An Analysis of Melodic Idioms of the Pi in Mangkhala Folk Music in Phitsanulok

การวิเคราะห์สำนวนทำนองเพลงปี่มังคละจังหวัดพิษณุโลก

Abstract

This article is part of the research titled “The Melody of the Pi in the Mangkhala Folk Music: An Analysis and Musical Creation”. The purpose was to analyze melodic idioms of the Pi in Mangkhala ensemble in Phitsanulok Province. Based on a selective approach, the three distinct melodic idioms of the Pi were investigated, including the melodic idioms represented by 1) Mr. Chalo Suksaeng, 2) Mr. Phirom Thong-in, and 3) Mr. Ekasit Thongpho. The findings revealed that there were seven different types of melodic idioms that could be divided into two groups. Group 1 was considered as common idioms prevalent in all Pi's idioms which showed three different idioms: sustained notes, staccato, and three-syllable phrase. Group 2 consisted of four specific melodic idioms: 1) an idiom with diverse ending notes, both without and with modal modulation, 2) an idiom with four continuous notes per beat, 3) an idiomatic motion with vertical fluctuation in its figure, and 4) an idiom with the ending notes leading to a new section. The melodic idioms of the Pi in Mangkhala ensemble in Phitsanulok reflected the unique traits and characteristics of the Mangkhala folk music very well. Furthermore, these melodic idioms were related to five main concepts: 1) paying respect to a spirit, 2) communicating a plain and straightforward aesthetic quality, 3) expressing a role and function of Mangkhala music in people's lives in Phitsanulok, 4) representing uniqueness in the oral tradition and inheritance of Mangkhala, and 5) functioning as a source of entertainment.