Journal of Fine and Applied Arts Chulalongkorn University

Editorial

2024-11-27

Instructions for the Authors

2024-11-27

MUSIC FOR CHILDHOOD CREATED FROM THE IDENTITY OF CENTRAL THAI FOLK SONGSS

Patcha Noisa-ard — 2024-11-27

This academic article is part of the knowledge based on the thesis “Process of Creating Songs for Early Childhood in the Dimension of Central Thai Folk Songs.” To present the creation of music from central folk identity, it consists of 1) field data collected to obtain information about the identity of central folk songs including interviews, observation and learning from folk artists and scholars, and 2) music creation including music design, music composition and commentary, music criticism, manuscript preparation and presentation. This article is an alternative or leads to further knowledge of the creative process according to ethnomusicology.

Klom Khanang: The Transmission and Creation from The Play Ngo Pa by King Chulalongkorn

Kritsana Saisunee — 2024-11-27

The research paper entitled “Klom Khanang: The Transmission and Creation from the Play Ngo Pa by King Chulalongkorn” aims to create a performance set called “Klom Khanang” by developing the knowledge of Thai classical dance. The research used a creative research method to study data from books, academic papers, and interviews, which were then analyzed and synthesized to create the performance. At the beginning of the play “Ngo Pa”, the story describes Khanang, a young boy from the Sakai (Mani) tribe, going to meet his friend Mai Phai. In this part, the song “Klom” accompanies Khanang's journey. The researcher adapted the royal script to make it suitable for the performance. The performance is presented in the form of a dance drama. The costumes and props are designed based on interviews with Mani people, with some adjustments to make them suitable for the performance. The performance consists of three steps: (1) entering the stage, (2) describing the characters, and (3) dancing to the song “Klom”. The dance movements use Thai classical dance movements, with some added movements to imitate the natural movements of children and Ngo Pa people. In addition, the creativity of dance moves has increased. Therefore, this performance set is a continuation of Thai classical song and dance knowledge based on the royal script of “Ngo Pa”. The creation of dance choreography is also designed for harmonious combination.

The Survival and Social Roles of Chinese Music Ensemble of Traisarana Buddhist Foundation in Chonburi Province

Apichai Limtaveekiettikul — 2024-11-27

This research is qualitative research. The objective of this research is to study the survival and social roles of Chinese Music Ensemble of Traisarana Buddhist Foundation in Chonburi province. The researcher has chosen two main groups of informants: firstly, experts in musicology and ethnomusicology who have expertise in principles and concepts of Chinese music as well as the existence of Chinese music ensembles in Thailand, and secondly, Chinese musicians who have experience, expertise, and relationship with Chinese Music Ensemble. The researcher has collected information by snowball sampling through analysis, connection, and presentation in a descriptive analysis.

The results show that Chinese Music Ensemble of Traisarana Buddhist Foundation has been established since 1939. Its missions are to perform in religious rites and be part of performances. It is famous for its ritual procedures, and well-equipped Chinese instruments; it relies on oral tradition for its existence. There are nine annual traditional ceremonies. The form of chanting for rituals uses religious chanting music called “Xiang hao,” which has a unique character. Nowadays, there are only two academies in Thailand which are teaching Xiang hao. The main performance is led by Yang Qin or Erhu, which will undertake the original Chinese score. Other instruments will perform the transforming melody, while the cello and keyboard will be in charge of controlling base and chorus sounds. This ensemble holds the performing role in important rites such as the Chinese funeral ritual, the rite of paying respect to the deceased, the royal blessing ceremony, and the groundbreaking ceremony.

PERFORMANCE METHODS OF SAW-DUANG IN KHREUNGSAI PICHAWA ENSEMBLE BY KRU JIRAPON PETCHSOM

Supapipat Posuwan — 2024-11-27

The study aimed to explore the performance methods of Saw-Duang in Khreungsai Pichawa ensemble and the melodies of Saw-Duang in Khreungsai Pichawa ensemble by Master Jirapon Petchsom. The findings showed that Saw-Duang played an important role in the ensemble as a leader. Performing Saw-Duang in the ensemble required the understanding of the musician in the instrument’s role and the use of appropriate melody to be the foundation of the ensemble. The performer must be precise in the main melodies of the tunes and expertise in key transposition to perfectly respond to the fast tempo of the ensemble. There were four approaches for performing Saw-Duang in Khreungsai Pichawa: learning the main melodies, practicing modulations, composing melodies, and adding special techniques. Additionally, the Saw-Duang musician was able to perform in either Saw-Duang tuned the original key or Chawa key. The study found four types of melodies that were performed: the main melodies, conjunct melodies, repeating melodies, and ascending melodies. These melodies performed by Master Jirapon Petchsom were simple and straightforward in order to provide a foundation for the ensemble, and also to support Pichawa by performing rapid passage and using special techniques consisting of Prom-Pid, Prom-Perd, Prom-Jak, and Sa-Bat-Niew.

THE CREATION OF A DANCE FROM THAI APHORISM THAT REFLEXES PRESENT SOCIETY

Montira Manorin — 2024-11-27

This thesis “The creation of a dance from Thai aphorism that reflexes present society” aims to study the forms and concepts obtained after creation of a dance from Thai aphorism that reflexes the present society using research methods, qualitative research and creative research. The research tools consist of surveying documentary data, interviews, information media, observation, seminars, personal experience of the researcher and artist benchmarks. The data are used to examine, analyze, synthesize and create the dance art according to the specified process. The results show that the style of the creation of a dance from Thai aphorism that reflexes the present society consists of eight elements in the performance which are 1) Script: designed by using the Thai aphorism analysis process separated into four scenes: kin num tai sok, kai ngam prow kohn kon ngam prow tang, kwang ngu mai pon khor, ke chang jab takkatan. 2) Casting: The researcher selects actors with a variety of acting skills, including body shape, scale, skin color and gender in the performance. 3) Movements: using the style of movement in daily life, improvisation according to the concepts of modern dance, postmodern dance and dramatic movements. 4) Costume and makeup: the daily costumes in the original styles and use of white makeup to reduce the facial expressions of the actors. 5) Show props: using props that are easily seen in everyday life. 6) Sound and music: the sound of Thai traditional music instruments to be consistent with the script. 7) Scene and stage: using different sites specific to be consistent with the script. 8) Lighting: using the natural day light to be consistent with the script. Besides, there are five concepts which are 1) the aphorism that reflexes the present society 2) the concept of creative dance that reflects society 3) diversity in dance 4) communication to the audience and 5) creativity in dance. This research is a creative thesis in dance that connects knowledge in other fields in order to create knowledge and can be a guideline for those who will study creative dance in the future.

THAI MUSIC COMPOSITION: PHLENG CHA RUEANG MONGKHOLASUTRA

Pramot Teangtrong — 2024-11-27

“Thai music composition: Phleng Cha Rueang Mongkholasutra” is creative and qualitative research. The objective was to study the content of the Mongkholasutra and use it to create the Phleng Cha Rueang Mongkholasutra. The researcher studied information from documents. and interviews with experts in Mongkholasutra and Thai music. Data were analyzed and created from root melodies that had meanings conveying the content of the Mongkholasutra. Methods of stretching and collapsing, adjusting expressions, and automatic composition were used to express specific expressions in the form of a Khong Wong Yai.

The composition is divided into four parts: Part 1, the Phleng Cha, consisting of 1) the Pathom Mongkhon song, 3 parts, 2) the Bamphen Mongkhon song, 2 parts, 3) the Si La Mongkhon song, 1 part, 4) the Thamma Mongkhon song, 2 parts, and 5) the Nip Pha Na Mongkhon, 2 parts. The Mongkolparit song is specified as the instrumental song at the end of every song. The method of composing from root melodies and automatic composition is used. Part 2, the Phleng Song Mai consists of 1) the Su Than To song, 3 parts, 2) the Sang Kha Ho song, 2 parts, 3) the Than Ta Mo song, 1 part, 4) the Kha Was Sa Tam song, 2 parts, and 5) the Pa Ti Pa Tha song, 2 parts. Part 3, the Phleng Reo Mongkhon Parit song is an automatic composition. Part 4, the researcher composed a new melody for the Phleng La song based on the original structure and adjusted it to be special.

MASTER VOCAL RECITAL BY CHOMWILAI JOHANNGOA

Chomwilai Johanngoa — 2024-11-27

In the thesis entitled “A Master Vocal Recital by Chomwilai Johanngoa,” the researcher selected 14 solo songs and aria from opera, musicals, and movie soundtracks, considering the interesting lyrics and diverse melody, mood, prominence, and challenge of singing techniques, along with the variety of contexts, languages, vocal colors, and emotional communication techniques.

The researcher extensively studied the historical background, plot, scenes, and characters of each song to compare them to real life experiences to gain a deeper understanding of the interpretation of the songs. This is to ensure that the vocal performance in this recital is complete according to the standards of a graduate degree. The researcher planned, prepared and practiced according to the traditions of each song, by following the standards of singing experts and multiple exemplary artists. This included physical and mental preparation to maximize the efficiency of the rehearsal and performance on an actual day, as well as to prepare for the venue and other aspects that will ensure a flawless performance.

MASTER VOCAL RECITAL BY ISSARAPONG DORKYOR

Issarapong Dorkyor — 2024-11-27

A Master Vocal Recital by Issarapong Dokyor had the aim of presenting the essence of Lukthung songs (Thai country music), international folk songs, and art songs. In this performance, the researcher selected 11 songs divided into three categories: 1) six distinct Lukthung songs, 2) three international folk songs in English with renowned melodies, and 3) two art songs. The researcher thoroughly studied social contexts and meanings behind each song to analyze the appropriate singing techniques that align with the traditional norms while also suitable for the newly arranged musical composition of folk songs. Furthermore, the researcher studied the history of international folk songs and art songs to apply them as guidelines for further developing and applying the unique Thai singing techniques in modern performances.

INNOVATION OF THAI MUSICAL INSTRUMENT “LOM RAI”

Sawanya Tubsang — 2024-11-27

An innovation of a musical instrument is part of a doctoral dissertation with a scope of designing a new musical instrument. The new musical instrument was named after its sound production method which relies on the piston system. This new instrument is titled “Lom Rai.” The objective of this study is twofolded: (1) to investigate the body of knowledge in creating Thai Lom Rai musical instrument and (2) to create and design the Thai Lom Rai musical instrument. By employing qualitative research method, the researcher implemented unstructured interviews and participant observation. The Lom Rai was tested by eleven experts who played and evaluated the innovation of Thai wind instruments on five aspects regarding physical design, weight, musical characteristics, performance feasibility, and sound quality. The research findings reveal that wind and sound were generated by the piston system. The Lom Rai's pitch range covers four octaves. Thus, the newly designed instrument can be played and combined with a Thai string ensemble because it is tuned to Thai scale. A Lom rai player can produce more than 2 to 10 notes simultaneously. This instrument has a capacity to provide a channel to expand an innovative way of orchestrating Thai songs, composition of Thai songs in new styles, and the new combination of Lom ria in different kinds of ensembles.

“PLAYING IN THE YARD”: THE APPLICATION OF THE ARRANGEMENT TECHNIQUES OF JOHN HOLLENBECK FOR ORCHESTRA

Tanarat Chaichana — 2024-11-27

“Playing in the Yard” is an orchestral composition, which is a result of a process of studying the arrangement techniques of “All Can Work,” a composition for contemporary big bands, composed by John Hollenbeck. The objectives of this research are to 1. construct an orchestral work that applies jazz arrangement techniques and 2. to produce musical work that use knowledge of different types of music (crossover music). The musical arrangement of this study was subsequently presented at the 2023 Thailand International Jazz Conference, which was organized by the College of Music at Mahidol University in Thailand. It was also performed by the Thailand Philharmonic Orchestra (TPO) and the Pomelo Town, a well-known Thai jazz ensemble.

The outcomes gained from the study of John Hollandbeck’s work and provided in this research includes 1. the use of rhythmic displacement for motivic developments, 2. the construction of independent melody lines in a climax section, 3. the employment of chromatic notes to construct chord progression, and 4. the building harmonies from the P4th and P5th intervals (quartal and quintal harmony). For those with an interest in orchestral arrangements, the research design of this study can provide yet another example which may differ from choosing to study music notation for classical music in general.

PUBLIC ART IN A MULTICULTURAL CONTEXT OF THE THREE SOUTHERN BORDER PROVINCES, THAILAND

Apiruk Potituppa — 2024-11-27

This qualitative research aimed 1. to investigate the attitudes, perspectives, and experiences of the involved individuals or artists on public art in the three southern border provinces, 2. to examine the key factors that should be considered in the process of creating and designing public art including its impact on the three southern border provinces, and 3. to compare the results with the other multicultural contexts, such as Bangkok and Chiang Mai. The results were analyzed in order to apply the best practices in developing the public art creation process that is appropriate for the three southern border provinces.This research employed various methods including in-depth interviews, group interviews, case study observation and theoretical studies from documents. The research has resulted in the following conclusions: 1. Among all sample groups studied, it is consensus that their main objective of creating public art is to serve the community and society as a top priority. In the three southern border provinces, the focus is on tourism 2. The key factors that should be considered in the process of creating and designing public art and its impact on the context can be identified into two key factors. First, the process of creating public art significantly involves supporting processes. Second, it is important to learn and understand the different forms of public art existing in the past and present of the community where the art would be placed. In terms of the impact of creating public art on communities and society, the findings showed three categories of impact: positive, negative, and moderate. Firstly, the positive impact is the most common, with 72.73% of respondents of all groups of case studies in the three southern border provinces, Bangkok, and Chiang Mai indicating that public art plays an important role in attracting tourists to the community, creating economic opportunities, as well as increasing community pride. The results from this study will be useful to both academic learning and art management.

SERI’S ACCENT, SUPHAN ACCENT

Nantida Chandransu — 2024-11-27

In this article, I examine and analyze the singing style of Seri Rungsawang, an established figure in lukthung music who has won several awards and has a large fanbase. Seri's singing style is interesting because it is based on phleng phuen ban, a traditional half-singing, half-recitation genre, combined with the heavy influence of lukthung style accumulated through Seri's 44-year experience in the industry. This study focuses on Seri's singing techniques in the song "Plew Fai Thi Plai Thian" (The Candle's Flame), which premiered in 2021 under a collaboration with Singto Khamram Records. The song won the Khom Chad Luek Award for the best lukthung song and the Amazing Suphanburi Award in 2022. Ethnographic methods were used to collect and interpret field data. The findings reveal that Seri is self-taught and has been a hardworking singer for the most part of his career. His singing process begins with studying the song's melody and closely reading its lyrics, which leads to him imagining a specific mood and tone upon which the singing is predicated. 1) Seri described his singing in his own terminology as follows: 1.1) sculpting of words (kan pan kham), 1.2) vocal articulation, 1.3) rhythmic variation of the voice, 1.4) distributing the lyrics against the assigned beats (kan chat chaung fai), 1.5) shortening of words (kan khamuat kham), 1.6) shaken words (siang khluen krasao), 1.7) engorging words (khayauk kham), 1.8) singing to kick the rhythm (raung te changwa), 1.9) singing behind the beat (raung lang changwa), and 1.10) cheating the wind (kan lak lom). 2) Seri's singing approach includes 2.1) controlled vocal articulation, 2.2) comprehending lyrics, and 2.3) creating lyrical melody, while projecting the sung words in a Suphanburi accent. This study illustrates a set of singing techniques and approaches that allow a lukthung singer to thrive in the fast-changing industry while retaining the genre's traditional singing practices. Seri's musical experience demonstrates one of many variants of the lukthung musical genre from central Thailand that is worthy of preserving and passing on to aspiring singers of the next generation.