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The purpose of this research study entitled Mor Lam Phuen was to investigate the background of Mor Lam Phuen and its lyric and melody based on data collected from publications and in the field through observations of and interviews with Mor Lam singers, experts, musicians and spectators. The findings were presented in the form of descriptive analysis.
Results of the study indicated that, in terms of background, Mor Lam Phuen can be classified into the classical period (beginning), classical period (later), and current period. During the classical period (beginning), the performance started at 9.00 p.m. and continued until dawn. There was no actual stage, but only a single mat spread on the ground. The spectators also sat on their mats. There were no electrical appliances to amplify sounds, but only the light from “torch.” Before beginning the performance, the singers had to perform Wai Khru ceremony to pay homage to and inform their teachers and sacred spirits around that area in order to make the performance a success. Mor Lam singers’ primary objective of this ritual was to boost their confidence before beginning the performance. After Wai Khru ceremony, performance started. During the classical period (later), the performance started at 9.00 p.m. and continued until dawn. Before starting the performance, Wai Khru ceremony was also performed backstage just like in the beginning period. After the Wai Khru ceremony, the performance began. During the current period, the performance also started at 9.00 p.m. and continued until dawn. It could be seen that during this period, songs were sung in combination with the music of Mor Lam artists.
In terms of lyric and melody, Mor Lam melody was an easy listening one accompanied by khaen (reed mouth organ) with high and low pitches reciting the poem, but the end sound was the same as the beginning. Ad-lib was usually long. However, ad-lib was rarely used since a Mor Lam artist had to make sure that he/she recited every word in the poem, which was usually long, and had to be sung continuously without a break. With regards to breathing, since the lyric or poem was very long, Mor Lam artists could hardly take a full breath so they had to repeat the words in order to take a breath before continuing with the singing. Regarding pronunciation of consonants, although there were a lot of words in Mor Lam poem or lyric, but every word had to be pronounced clearly and fully and ad-lib might be added for some words.
เนื้อหาและข้อมูลในบทความที่ลงตีพิมพ์ในวารสารศิลปกรรมศาสตร์ มหาวิทยาลัยขอนแก่น ถือเป็นข้อคิดเห็นและความรับผิดชอบของผู้เขียนบทความนั้น และไม่ถือเป็นความคิดเห็นและความรับผิดชอบของกองบรรณาธิการวารสารศิลปกรรมศาสตร์ มหาวิทยาลัยขอนแก่น
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