การศึกษาวิเคราะห์เรื่องเสภาเพื่อการเรียนการสอนวรรณคดีไทย / ไพศาล วงษ์ศิริ = ไพศาล วงษ์ศิริ = An analytical study of "Sepa" for Thai literature instruction / Phaisal Wonksiri
1.To collect sepa and study its historical background, including its various styles of recitation from relevant documents and resource persons. 2. To analyze the diction and recitation of sepa, 3. To investigate Thai teachers' opinions on learning and teaching sepa. The methods of this research were as follows : 1.The researcher studied the historical background of sepa. the biographical backgrounds of khru sepa (those who recite it), krub (a musical instrument made of wood to be tapped along while sepa is being recited) making and krub playing from various documents and resource persons,2. (a) Analyzing the diction in the ten selected verses drawn from four types of aepa entitled Khun Chang Khutt Phaen. Which were dealing with beauty, love, anger and grief, A speaciai type of analytical form was used in this diction analysis, (b) Analyzing the styles of sepa recitation by having two khru sepa recite and record the same selected verses of each type of sepa within ten minutes. The analytical method adapted from Flanders' Interaction Analysis Technique was used in this recitation- style analysis to find out values in percentage. Then these values were presented in tables and explained in a descriptive form, 3. Investigating the Thai teachers' opinions on teaching sepa from questionnaires answered by 93 teachers in secondary schools in Ayuthaya and Bangkok, The random sampling technique was used to find out values in percentage together with mean and S. D, values. Then they were presented in tables and explained in a descriptive form. The results of the research were as follows : 1. From the study through numbers of documents and resource persons, the researcher could collect information on sepa in various aspects : (a) presuraatipn on possible definitions of sepa given by resource persons ; (b) sepa and its poetic forms ; its origin and evolution; (d) thirteen sepa which were frequently recited and performed; (e) performance of sepa; (f) styles of recitation of emotional sepa verses on beauty, love, anger and grief; (g) styles of recitation of Mon and Laotian sepa,including their historical backgrounds.2. The diction analysis revealed that there were some similarities in the four emotional types of sepa. Most words were in a normal tone. Moreover, it Was found out that the first consonants in most words were low consonants. Comparatively, there were less middle and high consonants in those words. And there were very small numbers of cluster sounds,3. The analysis of recitation styles demonstrated by two khru sepa revealed that 62% of recitation was dealing with narrating a story. This technique of narration was found mostly in descriptive verses on beauty. There was less and less of this technique used in verses dealing with love, anger and grief, Moreover, it happened that there was a consistent use of the art of uttering only sounds with no words following them. These sounds were usually let out after the final sounds of some words in order to make a continuation from one word to another, and, sometimes make the recitation more beautiful. This art was found all over in the four types of sepa. As for the recitation of sepa verses on beauty and love, a special emphasis on each word Was made in order to arouse certain emotions. Sometimes, there was vibration of some sounds articulated from the throat to indicate firmness or greatness. Besides, there wa a little tune playing. The recitation of sepa verses on anger employed the technique of narration, the technique of stressing each word and the art of creating sounds after some words. In reciting sepa verses on grief, khru sepa used less the technique of narration. All other techniques were used except emphasizing each word, 4. It was found out from the questionnaires that learners liked teachers to recite aepa verses to them. They also would rather have poetic works in sepa form to be recited than having them read out loud with certain rhythmic patterns. At school, there was the lowest rate of inviting resource persons to lecture on sepa and recite sepa verses. The teachers themselves were interested in the art of reciting sepa. but they had very little knowledge of it. Most of them agreed that Thai teachers should be able to both read poetic works rhythmically and should be able to recite sepa verses properly, This ability, they thought, could make their teaching of Thai literature more interesting and effective. As for the students, having listened to the recitation, they would be able to find Thai literary works appreciable.
