The Phra Malai Chant “The Mae Wandee Janjumrus Group”

Abstract

This research article Present information according to the first objective of the research on The Creation of “TAK SIN MALAI YA WAT” from knowledge Phra Malai Chanting by Mae Wandee Janjumrus Group. The primary objective of this study is to examine the insights knowledge from Mae Wandee Janjumrus’s rendition of the “Phra Malai” chant qualitative research methods. The data collection methodology employed comprises in-depth interviews and participatory field data collection techniques.

          The findings suggest that within the chanting of Phra Malai by Mae Wandee Janjumrus and her group, the verses employed exhibit a categorization into two distinct types. 1. Phra Malai chanting has been inherited from the Phra Malai chanting group. It comes from an old edition of the book “Phra Malai Kham Suad” that is assumed to have been written during the reign of King Rama III. However, the oral speech inheritance caused slightly different expressions. 2. Other chants, distinct from Phra Malai, serve various functions including opening overtures, farewells, communication with the audience, and recitation of verses. The majority of these chants consist of chapters extracted from literary texts or literary passages. Additionally, folk songs such as Lam Tat and Bok Suet have also been identified as being incorporated into the Phra Malai chanting tradition. The musical accompaniment employed during the prayers incorporates traditional folk instruments such as the saw duang, saw ou, tambourine, and various rhythm instruments which plays an important role in establishing an atmosphere for relieving grief at a funeral. Regarding the recitation of lines, a brief melody is employed, with each chapter featuring its own unique melody. These melodies exhibit discontinuous rhythms, setting them apart from paired musical melodies. A distinguishing characteristic is the utilization of “eh heh eh” melody singing.