The Creativity in Musical Composition for Sorapanya Chant

Abstract

The research of Creating the Chant of Sorapanya Melody be the creativity research had objectives to 1) Study history and background and the structure in the Chant of Sorapanya Melody 2) Study the structure of the chant, melody of Sorapanya and 3) To create a song for the chanting of Soraphanya. The results showed that the history and structure of the chanting of Soraphanya It is a consonant melody, which is the rhythmic recitation of a prosody sentence. Pray in Pali for worshiping the Triple Gem. Later in the reign of King Rama V, Phraya Srisoonthornvohan (Noi Ajarayangkul) translated the various hymn songs in Thai prosody are called Kamnamassakarnkunanukoon -graceful worship songs, the studying found that the structure in Buddha worship be Indrarawichian prosody 11 of 7 prosodies songs, Dharma worship be Gapchabang prosody 16 of 7 prosody songs, Monks worship be Gapchabang prosody 16 of 9 prosody songs. In creating the Chant of Sorapanya Melody had token Thai Music instruments to apply as the properly playing with lyrics and songs texts, its are Klui, Ranad-ake, Ranad-toomlek, Klongtad, Sorduang, Sorouu, Ching and the pair of krubs. Play with international instruments to suit the meaning and melody of each chants. by sticking to the original and more melodies and lyrics were written in the lead music, intro, conclusion and end music of all 3 songs, which would convey more meanings and moods as 1) Song of Praise to the Buddha There is an idea to understand the virtues of the Lord Buddha, consisting of 3 parts: the lead music, the psalm of praise to the Buddha, and the conclusion. 2) Dharma worship chant had the thought in unlimited of Dharma practicing, the lyric texts be 4 parts of the leading by music, introduction part, the Dharma worship and conclusion. 3) Song of praise to the monks There is a concept of the merits of the monks who are worshiped. It consists of 3 parts: the lead music, the hymn to the monks, and the conclusion.