Musical Traits of Lakhon Accompaniment Song in Raai Song, O Song, and Thon Song

Abstract

This research uses qualitative research methods. The objectives were 1. to study the knowledge of special rhythm songs used in drama performances and 2. to study the musical traits of Lakhon Accompaniment Song in Raai song, O song, and Thon song, which are distinctive groups with specific rules and conventions. Data were collected through interviews with key informants.

The research results found that the objective 1 the special rhythm songs used in the performances have outstanding singing melodies and musical melodies, whether it be the Ching (cymbal rhythm pattern), the Na-tap (drum rhythm pattern), the singing rhythm, even the musical instruments play an important role according to their function. The musicians have created it as a specific art, as well as having principles and methods of practice according to the model and having a unique musical style. And objective 2; Raai songs is to divide them into 1) Songs with regular rhythms that not include Na-tap and without musical accompaniment, using a Krab Phuang (a set of alternating wooden and brass sheets tied together with rope at the bottom) to play as a rhythm instrument. 2) Songs that include a Na-tap and are accompanied by the Thon Chatri and Klong Chatri drums.; O songs are divided into 1) songs with a special rhythm called Ching Tat, without Na-tap but have music 2) songs with Na-tap, singing in Song Mai and Luk Yone and with a music; and Thon song uses a special  Na-tap, which is the "Balim" or "Kuen Ma", which is played to accompany the song, but no accompanying music. For the above song groups, the performers must have specific knowledge of the musical style that is correct according to the established conventions.