A STUDY OF THE RAM THONE SONGS OF THE THAI XONG DAM COMMUNITY IN TALAT KHWAI VILLAGE, CHOMBUENG DISTRICT, RATCHABURI PROVINCE

Abstract

       This research article is part of a master's thesis entitled “The Structure and Musical Elements of Ram Thon Songs in the Culture of the Thai Song Dam Community in Chom Bueng District, Ratchaburi Province.” The study aimed to examine the structure and musical elements of Ram Thon songs. The research site was designated as the Thai Song Dam settlement located in Village No. 5, Talat Khwai Village, Chom Bueng District, Ratchaburi Province. This study employed a qualitative research methodology, with data collected and presented through descriptive analysis. Participants were selected using purposive sampling. The research instruments consisted of in-depth interviews, participant observation, and non-participant observation. Data were analyzed descriptively in accordance with the research objectives. The collected data were categorized into relevant themes, and principles of Western music theory were applied to analyze various aspects of the songs’ structure and musical elements.

          The findings revealed that, in terms of musical form, most Ram Thon songs are strophic, comprising approximately four to six phrases. In contrast, multi-sectional songs consist of four distinct sections and contain approximately six to nine phrases. In terms of melody, different songs employed different scales. The vocal range of the songs extended approximately from C♯4 to G♯5. Melodic movement was predominantly characterized by ascending or descending intervals of a major second and a minor third, followed by perfect unisons (repeated notes). Concerning rhythm, recurring rhythmic patterns appeared throughout many parts of the songs. The instrumental accompaniment maintained a steady rhythmic pattern throughout each song, with no tempo changes, except for the song “Yam Ratri” (Nighttime), which featured variations in drumming patterns. The tempo of most Ram Thon songs ranged between 71 and 77 beats per minute (BPM). The lyrics were generally performed in a straightforward singing style, with melismatic ornamentation occurring in certain passages. The relationship between melody and lyrics was predominantly syllabic, with one syllable corresponding to one note. The rhyming schemes in the lyrics include both in-phrase rhymes and inter-phrase rhymes.