AN ANALYSIS OF MELODIC IDIOMS OF THE PI IN MANGKHALA FOLK MUSIC IN UTTARADIT

Abstract

The purpose of this research study is to offer the results from an analysis of Pi Mangkhala's idiom in the Uttaradit Province from the three experienced artists, namely Samian Nueanui, U Lamyai, and Udon Bunket, based on selective approach. The findings revealed that there were eight different types of idioms that could be classified into two groups. Group 1 was considered as common idioms prevalent in all pi's idioms which showed five different idioms: a sustained note, a dotted rhythm, pitch or modal modulation of ending notes, dotted rhythmic melody, and three-syllable accent, and an accent on eight note melody. Group 2 as specific idioms included three specific idioms (as a personal style). 1) an idiom with a variety of ending notes leading to a new melodic section, 2) an auxiliary embellishment with a grace note, and 3) an upbeat accent. Furthermore, the details within these idioms were divided into 19 aspects. These characteristics of mangkhala music in Uttaradit’s style may be very well represented by these idioms, with enjoyment as the central concept.