ABSTRACT
The style of voice production used in Thai classical singing is noticeably different from other styles such as phleez phCyn bâan (traditional folk songs), phleez lûug thûz (songs for ‘the sons of the field’), phleez lûug kruz (songs for ‘the sons of the city’), and phleez pnb (pop songs). Of the above styles, the voice production used for phleez phCyn bâan, regardless of the diversity of techniques used in different regional folk styles, is most similar to that of the classical tradition. The voice projection of these folk styles is done in a ‘held back’ way. Sjntharawaathin says that classical singers should feel the vibration in their chest, while singing, in order to get a more controlled sound. This is different from, for instance, phleez lûug thûz in that the sound of phleez lûug thûz is more ‘open’ (so less controlled). The other styles, phleez lûug kruz and phleez pnb, are said to be singing in the sataaj fáràz (Western style),13 i.e. the voice is projected more. In addition to this, the major feature of Thai classical singing which distinguishes it from the other styles is the rigidity of the throat and the large amount of nasality.
