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Abstract
This research aimed to study classification of melodies, and elements of Pong Lang songs. The study of related data was used for methodology. Data of the purposive sample were collected from 3 groups of people, comprising: 1) 6 people of Isan music experts, 2) 6 people of Isan musicians, and 3) 10 people of other informational contributors. The instruments for research included forms of surveying, observing, and interviewing. The descriptive analysis was used for research report.
The results were that classification of melodies and elements in the Pong Lang songs was divided into 3 groups: 1) a basic level of songs as a group of Lai Yai. It had a short and compact melody such as Lai Pong Lang, Lai Toei, Lai Toei Khong, Lai Toei Phama, Lai Namtontaad, Lai Noksai Binkhamthung, Lai Lom phadphrao, Lai Lom Phadphai and Lai Mangphu Tomdok; 2) a middle level of songs as songs for performance. This group had its identity melody in side of lifestyle, tradition and culture of each area, which included Lai Phutai (Phutai Renu, Phutai Kalasin, Phutai Sakon and Muay Boran), Lai Toei (Toei Huanontan, Toei Kiao, Toei Dueanhah), Lai Lam Phloen (Mak Kupkaeb Lamphloen, Kalasin Lamphloen, Sarakham Lamploen, Manora Lennam and Sangsinchai), and Lai Zoeng (Zoeng Bangfai, Zoeng Kapo, Zoeng Yaekhai Moddaeng, Zoeng Klongtum, Zoeng Kratipkhao and Zoeng Sawing); and 3) a high level of songs (solo) was a group of Lai Yai and Lai Sudsanaen. It had a long and complicated melody and also a fast rhythmic pattern such as Lai Katenkon, Lai Laiwua Khuenphu and Lai Sudsanaen.The analytical results of a basic style category, middle style category and high style category are considered to be in the group of Siang Lai Yai style and Sud Sa Nan style having melodies ranging from short and compact melody to long and complex one. The composition of the Pong Lang styles is of slow, moderate, and quick tempos. There is a group of 5 tones which are Do, Re, Mi, Sol, and La. There are 2 types of Look Tok tones, namely La tone and Mi tone. Each style of the Pong Lang songs has a unique rhythmic pattern. There are techniques of separating hands in playing the Pong Lang songs by using the left hand side to tap while the right hand side to beat for conducting a melody and then switching hands for tapping and beating. There has to be a person who controls the Pong Lang’s harmony (Khon Sep) by conducting the tempos for musicians as well as plying music with other musical instruments such as Phin, Khaen, Vod and other accompanying Isan musical instruments.
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ศราวุธ โชติจำรัส ธนภร เพ่งศรี และ เจริญชัย ชนไพโรจน์