“THE RHYME READING STRATEGIES” IN THE THAI POEM RECITATION “BOT AKHAYAN” IN LEARNING SESSIONS 1-4

Abstract

The purposes of this study were: 1. to study and analyze the principle of rhythmic recitation in the “Bot Akhayan” and 2. to study and analyze strategies, rhythms, and aesthetics of poem recitation in the Supplementary Books “Bot Akhayan” in Learning Sessions 1-4. It was found that the principle of rhythmic recitation concerned the sound commencement or word communication for giving the meanings, the principle of rhythmic recitation for maintaining accuracy and being central media for expressing the five sounds of rhythmic recitation, namely, normal sound, high sound, low sound, lower sound, and same sound. Regarding study and analysis of the strategies, rhythm and esthetics of verse recitation and the strategies on “Bot Akhayan” studies, several strategies were found through analysis of the following five types of Chan strategies: Klon, Kab, Khlong, Chan and Rai. Four strategies were discovered as follows; 1. Falsetto 2. Speaking sharply 3. Drawl through the following three aspects: 3.1 Word drawl 3.2 Meaningful drawl and 3.3 Drawl at the end, and 4. Drawing out the note that can be divided into 4 aspects, namely, 4.1 Karn Huan [ʔɯɯ hɯ́ / hɯ́ ʔɯɯ hɯ́] at the end of the mid tonal mark. 4.2 Krun Siang is divided into two aspects, as follows; 1) Krun San (~) is to end with the low and falling tonal marks and 2) Krun Kratop Look Khau (=) is to end with the mid and rising tonal marks, 4.3 Chon Siang [ʔɯɯ /ʔɯɯ hɯ́] is to release voice from the middle level in the word with the falling tonal mark and high tone. Sometimes doing so is called melisma (Euen) to close the high tone. 4.4 Hon Siang or adding voice [hɯ́ ʔɯɯ] while raising voice at the end with the rising tonal mark.