Characteristics of Khong Wong Yai Melody in the Naphat Pieces in Thossathep

Abstract

          This article aims to study the identity of the khong wong yai's melody (meu khong) occuring in the advanced naphat in Totsathep, which is part of the thesis titled "Duriyaphatyabhiromya, Tossathep Aphiwanthana". The qualitative research method was employed. By focusing on a tra for the wai khru ceremony as well as khon and lakhon performances, to which the ten Hindu gods are referred. The findings revealed that khong wong yai's melodies of the tra represent their characteristics through thang as a discourse of the gods' imaginary and divine expression under the compositional structure of tra genre. This identity established relies on embellishment and instrumental practice of the khong wong yai