Journal of Fine and Applied Arts Chulalongkorn University

Editorial

2026-05-01

INSTRUCTIONS FOR THE AUTHORS

2026-05-01

THE IMPLEMENTATION OF MARBLING ART ACTIVITIES FOR STRESS REDUCTION AMONG WORKING ADULTS

METASIT BUNAIKBUTH — 2026-05-01

This research article aims to investigate the marbling art technique and its effects on stress levels among working adults, with a focus on enhancing relaxation that positively influences mental health and overall quality of life. Art activities have increasingly gained attention as accessible therapeutic tools that generate positive emotional outcomes. This study presents a framework for designing marbling art activities that can be practically applied in organizational contexts as well as in everyday life to promote mental well-being among working adults in the contemporary era. In this study, the term “contemporary era” refers to the period from the 2010s through the 2020s, characterized by rapid transformations in economic, social, and technological dimensions, particularly following the COVID-19 pandemic since 2020. The experimental implementation included three marbling art activities: (1) marbling on paper, (2) marbling on fabric tote bags, and (3) marbling on origami paper cranes. The results revealed that the average stress scores of the 17 participants decreased from 60.23 to 38.05, indicating that marbling art activities significantly reduced stress among working adults. Participants also reported improved concentration, enjoyment in the creative process, and a sense of relaxation derived from observing and engaging with the fluid patterns formed on the water surface.

ENTRAINMENT AS A THERAPEUTIC MECHANISM IN MUSIC THERAPY: A SCOPING REVIEW

WEITING YUAN — 2026-05-01

Entrainment is a fundamental concept in music therapy, illustrating the profound influence of external rhythms on internal biological processes. It plays a pivotal role in music therapy as one of the key mechanisms for therapeutic change. Due to the wide variability in existing literature on the implementation of entrainment in music therapy, this scoping review aimed to summarize existing studies and identify key characteristics and outcomes addressed in this literature. Out of the 167 items identified from the initial database search, a total of 10 studies were selected for review, revealing a diverse range of methodologies and participant demographics. Predominantly conducted in the USA and Germany, these studies focused on various medical conditions, illustrating the diverse applications across different clinical settings. The reviewed studies primarily employed interventions involving receptive music therapy methods, utilizing live or recorded music to induce physiological and psychological changes in patients. These interventions targeted outcomes such as relaxation, pain reduction, and anxiety alleviation, measured through physiological markers and subjective assessments. Overall, while the existing literature provides valuable insights into the efficacy of music entrainment in therapeutic settings, there is a need for more rigorous research encompassing diverse methodologies, populations, and cultural contexts. Future studies should also explore the integration of new technologies to optimize music entrainment interventions and expand our understanding of its therapeutic potential.

GUIDELINES FOR THE CREATION OF THAI DANCE AT THE GRADUATE LEVEL IN STATE HIGHER EDUCATION INSTITUTIONS 2007-2022

NATTHAKAN BUNSIRI — 2026-05-01

This research article is part of the "Graduate Thai Dance Creation in Public Higher Education Institutions A.D. 2007-2022" project. The study aims to investigate and analyze the forms and approaches of creative dance in graduate programs at public universities in Thailand, with the goal of generating knowledge and guidelines for future development in the field. The research emphasizes the importance of creative dance as a catalyst for national development, impacting economic growth, tourism, social cohesion, community engagement, education, health, well-being, quality of life, and the nation's image. Moreover, creative dance plays a crucial role in preserving and promoting Thai cultural heritage. This qualitative research employs documentary research, examining 53 theses related to creative dance. Six theses aligned with the research objectives were selected as case studies for in-depth analysis and synthesis. The study utilizes meta-ethnography and content analysis as methodological frameworks. The findings reveal a prominent drive rooted in the "Scholar-Artist" concept, utilizing Practice-led Research. The creative forms specifically challenge traditional conventions, such as integrating Western literature into Thai dance dramas and interpreting religious signs through contemporary Thai dance and mixed media. The research is distinguished by the application of the "Scholar-Artist model," which emphasizes holistic storytelling and cultural amalgamation, thereby transforming dance into a dynamic tool for reflecting social realities, creating shared experiences, and preserving cultural heritage through innovation.

CREATIVE MUSIC COMPOSITION FOR EMOTIONAL WELL-BEING THROUGH MUSIC TECHNOLOGY

DANUCHATE WISAIJORN — 2026-05-01

As part of the Creative Musical Arts for a Better Society Research Program, the Music and Technology Project comprises ten musical compositions that are a two-fold exploration of the creative potential of music technology. First, the project investigates how various technological tools can be utilized to produce innovative musical compositions. Second, it aims to create music that evokes positive emotions in listeners. By combining these two objectives, the project seeks to push the boundaries of traditional music-making and contribute to a more harmonious society. Future research may delve deeper into the emotional impact of these compositions and their potential influence on listeners' well-being.

GUIDELINES FOR DESIGNING FUNCTIONAL CERAMIC SCULPTURES USING BIOPHILIC AND PLACEMAKING THEORIES TO ACHIEVE THE GREEN CITY CONCEPT

CHANAKARN SEMACHAI — 2026-05-01

Guidelines for designing functional ceramic sculptures using Biophilic and Placemaking theories to achieve the green city concept. This article is part of the research, a session to review literature, theories, and various concepts, and collect data from experts in related fields before being used in the design part. The objective is to find guidelines for designing sculptures using guidelines from the theory of 1) the Green City concept the Biophilia Theory. 2) Placemaking concept by collecting data from studying related literature and area surveys. The results of the research can be summarized in the following topics: 1) The Green City concept for Bangkok to be used as a guideline for managing and designing public spaces according to the Placemaking theory using functional sculptures, which takes into account 3 aspects: 1.1) Create participation between quality public spaces, local community, and users of the area 1.2) Create ownership to foster love and sense of belongings. 1.3) Create a feeling of friendliness and safety, appropriate to the identity of the area. 2) Biophilia theory is the use of physical elements of nature in design in three senses: nature, materials, design, and methods. By inserting natural properties into the design, such as shape, form, color, and texture.

THE CHARACTERISTICS OF BRAZILIAN MUSIC AND THE PIANISTIC IDIOM OF HEITOR VILLA-LOBOS IN POEMA SINGELO

PAULO RICARDO SOARES ZEREU — 2026-05-01

This study examines the distinctive characteristics of Brazilian music and the pianistic idiom of Heitor Villa-Lobos, focusing on his composition Poema Singelo (1942). The analysis explores how Villa-Lobos integrates elements of Brazilian musical tradition into his piano writing, emphasizing his unique approach to texture, rhythm, and harmonic language. Through a detailed examination of the piece, the research aims to provide insights into the composer’s stylistic development and the technical demands presented by his piano compositions.

Key areas of exploration include Villa-Lobos’s innovative approach to texture, his use of chromaticism and harmonic progression, and his manipulation of rhythm to evoke a distinctly Brazilian sound. The study also considers the piece’s structural organization and how these musical elements interact to create an expressive and cohesive artistic statement.

Additionally, this research highlights the technical demands of Poema Singelo, including its intricate textural layering, contrasting dynamic nuances, and expressive melodic shaping, illustrating the synergy between analysis and performance. By contextualizing the work within Villa-Lobos’s broader stylistic development, the study seeks to illuminate its significance as a microcosm of his compositional genius.

Ultimately, this investigation aims to enhance understanding of Villa-Lobos’s contribution to the solo piano repertoire and its lasting impact on the integration of Brazilian musical identity into classical music.

A CAGED SYSTEM-BASED ANALYSIS OF ELECTRIC GUITAR PERFORMANCE IN HAVE YOU HEARD BY PAT METHENY GROUP

WATHANYOO KAEWRAYAB — 2026-05-01

This research aims to explore the electric guitar performance of Have You Heard by the Pat Metheny Group using the CAGED fingering system as a framework for analysis. The study focuses on the fingerings Metheny uses throughout the piece-from the introduction to the ending-and examines how his playing reflects the principles of the CAGED system. The analysis looks closely at Metheny’s improvisation, especially his ideas, rhythmic phrasing, harmonic choices, and how his note selection relates to chord and scale structures.

The findings show that Metheny’s approach to finger placement often aligns with the A and E shapes of the minor pentatonic scale in the CAGED system. His improvisation frequently features sixteenth-note runs and triplet groupings, often played with short, syncopated rhythms that are a signature part of his style. Harmonically, Metheny uses perfect fifth intervals and minor 7th chords, sometimes omitting certain chord tones to make them more playable on the guitar. He tends to favor simple scales, often relying on the minor pentatonic scale to choose target notes and shape melodies. The study also finds that he uses diminished and major triads to lead into flowing sixteenth-note lines, a key element of his distinctive sound.

ANALYSIS OF ELECTRIC BASS PERFORMANCE IN ‘INNER URGE’ BY GARY WILLIS

CHAIPAT MUSIKARAK — 2026-05-01

This research aims to explore the electric bass performance in the song Inner Urge from the studio album None Too Soon by Gary Willis. The analysis is divided into three parts: (1) electric bass accompaniment to the main melody, (2) electric bass performance during the piano and guitar improvisations, and (3) electric bass improvisation. The study was grounded in the theoretical frameworks of musical modes, scales, chord progressions, and motif development. The findings revealed that Willis emphasized the use of chord tones interspersed with pedal notes, along with rhythmic patterns that align closely with the main rhythm section during the piano and guitar improvisations. His bass improvisation demonstrated the application of modes in accordance with chord progressions and the creative development of various motifs. Moreover, Willis constructed melodic lines by integrating modal usage with motif development. Instances of playing ahead of the beat and performing outside the established chord progression were also observed.

AN ANALYSIS OF ALAN DAWSON’S DRUM SET IMPROVISATION IN THE SONGS ‘PENTA BLUES’ AND ‘AIREGIN’ FROM WALTZIN’ WITH FLO ALBUM

KANATIP KWANRUNGVITAYA — 2026-05-01

This research investigates the musical concepts and structural elements in Alan Dawson’s drum set performances of “Penta Blues” and “Airegin” featured on the album Waltzin’ with Flo. The study specifically examines Dawson's improvisational approaches, the development of primary rhythmic cells, and the application of rudiment. The two selected pieces provide contrasting frameworks for drum improvisation. “Penta Blues,” composed by Dawson, is a 12-bar blues in 5/4 time, featuring an extended solo drum improvisation. In contrast, “Airegin” is a high-tempo jazz standard with an ABAC structure, where Dawson’s improvisations are integrated with solos from other instruments during sections B and C.

The research methodology involved the selection of compositions, a review of biographical and musical materials related to Dawson, and the establishment of a theoretical framework based on the analytical approach of Terry O’Mahoney and other relevant scholarly literature. The drum solos were transcribed by the researcher and verified for accuracy by a thesis advisor. Subsequent analysis led to the synthesis of findings and the completion of the thesis.

The study's results indicate that Dawson demonstrated a high level of mastery in integrating rudiment into his improvisational language. His solos utilized rudiment as foundational rhythmic cells, which were then developed through various musical concepts. Both pieces reveal a strong sense of formal organization and narrative continuity in Dawson's improvisational approach. The insights from this research may offer meaningful contributions to the pedagogy and development of jazz drum performance skills.

VIDEO INSTALLATION: SHAPING MY BODY

SAKONPAT CHOTPATTHAMANON — 2026-05-01

This research article stems from the researcher's childhood experiences of being overweight and unhealthy, prompting his parents to encourage physical exercise to become stronger and healthier. This journey led to a transformation of his body to conform to the idealized standards portrayed through various online media. Currently, we reside in the Posthuman World, where advanced technology and science aid in fulfilling imaginative ideals of bodily perfection. The objectives of this research are: 1) to contemplate the process of bodily transformation according to one's idealized standards, 2) to review ideas through study, research, and experimentation leading to the manifestation of bodily changes according to idealized frameworks, and 3) to explore avenues of creating conceptual frameworks through artistic experimentation. Furthermore, this research emphasizes a study process, starting with the research question “To what extent is the creation of an idealized body achievable?” The research methodology includes: 1. studying and researching basic information regarding body changes, 2. analyzing and synthesizing data to create the primary concept, 3. conducting practical experiments using one’s own body, 4. considering oneself as an object of experimentation, and 5. creating storyboards and doing experimental works. The research process mentioned above will lead to the concept of creating work related to building the researcher's ideal body through exercise and nutrition like a bodybuilder, as discussed in this research article, providing insights into research through experimental processes for the creation of artistic outputs.

“WIND WIND”: INNOVATION IN BRASS PLAYING

CHANAKORN PANMUAN — 2026-05-01

Brass instruments are loud instruments, which limit practice. It is difficult to find a place to practice. The loud noise disturbs others, which is a problem for brass players when practicing. The sound of brass instruments is created from “buzzing”, which is the vibration of the lips. Practicing with only a mouthpiece will cause the buzzing to have no resistance and make it difficult to set the sound. The researcher saw these problems and came up with the “Wind Wind” invention set and exercises with accompaniment as an innovation to help practice for brass players. It is a small device that is easy to carry. It has a soft sound for practice. It can be used with the mouthpieces of 5 brass instruments: trumpets, horns, trombones, euphoniums, and tubas. “Wind Wind” has a simulated finger for the finger-press system and a simulated slide for the trombone to give a feeling close to playing a real instrument. This device helps players practice daily by giving a feeling of resistance close to brass instruments. The wind training, tongue cutting, and scale make it convenient to practice anywhere, anytime. It helps strengthen the mouth muscles, increases the efficiency of practice, and develops the players’ skills. The materials used to make “Wind Wind” are made from commonly available HDPE (High-Density Polyethylene) plastic, which is recycled. The researcher has experimented by melting and making the mold himself and recorded the method to disseminate to teachers, students, and the public to try. In addition to the “Wind Wind” device, the researcher invented “practice lessons with accompanying music” to use with the device, which can download notes and accompanying music from YouTube to maximize the efficiency of the practice.

PERCEPTUAL EQUILIBRIUM IN THE ART OF AUDIO MIXING

PRATEEP JATTANAKUL — 2026-05-01

This article proposes a conceptual framework of perceptual balance in audio mixing, viewing audio mixing as a process of perception and aesthetic decision-making rather than merely the control of audio signals through technical parameters. The study aims to explain the relationships among auditory perception, visual perception through analytical tools, and the perceptual state of the mixing engineer in order to create works that exhibit overall quality and coherence.

The article argues that balance in audio mixing does not arise from the symmetry of physical parameters such as loudness or frequency, but rather from the organization of relationships among sonic elements in accordance with human perceptual mechanisms. Perceptual balance is explained through three dimensions: technical balance, which functions to control and correct the physical limitations of sound; perceptual balance, which involves listening to assign roles and relationships among sounds; and the mixing engineer’s perceptual balance in listening and creative decision-making.

Within this conceptual framework, the article discusses the role of intuitive mixing as a process that integrates listening, seeing, and the critical use of techniques, allowing technical parameters to function as indicators and problem-solving tools that support perception rather than as determinants of artistic quality. The article concludes that perceptual audio mixing represents a point of convergence between technical knowledge and the art of listening, and can serve as a conceptual approach for achieving balance in sound creation.