A STUDY OF THE PHRA MALAI CHANTING MELODY FOR RUMSUAD PERFORMANCES IN THE EASTERN REGION

Abstract

This qualitative research aims to study the Phra Malai chanting melody for Rumsuad performances in the Eastern Region. The study used research methods to examine specific issues, including chanting, sequences of steps, and the gathering and analysis of chanting from three Rumsuad corps: the Arjun Luk Sunthorn Phu Rumsuad corps in Rayong province, Wichai Rachan Rumsuad corps in Chanthaburi province, and Mae Boonying Charoenwong Rumsuad corps in Trat Province. The research results found that the rules for chanting Phra Malai adhere to the contents of the Phra Malai chanting scripture, S. Thammaphakdi edition. First part, is the chanting of Pali verses, beginning with the topic of Phra Malai, history of Phra Malai, and the verse of  Phra Malai reciting hell. From the gathering and analysis of the data, it was found that the melody of Phra Malai chanting is a total of 25 melodies. The structure of all melodies is a short melody based on changing chants. The structure of all melodies is a short melody based on changing chants. The chant melody was used by the Euan Siang (drawing out the voice) method to switch chanting words, Sroi melody  (a part use for playing) , Sroi word (a part use for singing), inserting words, and repeating words. The scale depends on the initial note and has a range of no more than one and a half tones. All melodies consist of no more than five ending notes. The movement of sound has a direction of ups and downs, involving emphasis, sustainment, and movement according to the tones of the chants. Melody forms by moving the end of a note (which may be before or after the note) and having the normal beat, the free rhythm, and the special rhythm for some melody. The Phra Malai chanting follows  a pulse rhythm, but in Chanthaburi province, the musical instruments were used to.