A Musical Study of Phawet Sermon Melody in Bunphawet Tradition DOI:

Abstract

The research purposes include the study of the characteristics, pitch, and rhythm of the sermon melody performed in the Isaan Bun Phawet tradition. The research utilized qualitative research methods to collect data, study information from academic documents, fieldwork in the Boon Phawet Festival at Roi Et Province, study video and audio analyzing the audio recordings of sermons during the Boon Phawet Festival and interviews with Key Informants, and preachers. A digital oscilloscope was used to sample and record the audio recordings. Graphical statistics supplemented the descriptive analysis of the research results and provided an authentic representation of the passage of the sermon melody. The form of sermon melody in the 13 chapters of the Boon Phawet tradition contains two main melodies: The Walking Melody sermons, which has a steady and even melody movement, and The Lae (làe) Melody, which has an alternating pitch from high to low frequency. There are also three original traditional melodies: The Kah Then Gohn, The Chahng Tiem Mae, and The Lom Pat Prao. The Kah Then Gohn (gaa dtên gôn) alternates between a concise rounded Melody and a smooth melody. The Chahng Tiem Mae (cháang tiiam mâe) melody is an alternating melody that shifts between high and low frequency. The Lom Pat Prao (lom pát práao) melody moves to a higher pitch and smoothly returns to the primary tone without mixing words.