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WONG SAW, A LANNA TRADITIONAL VOCAL MUSIC: A CASE STUDY OF
SEETUAN SORNNOI’S STYLE, CHIANGRAI PROVINCE, NORTHERN
THAILAND
ONG-ART INTHANIWET 4836955 MSMS/M
M.A. (MUSIC)
THESIS ADVISORS: NARONGCHAI PIDOKRAJT, B.Ed, M.Ed, MA., ORAWAN
BANCHONGSIN M.Ed., M.M.
ABSTRACT
This qualitative research aimed to examine the music style and characteristics of
music composed by Mr. Seetuan Sornnoi in Chiangrai Province. Field work study was
used to collect the data. The analysis processes involved the transcription of standard
notes and the application of musicology theories.
The findings of the study are as follows.The contexts relating to Local Saw
Performance in Chiangrai Province comprise Local Saw Performing culture and
Sacrificing Ceremony for Teachers. The latter activity can be divided into 3 types: annual
sacrificing ceremony for teachers held in the 9
th
Month of Lanna culture, the ceremony
organized in the 7
th
month of the year, and the ceremonial activity before performing the
Saw. The components used for performing Saw consist of; 1) a place for performance
which can be categorized into 2 types: a temple or a village, and 2) dress which is in the
local custom style. Chiangrai Local Saw performance can be divided into 3 types: 1)
Single Saw or Saw Pod, 2) Double Saw or Saw Koo Thong, and 3) Saw Play. The content
of the Saw mostly emphasizes religious teaching principles and creative cultural activities.
Before performing Saw, the female Saw performer dances to sacrifice and shows respect
to all teachers who transmitted the knowledge and to stimulate the audiences’ interest.
From the analysis of specific rhythm it appeared that the Chiangrai original style
provides the Saw pattern performed by male and female singers. When analyzing the Saw
conducting the standard note system, the music note groups sung by male performers
were similar to the F# Dorion Mode, while female singer’s music notes were similar to B
Mixolydian Mode in which the note scale was an octave applying the 7 main notes
according to the note scale or analyzed mode. The rhythmic style appeared in note pair
pattern: P1, P4, P5, P8, M3, M6 m3, and m3. The rhythmic arrangements differ from the
sound originated from music instruments. The technique of raising the tone and lowering
it down in the throat is the unique style used for Chiang Mai original rhythmic Saw. This
is also sung by both male and female performers showing the relationship between Saw
content and its rhythm in which the pattern appears as 1 rhythmic note with 1 content and
2-3 notes with 1 content. The distinctively innovative features created by Mr. Seetuan
Sornnoi are the ways in which the Saw teaches the followers to be humble, loyal, smart
and able to sing or compose the Saw effectively. Mr. Sornnoi provides the Saw
composition style reflecting the harmonious combination of beautiful rhythm, fine
language with teaching words and appreciation.
KEYWORDS: SAW PERFORMANCE / ANALYSIS / CULTURE / MUSIC / CHIANGRAI / LANNA
296 P.