Sanai : The Ethnomusicological Identity of Mekong River Basin Ethnic Groups and the Innovation of Folk Performance DOI:

Abstract

This research employs a qualitative methodology rooted in ethnomusicological fieldwork and descriptive analysis. The primary objectives are: 1. to investigate the shared cultural identity of the Sanai among ethnic groups in the Mekong River Basin; 2. to analyze the musical identity of the Sanai; and 3. to create musical performance innovations centered on the instrument. The study focuses on three key geographical areas: Southern Northeast Thailand, Southern Laos, and Northern Cambodia. The findings reveal that the Sanai serves as a shared cultural identity linked to the histories of various ethnic groups in the Mekong region, including the Kuy (Suai), Khmer, Lao, Yer, Bru, Katu, and Mnong, and known by various regional names such as Sanai, Sanong, Saneng, and Tar-lo. The instrument is traditionally crafted from buffalo horn or ivory. The Sanai holds a significant cultural connection to elephant-roundup rituals and the spiritual belief in the sacredness of buffalo sounds. It is utilized both as a sacred object in high-order rituals and as a musical instrument for entertainment. Regarding musical identity, the Sanai is a free-reed aerophone with a single reed, typically made of bamboo, inserted into the body of the horn. Pitch modulation is achieved through three distinct levels by manipulating the openings at the tip and the bell of the horn. Furthermore, this research successfully innovated the instrument by calibrating its pitches to the Western chromatic scale—specifically C, D, and E. Traditional melodies were transcribed into Thai and Western notation systems, facilitating the creation of a large-scale folk ensemble performance involving 200 Sanai players.