Thailand, located between Myanmar (Burma) to the west, Malaysia to the south, and Laos and Cambodia to the east, is home to a wide variety of traditional musics, expressions of the many ethnic groups which have long resided in the area but whose historical roots often extend into neighboring countries. To encounter traditional music in Thailand is to experience locally developed genres as well as traditions whose original sources lie in Cambodia, China, Laos, Malaysia and Burma. However, despite the often-striking similarities between contemporary forms of Thai classical music and those of its neighbors, Thai classical music has developed into a wholly unique form.
In Thailand, terms for classical music often refer rather narrowly to the refined and stylized forms of orchestral music historically performed in the courts of Central Thailand. However, there have long been regional forms of what could be termed classical music in the courts of the northern kingdom of Lanna and in urban centers in the south and east of the country. The most common Central Thai ensemble, the piphat, which is today found throughout the nation, was in use at least by the early 13th century in the first capital at Sukothai. The ensemble, a combination of fiddles, oboe-like wind instruments, gongs, cymbals, xylophones and a circular set of tuned gong-chimes, resembles in structural ways similar instruments and ensembles in Cambodia, Burma, Laos and the large gamelan ensembles of Indonesia. As such, the classical music of Thailand can be historically connected to the dispersion of so-called gong-chime musical cultures in Southeast Asia beginning around the first century CE.
It is likely that Central Thai classical music emerged first as an accompaniment to dramatic forms. In the capitals at Sukothai and later Ayuthaya, the piphat ensemble was used to accompany the kohn/lakorn, a highly stylized dance drama often depicting the Thai version of the Indic Ramayana (Thai: Ramakien) epic. Similar ensembles also accompany the Thai nang yai (lit. big skin) shadow puppet genre. Since at least the early twentieth century, similar ensembles have been used outside of Central Thailand to accompany both local dances and pre-Buddhist ceremonies such as the Northern Thai faun pii (spirit trance dance).
Western-influenced popular music arrived rather early in Thailand; in the first half of the 20th century jazz-influenced popular music was widespread in Bangkok. Truly indigenous popular song developed after World War II and was derived from singing styles in classical Central Thai forms. Contemporary forms of popular music are heavily influenced by western models, and Thai rock, rap, jazz and blues represent the most widespread forms of musical activity in the country. A unique form of Thai country music, luk thung, (lit. "child of the field") is today extremely popular and associated with urban and rural poor and, at times, socially aware lyrics. In the northeastern Isan region, bordering Laos, a Laotian folk style known as mor lam is immensely popular. Similarly, kantrum is a popular, Khmer-derived sound from the region bordering Cambodia. Andrew McGraw