SYNTHESIS OF THE ROLES AND DUTIES OF SAW-OU IN KRUENGSAI, KRUENGSAI PIJAVA, PIPAT MAINUAM AND MAHORI ENSEMBLE.

Abstract

              This article aims to review the prior understanding of the roles and duties of Saw-Ou in Kruengsai, Kruengsai Pijava, Pipat Mainuam and Mahori ensemble by analysis information from papers, educational books, researches and interviewing experts. To search the origin and review the role of clown of Saw-Ou and to search more roles of Saw-Ou through music ensemble context that Saw-ou popularly exist.

              It shows that the role of clown of Saw-Ou appeared first in The explaining of Thai classical music By Mr.Boonthum Tramote ,1938. It is an original manuscript of Thai classical music papers at the present, until this role of Saw-Ou was repeatedly told and published so the Thai classical musicians often make Saw-Ou’s melody from different tone like someone who jump up and down all the time. After that, there are many experts try to explain the various kind of Saw-Ou’s roles and duties depending on what ensemble it is, for example the role of making lively melody in Kruengsai ensemble, the role of making Kruengsai Pijava ensemble’s voice more firmly, the role of making more smooth voice for Pipat mainuam ensemble and also the duty of playing along when singer sing. In addition, Saw-Ou has a duty of being Krueng-Tarm (play after high-pitch instruments in Lor and Khud melody).