This paper examines the interlocking development processes of rural folk songs and luuk thung, a genre of popular music which developed under the considerable influence of folk musical traditions in Central Thailand.
With the drastic socioeconomic changes which occurred in the 1960s, folk song genres in Central Thailand, including phleeng iisaew, gradually declined and were finally replaced by modern entertainment, such as luuk thung. Khwancit Siipracan, a competent folk singer at that time, left her home village for Bangkok to become a luuk thung singer in the late 1960s and recorded a number of popular songs with an identifiable local flavor. In the late 1970s, Khwancit established her own folk entertainment troupe and succeeded in commercializing phleeng iisaew by modernizing the style of performance for contemporary audiences. This fact indicates that, during the period from the 1960s to 1980s, popular music (including commercialized folk songs) in Central Thailand developed on the basis of the direct interplay between rural folk songs and urban popular songs.

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What does ‘Yesterday Once More’ mean? In the original version by John Bettis, we can see it as ‘Yesterday, Once More, ’ but now the title ‘Yesterday Once More’ is known well. Therefore, we show that we can interprete this as an adverbial phrase, a noun phrase (Yesterday as a subject and as an object), and Yesterday as a vocative. As a result, ‘Yesterday Once More’ may be better than ‘Yesterday, Once More’ because the former makes us imply various kinds of interpretations.
We also show that sha-la-la-la, wo-o-wo-o and shing-a-ling-a-ling are the introduction of some hit songs before the publication of ‘Yesterday Once More’ (1973).
As for “It's yesterday once more” we can find twice, we cannot understand its true meaning until we interprete them as “It's yesterday that I lost my love once more” and “It's the song ‘Yesterday Once More.’”

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Since the establishment of record industry in Japan, the production of music culture was led by record companies and actual production of recorded music has exclusively been in their hands. However, such dominance did not last long. Other companies started producing recorded music by themselves in '60s. Those are artist management companies and music publishing companies. This phenomenon could be identified as diversification of music production function and should be regarded as restructuring of the record industry infrastructure. This paper aims to clarify why and how it happened, and what influence it may have to the music industry in future.

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