This research aims to achieve two primary objectives: 1) to study the traditional Thai song Kham Hom and 2) to create a new musical composition, In a Portrait of Kham Hom for Brass Quintet. This research is qualitative, integrating document analysis, expert interviews, and musical interpretation.

Thai traditional music reflects Thai cultural identity through its rich aesthetic and values. Kham Hom, or Lao Kham Hom, is a three-movement song in the Lao rhythmic pattern, originally improvised by Ja Phen Phayongying (Ja Khom) for the Sakawa ensemble. Phraya Prasanduriyasap later arranged an instrumental response for the Pi Chawa ensemble, after which it became popular in Piphat and Mahori ensembles. Luang Pradit Phairoh expanded and adapted the piece into different forms, though some versions were lost. In 1959, Kru Charoen Raengphet revived the Thao version based on Ja Khom’s melody and Luang Pradit Phairoh’s lyrics. Later, in 1983, Kru Tuean Phattayakul arranged another version. These adaptations by prominent Thai composers have preserved Kham Hom’s enduring significance.

The composition, In a Portrait of Kham Hom, draws directly from the principal melody of Kham Hom as the thematic foundation, incorporating new melodies and technical challenges to highlight the virtuosic capabilities of brass instruments. Extended techniques such as tonguing, rapid sixteenth-note passages, and varied mute usage are employed. Scored in B-flat major with a 4/4 meter and approximately six minutes in duration, the work blends the expressive nuance of Thai musical heritage with the tonal richness of Western brass instrumentation. This study deepens understanding of Kham Hom and contributes to intercultural composition by reimagining Thai traditional music in a contemporary Western context.