Vocal Techniques for Fighting Scenes from Raja-Dhiraja Ethnic Drama Performance (Saming Phra Ram Asa Episode) by Department of Fine Arts

Abstract

This research is part of the dissertation regarding “Vocal Techniques for Fighting Scenes from Raja-Dhiraja Ethnic Drama Performance by Department of Fine Arts”, aiming to study the vocal techniques and style of singing for fighting scenes from Raja-Dhiraja ethnic drama performance (Saming Phra Ram Asa Episode) by Department of Fine Arts. It makes use of qualitative research to interview Kru Somchai Tubporn who is in charge of making the role play, recording the music, and relaying the method of singing. Including others related professions. The acquired information is arranged in form of descriptive analysis.

This study of Khru Somchai Tubporn’s singing illustrates precedence to interpreting the singing emotions to sync with the character’s emotions through 8 techniques. These vocal techniques are divided into 2 groups: 1. special techniques to enrich the lyrics including rhythm alterations (Kan Lak Changwa), word modification (Kan Pan Kham), rolling tones and words (Kan Muan Siang Muan Kham), voice diversion (Kan Phan Siang), and stressing tones and words (Kan Nen Siang - Nen Kham); 2. special techniques to decorate the wordless vocalization (euan) including embellishments with a grace note (Kan Kra-thop Siang), triplet (Kan Sabud Siang), spreading tones (Kan Proi Siang). As for the singing style, the result can be divided into 3 types including: 1. style of singing in the play while exhibiting emotions of the characters; 2. style of singing from assigning singers from the play; 3. style of singing emerged from the relationship between the singers and the ensemble.