SAW-U PERFORMANCE TECHNIQUES FOR POH-CHANG PUPPET THEATER MUSIC ACCOMPANIMENT TO EPISODE OF NANG WAN THONG HAAM THUB FORM KHUN CHANG KHUN PAN

Abstract

Thesis on Saw-U Performance Techniques for Poh-Chang Puppet Theatre Music Accompaniment to Episode of Nang Wan Thong Haam Thub from Khun Chang Khun Pan. With the use of qualitative researching methods, aims to study the background and fundamental information that are related to Poh-Chang Puppet and it aims to study performance principles, techniques, and melodies of Saw-U being used for accompanying Puppet performance. The result of the study reveals that puppet performance was created during the reign of King Rama 5 and had been popular from then. Until 2541 B.E. Poh-Chang Puppet performance group was established, initiated by Suksan Puangklad, and supervised by Chuen Sakunkaew. The knowledge was passed along, and its unique identity was created. Saw-U is in combination with Wong Piphat (The Thai Classical Orchestra), therefore its principles of playing are 1) the tone of Saw-U is one level higher than Piphat which allows more convenience in puppet performance 2) decrease one volume during songs that are performed with Piphat. This study shows playing techniques that lead to the unique tonal timbre of Saw-U, as well as the outstanding accent based on each song’s identity. Ten mentioned playing techniques found in the songs are Phrom Pid, Phrom Perd, Kluen, Sabud Siang Diaw, Khran, Kratob Siang, See Siang Chid, Pra, Sabud Nen Siang Raek. The rhythms of Saw-U used in puppet performance can be divided into 4 types; phleng hoon krabok, sacred repertoire, miscellaneous pieces, and singing secular pieces in moderate and fast tempo.