The objectives of this thesis are 1) to study the contexts related to performing of Maw Lum 2) to study vocal techniques used in Mow Lum apart from document research, singing and 3) to study Maw Lum Chaweewan Panthu’s practice in performing Maw Lum Klon. The researcher uses the qualitative methods including interviews with Maw Lum Chaweewan Panthu and other experts by field study in which the researcher has spent a year and four months with Maw Lum Chaweewan Panthu.
The result of the research shows three concepts of Maw Lum origination. First, Maw Lam was derived from Buddhist sermons perforomed by Buddhist monks. The other two sources of Maw Lam rituals and from courtships. Maw Lum can be classified into six types: Maw Lum Pee Fah, Maw Lum Puen, Maw Lum Klon, Maw Lum Moo, Maw Lum Plern and Maw Lum Sing. Maw Lum Chaweewan Panthu’s tone used in performing can be sorted into six types. Maw Lum Chaweewan Panthu’s practice in performing Maw Lum Klon can be divided into Maw Lum Klon and Spacific Mor Lum. Process of performing Maw Lum Klon are divided into two phrases: the Pre-Stage phase, in which respect are paid to the masters, and the On-Stage phase. The On-Stage phase Act 1 begins with show respect to the teacher, Act 2 with Lum Tang San for announced, Act 3 with Lum Tamg San for tell the story of buddhist, Act 4 with Lum Tang Yaw following by Lum Toey, which contains Toey Khong, Toey PhamaRumkhoun, Toey. On the contrary, Spacific Mor Lum is not usually performed in separated acts as in Maw Lum Klon. It is performed only in some particular and special occasions.
Maw Lum Chaweewan Panthu’s vocal techniques used in performing Maw Lum Klon can be characterized in 9 ways i.e. vocal alteration, vocal assimilation, vocal snapping, vocal flipping, vocal extension,addition of prepositions, vocal emphasis and vocal startling.
