Journal of Fine and Applied Arts Chulalongkorn University

Editorial

2026-10-02

Instructions for Authors

2026-10-02

NEURO DESIGN PRINCIPLES IN DESIGNING ILLUSTRATIONS FOR COMMUNICATING ACADEMIC CONTENT TO UNDERGRADUATE STUDENTS

PLOY NIKADANONT — 2026-10-02

The objective of the research is to employ Neuro Design Principles to identify the keys that contribute to visual processing fluency and to determine visual elements and compositions that align with the brain's processing mechanisms, in order to improve attention giving, comprehension, and memory of the target audiences, which are undergraduate students. In this study, the researcher collected samples works that won the awards in the international level to use as case studies for analyzing keys that influence visual processing fluency and types of visual elements and compositions. The findings will serve as design guideline for developing creating illustration that communicate four types of academic content: 1) Story 2) Information 3) Procedure and 4) Evaluation. The findings of this study will be used as a guideline for developing a prototype, which will subsequently be tested with the target audience.

A CREATIVE WORK, THANG DIEW KHIM IN KHAEK SAI SONG THONBURI SIDE

SUWIWAN LIMPACHAI — 2026-10-02

This research aims to study the musical structure and identity of the Thonburi-style “Khaek Sai Sam Chan” (Three-layered Khaek Sai melody) solo piece on the khim (Thai zither) and to create a solo piece for this melody in the Thonburi style. Using qualitative research methods, the findings indicate that this solo khim piece was created by defining the form, melody, musical structure, and sound groups that serve as excellent exercises for understanding the solo piece's form. It comprises “Tiew Ood,” which is typically composed similarly to a vocal melody, and “Tiew Phan,” which requires an initial understanding of poetic meter and rhyme. The large gong ensemble is designated as the primary instrument for melody variations. The composition sequence begins with a thorough study of the main melody and specific instrumental variations, considering the emotion, lyrics, and nuances, selecting melodies appropriate to the performance style, and utilizing internal and external rhymes and carefully considering the falling notes. The unique characteristic of this composition is the harmonious arrangement between the Thonburi-style gong melody and the khim variations in the solo performance. The selection of melodies appropriate to the characteristics of the instrument, such as flicking, crushing, rolling, and hooking techniques, was composed by the researcher focusing on special techniques and considering the suitability of the main melody of the three-tiered Khaek Sai song.

THE DEVELOPMENT OF AN INNOVATION FOR THE TRANSMISSION OF ADVANCED JAKHAY SOLO PERFORMANCE SKILLS IN THE HOM HUAN SAM CHAN

THITI TASANAKULWONG — 2026-10-02

This study aims to develop an innovative Jakhay solo composition framework to enhance advanced performance skills, specifically using the traditional repertoire Phleng Hom Huan Sam Chan as a case study. Employing a mixed-methods research design that integrates qualitative and quantitative approaches, this study establishes a structured system for musical creation and pedagogical evaluation.

The findings reveal that upgrading performance techniques requires innovative plucking methods and advanced ornamentations, notably the three-tone Sabat, specialized Sabat variations, and Khayi. Furthermore, this research introduces two distinct Jakhay solo variations characterized by unique melodic identities and idiomatic fingerings. These variations incorporate complex techniques such as Khuang or octave-doubling/phasing, cross-string plucking, wide-interval melodic leaps, and structural repetitions. To facilitate knowledge transfer, a novel pedagogical tool was engineered based on micro-melodic unit analysis, culminating in a specialized tablature system. This innovation is delivered via instructional videos featuring synchronized tablatures, live demonstrations, and an electronic metronomic accompaniment to ensure systematic and consistent rhythmic pacing. Ultimately, this tool should be integrated with traditional master-apprentice instruction to achieve comprehensive mastery of the Jakhay solo technique.

DOCTORAL CREATIVE MUSIC PERFORMANCE: THE INNOVATIVE APPROACH OF THE MODERN PIANO CHAMBER

KRITIN SUTHAMCHAI — 2026-10-02

Piano performance is an important and diverse art form in the world of music, especially piano chamber referred to the use of more than one piano played simultaneously or a piano played in combination with at least one other type of musical instrument. This creative music research aims: 1) to collect data on compositions in performances, such as the history of the compositions and the history of the composers, 2) to develop the potential of performers in various aspects of piano performances, such as compositions interpretation and techniques for performing piano chamber pieces, 3) to disseminate important piano chamber compositions by composers in the Baroque era, Classical era and Romantic era for those interested, and 4) to promote the piano chamber performances of unique performers to the international level. The researcher has selected chamber piano compositions according to the type of pianos used in the performances which are famous and important to literature in contemporary periods. The compositions are analyzed, interpreted, and used for piano practice. There are altogether 3 concerts in the series titled “DOCTORAL CREATIVE MUSIC PERFORMANCE: THE INNOVATIVE APPROACH OF THE MODERN PIANO CHAMBER.” The researcher gathered information from documents, textbooks, and related research and presented it in the form of an academic article by highlighting 3 musical works: 1) Piano Concerto in A minor, Op. 54 by Robert Schumann, 2) Variations on a Theme by Haydn for Two Pianos, Op. 56b by Johannes Brahms, and 3) Concerto for Three Harpsichords in D minor, BWV 1063 by Johann Sebastian Bach.

TECHNIQUES AND INTERPRETATIONS OF TWO-PIANO LITERATURE IN CONTEMPORARY PERSPECTIVES ON MODERN PIANO

RAVISARA SORATANA — 2026-10-02

The objectives of the study are 1) to study and analyze two-piano techniques on a modern piano, 2) to present ways of interpretations for two-piano literature in contemporary perspectives, and 3) to create a two-piano performance concert on a modern piano which is different from keyboard instruments in the composers’ time. The researcher selected three distinct masterpieces for two pianos from three music periods. The pieces are as follows: from the Classical period, “Sonata for two pianos in D major, K448 (Wolfgang Amadeus Mozart)”, from the mid-Romantic period, “Variations on a Theme by Haydn Op. 56b (Johannes Brahms)”, and from the late Romantic period to the early twentieth century period, “Caprice mélancolique for two pianos (Reynaldo Hahn)”. The processes of the methodology are 1) analyzing piano techniques, 2) creating ways of two-piano interpretations, and 3) creating a two-piano concert and publishing a research article to the public. Research findings suggest that 1) the quality of analysis and interpretations with high academic musical skills is crucial for ways of piano playing practice and the creativity of using techniques on a modern piano, and 2) the creativity of using piano playing techniques for two pianos on a modern piano is impacted differently on music styles, sound and self-expression based on each individual pianist’s background knowledge, piano skills, and life experience. This research’s aesthetic experience of the two-piano performance has shown deeply understanding of interpretations with new approaches to two-piano playing techniques.

MUSIC COMPOSITION: “STEPS TO NIRVANA” FOR JAZZ ENSEMBLE

ITTISAK PANYAYAI — 2026-10-02

MUSIC COMPOSITION: “STEPS TO NIRVANA” FOR JAZZ ENSEMBLE is music composition inspired by the researcher’s interest in Blues and Jazz Music. These genres have influenced the researcher, particularly through their emphasis on the freedom to improvise within flexible rhythmic frameworks. This approach allows musicians to express creativity while adhering to Jazz’s structural harmonies. “STEPS TO NIRVANA” is divided into three movements, with a total duration of 15 minutes. Each movement has a distinct title: Kawraek represents Blues, which serves as the fundamental basis of Jazz. Kawtor reflects the development of Jazz, advanced by musicians with deeper musical knowledge. Now symbolizes the researcher’s integration of learned elements into the creative process. The researcher employs various techniques in the composition, including imitation, syncopation, contrafact (reworking chord progressions), and other elements. Inspired by Buddhism, Kawraek represents the Buddha’s birth, Kawtor represents enlightenment and Now represents Nibbana.

MUSIC OF RESILIENCE: THE SYMBOLIC MEANING OF DEFIANCE IN DMITRI SHOSTAKOVICH'S CELLO CONCERTO NO. 1

NUTTANON GOOGIETGARN — 2026-10-02

This research article aims to study and interpret the composition “Cello Concerto No. 1 in E-flat Major, Op. 107” by Dmitri Shostakovich, focusing on its symbolic meaning as a form of resistance against authority and its influence on musical compositions during the Soviet era. Shostakovich, a renowned 20th-century Russian composer, faced intense societal pressures and ideological control under Stalin's regime, which demanded that artists produce works supporting nationalist ideologies while banning musical styles perceived as subversive or critical of the state. The findings reveal that this concerto reflects resistance to authoritarianism through its complex musical structure and volatile emotional expressions across its movements. The cello serves as a symbol of the oppressed people. For instance, the first movement conveys aggression and suppressed emotions; the second expresses sorrow over the consequences of war and oppression; and the third and fourth movements depict the tension between the people’s desire for freedom and the state’s strict control. Shostakovich’s work in this piece is thus regarded as a symbolic expression of defiance and resilience by an artist navigating an era when politics heavily influenced artistic freedom.

A SYSTEMATIC APPROACH TO PIANO PRACTICE AND BRAZILIAN MUSICAL IDENTITY IN HEITOR VILLA-LOBOS’S VALSA DA DOR (1932)

PAULO RICARDO SOARES ZEREU — 2026-10-02

This research explores Heitor Villa-Lobos’s Valsa da Dor (Waltz of Sorrow) which was composed for a solo piano. This poignant and introspective work highlights the composer’s unique approach to blending Brazilian folk idioms with Western classical traditions. The study provides an in-depth analysis of the piece, focusing on its historical context, thematic material, harmonic language, and emotional narrative. By emphasizing the technical and expressive challenges inherent in its performance, the research underscores the significance of Valsa da Dor within the repertoire of Brazilian art music.

The research methodology combines historical inquiry, score analysis, and interpretative studies to offer a comprehensive framework for understanding this work. This multifaceted approach aims not only to uncover the layers of expression that characterize Valsa da Dor but also to support performers and educators in their engagement with this piece. The study highlights the importance of this composition in advancing the understanding of his artistic and pianistic legacy.

MUSIC IDENTITY OF JAKHAY THANG PHUEN MELODIES BY KHRU NIPA APHAIWONG

THITIPONG RATCHAWONG — 2026-10-02

This research aims to study the context related to the transmission of Jakhay (Thai Zither) performance by Khru Nipa Aphaiwong and to examine the identity of the Jakhay melodies in the traditional compositions of Khru Nipa Aphaiwong.

The findings reveal that Khru Nipa Aphaiwong passed on her Jakhay performance skills to two groups of students: members of the Thai Music Club at Ramkhamhaeng University and private students who studied at her home. Khru Nipa Aphaiwong selected her students carefully before beginning her instruction. The teaching method involved oral transmission and demonstration of playing techniques without the use of musical notation. Instruction began with basic techniques, such as wrapping the Jakhay plectrum and using it properly and progressed through compositions from a suite of fundamental songs called “Tab Thon Phleng Ching” to advanced solo pieces, adjusted according to the student's abilities. Khru Nipa Aphaiwong taught her students with great compassion, fostering a deep bond between the teacher and students.

Regarding the identity of Jakhay melodies, it was found that the melodic variations of the Jakhay consist of eight forms: sequential melodic progression, alternating high and low notes, repetition of the same note, sudden leaps of three to four notes, abrupt shifts in melody, contrapuntal melodic development, melodic overlay, and incorporation of various Jakhay techniques into the melody. The techniques of the Jakhay melody are categorized into three forms: trills, use of wire strings, and non-repetitive melodic improvisation.

GUARDIAN DEITIES OF SAKHON BURI CITY: CARVED WOODEN TABLETS AT PUN TAO KONG SHRINE OF THA CHALOM COMMUNITY SAMUT SAKHON PROVINCE

PRAPHAT CHUVICHEAN — 2026-10-02

At the Pun Tao Kong Shrine in the Tha Chalom community of Samut Sakhon Province, six Jawets (sacred wooden tablets) depicting deities dressed in traditional Thai attire are preserved with no referring documentation. This article aims to study on artistic forms, dating and iconography of these wooden tablets which will relate to the history of Samut Sakhon City in ancient times. The results of analysis suggest their age from the mid-Ayutthaya to the late Ayutthaya periods (about mid 16th to mid 18th century AD). The iconographic significance of these Jawets can be determined as the guardian deities. The most obvious example is the Jawet depicting a deity riding a bird, likely referring to Phra Kan Chai Si, one of the groups of ancient Thai city guardian deities. All of the Jawets were probably brought from Ban Tha Chin, the original community center, and thus likely represent the former city guardian deities. They are contemporary with the establishment of Sakhon Buri (former name of Samut Sakhon) in the Middle Ayutthaya period at mid of 16 thcentury AD, prior to its relocation of the city from Ban Tha Chin to the Mahachai region later during the Rattnakosin period after late 18th century AD.

THE TWELVE SISTERS: A REPRESENTATION OF ORAL TRADITIONAL MUSIC ADAPTED INTO TELEVISION SERIES

PRACHYA BOONMASOONGSONG — 2026-10-02

This article is inspired by the theme song of the Thai folktale drama, “Nang Sib Song” (The Twelve Maidens), produced by Dida Video Production Co., Ltd. and Samsearn Co., Ltd., and broadcast on Channel 7 of the Royal Thai Army Television Station. Its purpose is to analyze the theme song of “Nang Sib Song” as an example of the adaptation of traditional folk melodies into modern, popular media.

Upon examining the structure of the theme song for “Nang Sib Song,” it was found that the theme song is composed from the melodies of Lao Phan and Suad Lam Nok, which originate from traditional Thai performances, that is, the Layman Chanting melody and the Lao Khaen folk song. These types of performance are rarely seen or heard nowadays. Both melodies have a history and mood that are appropriate to the story. Its uniqueness and the key elements that make the storyline easily memorable and understandable to the audience have made this an interesting adaptation of traditional Thai folk performance to modern creative media.

GUIDELINES FOR CELLO INTERPRETATION IN “KHRUAN FANG KHONG RHAPSODY” FROM THE CREATIVE PROJECT “THAI TRACES 2”

APICHAI LEAMTHONG — 2026-10-02

This article aims to present interpretative approaches and performance practices for the cello part in Khruan Fang Khong Rhapsody for a piano trio, composed by Kaival Kulavadhanothai (Silpathorn Artist) under the creative project “Thai Traces 2”. This piece was selected as a case study because it builds upon the contemporary musical foundation of Bruce Gaston, which transformed traditional folk identity into contemporary musical expressions. Furthermore, it reflects a collaborative process between the composer and performer in discovering new cello techniques to convey Thai folk identity within an international piano trio context. The findings reveal that interpreting this contemporary classical work as program music imbued with Northeastern Thai (Isan) sonorities requires natural flexibility in tempo modification and the adaptation of Western string techniques to realize the composer’s intended imagery. These techniques include nail-side fingertip pizzicato to imitate the consistent and incisive timbre of the Isan phin lute, artificial harmonics played near the bridge to evoke a contemplative and melancholic atmosphere, and slides combined with dynamic control to juxtapose humor with seriousness in transitional passages. The study offers performance guidelines for adapting cello techniques to convey Northeastern Thai folk identity through the modification of pizzicato touch, bow weight, and tonal control, thereby enabling classical string players to accurately interpret and express Thai musical aesthetics through Western instruments in accordance with the composer's intent.