 7 (Continued)
Word translation strategies
Thai music terms The total number of words Same strategies
Same words Different words/romanizations
Different strategies
ฆองเหมง 3 3
ฆองโหมง 1
ฉาบ 3 2 1
ฉาบเล็ก 5 2 2 1
ฉาบใหญ 5 2 2 1
ฉิ ่ง 5 5
ตะโพน 5 2 3
ตะโพนมอญ 3 3
ทับ 1
โทน 4 2 2
โทนชาตรี 3 2 1
โทนมโหรี 2 2
บัณเฑาะว 2 2
เปงมาง 2 2
เปงมางคอก 3 3
มโหระทึก 1
รํามะนา 4 2 2
259

Appendix Table 7 (Continued)
Word translation strategies
Thai music terms The total number of words Same strategies
Same words Different words/romanizations
Different strategies
โหมง 5 4 1
ขลุย
3 2 1
ขลุยกรวด
1
ขลุยเพียงออ
4 4
ขลุยหลีบ
4 2 2
ขลุยอู
3 2 1
แตร 1
แตรงอน 2 2
แตรฝรั ่ง 1
แตรลางโพง 1
แตรลําโพง 1
แตรวิลันดา 1
ป
3 2 1
ป กลาง 3 3
ป ไฉน 3 2 1
ป ชวา 3 2 1
ป นอก 4 2 2
260

Appendix Table 7 (Continued)
Word translation strategies
Thai music terms The total number of words Same strategies
Same words Different words/romanizations
Different strategies
ปใน
5 4 1
ปมอญ
3 3
ปหอ
1
ปออ
1
261

Appendix Table 8 The Differences in Strategies Used in Presenting Thai Musical Ensembles
Word translation strategies
Thai music terms The total number of words Same strategies
Same words Different words/romanizations
Different strategies
ป พาทยรามัญ 1
วงกลองแขก 1
วงกลองแขกปชวา 1
วงขับไม 2 2
วงเครื ่องสาย 4 4
วงเครื่องสายเครื
่องคู
2 2
วงเครื ่องสายวงเล็ก 2 2
วงเครื่องสายปชวา 1
วงเครื ่องสายผสมไวโอลิน 1
วงเถิดเทิง วงเทิงบองกลองยาว 1
วงบัวลอย 3 3
วงปชวากลองแขก 1
วงป พาทย 5 3 2
วงปพาทยเครื่องคู
2 2
วงปพาทยเครื่องหา 3 3
วงปพาทยเครื่องใหญ 3 2 1
วงปพาทยชาตรี 2 2
262

Appendix Table 8 (Continued)
่
Word translation strategies
Thai music terms The total number of words Same strategies
Same words Different words/romanizations
Different strategies
วงปพาทยดึกดําบรรพ
3 2 1
วงปพาทยนางหงส
3 2 1
วงปพาทยมอญ
3 2 1
วงปพาทยมอญเครื่องคู
1
วงป พาทยไมนวม 3 2 1
วงปพาทยอยางเบา
1
วงปพาทยอยางหนัก
1
วงมโหรี 4 2 2
วงมโหรีเครื่องคู
1
วงมโหรีเครื่องเล็ก
2 2
วงมโหรีเครื่องสี
2 2
วงมโหรีเคริ่องหก
1
วงมโหรีเครื่องใหญ
1
263

Appendix Table 9 The Differences in Strategies Used in Presenting Types of Thai Musical Instruments
Word translation strategies
Thai music terms The total number of words Same strategies
Same words Different words/romanizations
Different strategies
เครื ่องสาย 3 2 1
เครื ่องดีด 3 3
เครื่องสี
3 3
เครื่องตี 3 2 1
เครื่องดําเนินทํานอง
2 2
เครื ่องตีดําเนินทํานอง 2 2
เครื ่องกํากับจังหวะ 2 2
เครื่องตีกํากับจังหวะ 1
เครื่องหนัง
1
เครื่องเปา
4 4
264