ขนบการบรรเลงวงปี่จุมในซอตั้งเชียงใหม่ : กรณีศึกษาพ่ออุ่นเรือน หงษ์ทอง / เมธินี ตุ้ยสา = The tradition of playing Pii-joom ensemble in saw Tang-Chiangmai : case study of master Ounruen Hongthong / Metinee Tuysa
The purposes of this research were to study the context of saw tangchiangmai, the sonic systems of pii-joom and the sueng in the pii-joom ensemble and the manners of performance of the saw music, and to analyses the melodies of the pii and the sueng in the ensemble played by Master Ounruen Hongthong, a talented and celebrated musician in the saw tradition. The findings of the research were 1) saw tangchiangmai had a long history and became a unique music genre of the society, 2) its functions were closely related with social life and Buddhism through the ages and 3) the saw tradition and the saw performers had a better life and status because of governmental recognition and support. The sonic system of the pii-joom was a seven-tone system that was similar to that of the standard Thai system, and the sonic system of Master Ounruen Hongthong’s ensemble was a little higher than other ensembles in Chiang Mai. This was apparently the unique identity of Master Ounruen Hongthong because his ensemble had a higher register. There were seven stages in performing the pii-joom in tangchiangmai. The seven stages consisted of five tunes, which were Khoengpii, tangchiangmai, joychiangsaen, japuh and lamai. The analysis revealed that the melodic lines of the pii-lek and pii-klang were mostly parallel and inserted with those of pii-koy and sueng. The line of pii-koy was the most similar to the vocal line and, at the same time, emphasized some specific notes with the other two pipes. There were special techniques in playing the pii, such as hom and sauklom, heard all the time, and the sueng played principally tang-kep. The analysis also revealed that, in saw tangchiangmai, there were various groups of selected pitches used to make different songs in the series. This could be compared with tang-nok, tang-klang, taang-piangor-bon and taang-java. These analyses confirmed that saw tangchiangmai was the outstanding song which represented the true lifestyle of Lanna people with the nature.
