Rabum Sompoach Changpuak of Dara Rasami, the princess consort of Siam: A compositional conceptualization of vocalizations from Thai towards Lanna singing styles

Abstract

This research article aims to study a style of vocalization composed by Dara Rasami, the princess consort of Siam. The study employed qualitative research. As results, the study found that versification of lyrics was Kar or Rai poetic prosodies cooperated with the Lanna prosody. The lyrical words arrangement was similar to Thai full versal texts (Pleang Nuatem). Additionally, the lyric arrangement was fundamentally based on 3 melodies; a Yonoke style, a Chiang Saen style of Lanna Joi stylistic origin, and a Sor-yin style of Thai Laojoy song base. The study also revealed that vocalizing styles were pertained to main phrasal tonics (Luktok) changing up to melodies of refrain melodies (Sroi). There was a technique used of changeable high-low tones moduration to appropriate an expressing Lanna feel. The voice drawing technique (Euarn) consisted of uttering sounds such as; eu, heu, er, her, eay, erng-nger, heu-nger, and a three-step voice drawing as same as Thai vocalization style. Lastly, the conceptualization of this vocal piece indicated a principal adaptation of Thai musical style of the Royal court associated with Lanna folk style and has become practicing a unique character of the song.