ดนตรีประกอบพิธีกรรมเข้าทรง (โจลมม็วด) : กรณีศึกษา บ้านสองชั้น ตาบลสองชั้น อาเภอกระสัง จังหวัดบุรีรัมย์

บทคัดย่อ

abstract in Thai unavailable

The Music Accompaniment of the Spirit Possession Ritual (JolMaMuad) : A Case Study of the Ban-Song Chan Village in Song Chan Sub-District, Krasang District, Buriram Province

This research aims 1) to study the ritual music focusing on its objectives for performing, style of music used, occasions used, and melody composed (musical form analysis), 2) to study musical instruments used including their physical properties and musical ensembles and 3) to study the beliefs that ritual music is based upon. The research shows that

1. The objectives in which ritual music is performed vary in three different purposes including as the music for rituals paying homage to patron deities, as the music for Spirit Possession Ritual (JolMaMuad ritual, Folklore ritual) and as the music for ivory cutting rituals for elephants. During these rituals, there are six types of musical styles used including Cherd Klong song, Yua ProLung song, Ja Dol song, Hao Ta Sarae song, MaMuad KlewTa song and Ja Riang song. Ritual music is performed at three main occasions which are at the procedure of paying homage to patron deities, at the procedure of summoning spirits, and at the procedure for driving the devils out. There are three types of musical forms found in ritual music including Iterative Form, Binary Form, and Rounded Binary Structure, while there are 5-6 sound groups detected in ritual music, largest of which is G-G2. In addition, ritual music is also found to have 5 patterns of melody compositions, 2 types of texture which are Monophony and Idiomatic Heterophony, and 18 patterns of rhythmic structure contained in the largest case and 6 patterns in the smallest case.

2. The musical instruments used in ritual music include Ranad Ek (Xylophone), Khong Wong Yai (Bossed gong), Pi Salai (Double-reed oboe), Trua Klang (Two-string fiddle), Khaen Paad (Mouth organ), Taphon (Barrel drum), Glong Tum (Drum), Glong Kantrum (Single-headed drum) , Chab Lek (Small cymbals) and Ching (Finger cymbals). Prevailingly, the sound system of these musical instruments employ seven cents intervals structure in which Ranad Ek is performed Number 1-6 at 287, 22, 224, 320, 10 and 189 cents, Khong Wong Yai Number 1-6 at 47, 296, 197, 158, 63 and 252 cents, Pi Salai Number 1-6 at 140, 262, 95, 171, 189 and 115 cents, Khaen Paad Number 1-6 at 152, 33, 287, 204, 229 and 180 cents, Trua Klang Number 1-6 at 210, 185, 65, 239, 175 and 221 cents. Musical ensembles found are Khmer Piphat ensemble, Trua Kantrum ensemble and Khaen ensemble.

3. The beliefs that Spirit Possession Ritual Music are based upon in each phrase of rituals are found to be inherited from Khmer civilization. There are six songs for this ritual. These songs started for paying homage their patron deities, and then for bringing back one’s spirit, for summoning ancestral ghosts, for summoning rice field god, for casting the evils out and for curing the sick ones. These beliefs can, however, hardly be proven scientifically.