ข้อตกลง
1. บทความทุกบทความจะได้รับการพิจารณาจากผู้ทรงคุณวุฒิ (Peer review) ที่ตรงตามสาขาวิชา โดยทุกบทความจะต้องผ่านการพิจารณาจากผู้ทรงคุณวุฒิ อย่างน้อยบทความละ 3 ท่าน
2. บทความ ข้อความ ภาพประกอบ และตารางใด ๆ ที่ตีพิมพ์ในวารสารอารยธรรมศึกษา โขง-สาละวิน เป็นความคิดเห็นส่วนตัวของผู้เขียน กองบรรณาธิการไม่จำเป็นต้องเห็นด้วยเสมอไป และไม่ใช่ความรับผิดชอบของ กองส่งเสริมศิลปวัฒนธรรม มหาวิทยาลัยนเรศวร ถือเป็นความรับผิดชอบของผู้เขียนแต่เพียงผู้เดียว
3. บทความจะต้องไม่เคยตีพิมพ์เผยแพร่ที่ใดมาก่อน และไม่อยู่ระหว่างการพิจารณาของวารสารฉบับอื่น หากตรวจสอบพบว่ามีการตีพิมพ์ซ้ำซ้อน ถือเป็นความรับผิดชอบของผู้เขียนแต่เพียงผู้เดียว
4. บทความที่ส่งถึงกองบรรณาธิการ ขอสงวนสิทธิ์จะไม่ส่งคืน
The The Singing Methods of Pleng Korat, a Case Study of Khru Gamphan Khoinok (Gamphan Bantaen Band): Concepts for the Creation of the Wiwat Pleng Korat (Evolution of Pleng Korat) Suite
The Singing Methods of Pleng Korat, a Case Study of Khru Gamphan Khoinok (Gamphan Bantaen Band): Concepts for the Creation of the Wiwat Pleng Korat (Evolution of Pleng Korat) Suite
Keywords:
Singing method, Pleng Korat, Khru Gamphan KhoinokAbstract
This article is part of a research on the musical creation of the Wiwat Pleng Korat (Evolution of Pleng Korat) Suite whose objective was to examine the singing methods of Pleng Korat (which is the unique folk song performance in Korat dialect of Nakhon Ratchasima province) from a case study of Khru Gamphan Khoinok. Qualitative research methods were employed to study both the traditional and modern Pleng Korat. The research identified the relationship between both types of Pleng Korat and their socio-cultural contexts from the evolutionary creation perspective of Pleng Korat that reflects their musical wisdom. The Pleng Korat consisted of four elements. The firstly was Pleng Korat have two prosodic elements: (1) The elements of Pleng Korat – the ten elements shared by both types of Pleng Korat are the use of phrases with secondary and primary contents, couple words, rhythming words, word numbers, Sadur Pleng (specific word order in a Pleng Korat), Yieb Plai Pleng (repetition of the last melody of a verse), Oh singing, Sroi (trill) singing, Euan Siang (drawing out the voice) and language use; (2) Prosodic structure. Traditional Pleng Korat use several subtle prosodic structures while modern Pleng Korat have evolved from all of the original songs of the traditional Pleng Korat and through the combining of Pleng Gom and Hua Diew verses. Such evolution has made the prosodic structure of Pleng Korat more contemporaneous. The secondary was melody – (1) the Oh melodies are exactly the same for both types of Pleng Korat; (2) the melodies of modern Pleng Korat use more notes of short duration as well as more note repetition and syncopation; (3) as Pleng Korat evolved the Sroi melodies have been extended with modern Pleng Korat having more diverse melodies; (4) modern Pleng Korat have short Euan melodies while those of traditional Pleng Korat consist of only one syllable. The thirdly was rhythm – (1) the Oh melody of both types of Pleng Korat have exactly the same floating rhythms; (2) the verse melodies of traditional Pleng Korat use both the floating and regular rhythms while modern Pleng Korat use concise form of regular rhythms; (3) Sroi melodies with regular rhythms are used for the harmony singing of traditional Pleng Korat and the singing of bride sections in modern Pleng Korat; (4) Euan melodies in the regular and floating rhythms are only present in modern Pleng Korat. The fourthly was performance elements – (1) Mor Pleng (professional singers) should be knowledgeable in Pleng Korat; (2) the audience should have some understandings of Pleng Korat; (3) appropriate lyrics for each occasion and venue; (4) special melodic form; (5) lively rhythms; (6) accompanying dances; (7) the singer costumes should reflect the local culture; (8) the venues reflect the wisdom of local people and society; (9) the light and sound arrangement should enhance the aesthetic quality of Pleng Korat; (10) the performance occasion should to reflect the people’s ways of life; (11) the performance process reflects the wisdom of Pleng Korat; (12) the beliefs related to Pleng Korat reflect the teacher-student relationship. Data on the fascinating evolution of the singing methods of Pleng Korat from traditional to modern Pleng Korat provided ideas and concepts for creative composition of Thai music.
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Published
2019-09-10
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บทความวิจัย (Research Article)
