| บทคัดย่อ(English) |
The AIM of this research was concerned with research methodology in terms of (humanistic) musicology. The study was divided into 3 parts namely, data collection, data analysis and presentation of the findings. The researcher collected data by collecting texts, interviewing people who were associated with traditional tabtao music. These people were the players, the composers and the specialists. For the sake of analysis case study, the researcher recorded the actual concert. The musicians are three recognized Tabtao players of the province. They were Faktha Buntherngsilp. The Elders Tabtao players of Nampad, and the Baan Na Khanthoong Band. The findings were as follow: The traditional Tabtao music was basically used only for the tabtao. The music was developed from old Thai Nois Bailaan literature. It was depicted as tales until composed for playing with two instruments, that was, Saw tabtao and, Klongtabtao. The only song played was tabtao. The researcher found out that traditional Tabtao music emphasized music relevant to the movements of the characters. The tone of the Tabtao music was divided into five tones, the were C (Do), D (Re), E (Me), G (Sol) and A (La). The major rhythm consisted of two parts (Saw Peep), the structure of the rhythm consisted of a repeated play in each part which depended upon how the music was played. The first part was used while the music was played, and the second was used as the ending. The movement of the rhythm was commonly used 2-tone wide, then jumed to the third and fourth respectively. The direction of rhythm movement up and down was seen as very quick which to be ended at D (Re). In the decoration of the rhythm beauty, it found that every band used a drum pattern in two parts: the performance and the ending. |
