Music for the Ritual of Kheun Tham Ram Tone Ban Chiang Sub-district Phakdi Chumphon District Chaiyaphum Province

Abstract

This research consists purposes were 1. to study the identity of the ritual of Kheun Tham Ram tone Ban Chiang Sub-district Phakdi Chumphon District Chaiyaphum Province and 2. to study the Musical element of the ritual of Kheun Tham Ram tone Ban Chiang Sub-district Phakdi Chumphon District Chaiyaphum Province. This qualitative research employed research instruments comprising structured interviews, observation forms and non-participant observation. The target group consisted of 18 participants, including key informants, practitioners and members of the general public, all of whom were selected through purposive sampling. The data collected from the research instruments and relevant documents were subsequently analyzed using content analysis. The results of the study indicated that 1) The identity of the ritual of Kheun Tham Ram tone, it is linked to the history of gold mining in Chaiyaphum province and is related to the belief in making vows and prayers. Currently, it is held on April 12 every year. To parade up to the Buddha statue and dance to offer holy things. It is important to be a charity in building unity and morale for the community. The transmission of ritual is primarily an oral tradition that relies on memorization and learning Real practical experience and 2) In terms of musical elements of the ceremony of Kheun Tham Ram tone. There is Tone as the main instrument played along with other rhythmic instruments including: Gong, Thai cymbals, Cymbals, Maracas and Tambourine. There will be vocals in the main melody, resulting in Indeterminate pitch. Currently, there are still 3 original songs left, used as prelude music for the Ram Tone performance dedicated to the deities comprised: Jodmai, Suksak and Rakkanchobkan. It has a Unitary Form structure, emphasizing the repetition of the same melody throughout the song.