Journal of Fine and Applied Arts Chulalongkorn University

EDITORIAL

2024-03-27

INSTRUCTIONS FOR THE AUTHORS

2024-03-27

TWELVE-LANGUAGES PLAYS: BACKGROUND, DEFINITION, AND TRADITION

SANONG KLANGPRASRI — 2024-03-27

This article aims to present Twelve-Languages Plays in Thai society context including background, definition, and tradition for a better understanding of Twelve-Number folklore, especially Twelve-Languages Plays in many aspects. The contents consist of (1) the background of Twelve-Number folklore (2) the definition of Twelve-Number folklore (3) the tradition of Twelve-Languages Plays and other languages and (4) Twelve-Languages Plays: Synthesis.
The study found that “Twelve” came from numbers, time, divinity, space, and also recreation that appeared in Thai folktales. The number “Twelve” represents the meaning of abundance. The traditions of Twelve-Languages Plays can be divided into two categories: (1) the combination of plays on each occasion (2) the tradition of Twelve-Languages Plays in either one of these recreations, Maha Chat Lae (chanting), Li Kae Aok Phasa (Thai musical folk drama and songs), Lam Suad (Thai traditional singing), and Twelve-Languages songs in Nang Hong Pipat (Thai ensemble). The synthesis of Twelve-Languages Plays found that (1) Twelve-Languages Plays can be traced back to a sacred ceremony of villagers gathering in the prehistoric era. It is relevant to a belief of “Kwan” (a guardian self spirit) awakening by pounding, hitting, or tamping (2) Twelve-Languages Plays is one of the imitation ceremonies which means to imitate what they wish for. It was found in the funeral called “Ngan Huean Dee” from Esan people. Later, it is related to a belief of Uttarakuru continent cosmology in Trai Phum Phra Ruang Buddhism folklore (3) Music is supposed to demonstrate space of time because sound travels along with time and time consists of period called “Ruerk”. Animism and Brahmanism combine music in ceremonies to connect multiverses for good omen with the intention to produce complex sounds such as Mahoratuek drumming, gong tamping, blowing old Thai horn, etc. so that music can be a channel for space, time, numbers, and mathematics of mysterious belief connecting altogether in the multiverse.

PIANO SONATA NO. 14 IN C MINOR, K. 457 BY W. A. MOZART: INTERPRETATION AND PRACTICE STRATEGIES

WANANONG CHANON — 2024-03-27

The objectives of the thesis, Sonata No.14 in C minor, K. 457 by Mozart: Interpretation and Practice strategies, are to interpret and analyze performance technique, and to present practice strategies. Moreover, the scope of the study includes interpretation and analysis covering 6 performance techniques: melodic presentation, ornament, fingering, dynamics, articulation, and pedaling. Based on the study of performance techniques, the researcher focuses on playing melodic lines clearly. Ornaments are mostly changed on the fingerings differently from the reference edition. Furthermore, the fingerings, in the other places, are changed. The researcher uses dynamics differently from the reference edition in some bars playing decrescendo and crescendo according to the direction of the notes. In the 1st and the 3rd movements, pedaling is added where the notes indicate loud play, while in the 2nd movement, pedaling is added throughout to connect the sounds of melodic and harmonic lines. The section on practice strategies is divided into 8 techniques found in this piece: 1) Arpeggios, practicing as block chord initially and then subsequently playing as written; 2) Ornament, playing with strong fingers and practicing only the ornament part; 3) Hand-crossing, practicing with one hand playing this technique; 4) Scales, focusing on practicing with different
articulations; 5) Playing continual 3rd intervals, practicing with an exercise from Hanon; 6) 2 melodic lines with right hand, memorizing the important melodic part first and later practicing both melodic lines utilizing extra wrist force on important melodic lines; 7) 2 melodic lines with left hand where pedal notes are, playing them carefully and steadily; 8) playing forte, utilizing extra arm force and leaning the body toward the piano.

INTERPRETATION AND PERFORMANCE TECHNIQUE ON DEBUSSY’S REFLETS DANS L’EAU

NATRUJA CHUTIWANSOPON — 2024-03-27

This research article is about interpretation and performance practice of Reflets dans l’eau by Claude Debussy (1862-1918). The research aims to develop a performance skill for more beautiful sound in performance, also for create practice sessions for a piano recital. This piece is considered one of Debussy's most important and famous composition due to difficulties and new compositional techniques. The composition consists of a beautiful melody reflexing water. The researcher therefore has to interpret, practice, and formulate techniques for playing in order to be able to communicate and match the composer's purpose to the most. The results of the research showed the performance of compositions in Impressionism is not only challenging in terms of playing technique but also the interpretation and emotional communication conveyed to the audiences accordingly.

INTERPRETATION AND PERFORMANCE TECHNIQUE ON SCHUBERT’S WANDERER FANTASY

PATTARAPHON WONGSUN — 2024-03-27

This research article presents guidelines for interpretation and performance technique on Wanderer Fantasy for piano by Franz Schubert (1797-1828), aiming to interpret and analyze the composition for rectification of the performance and manage technical problems during practice sessions. The composition is valuable and challenging for the pianists on account of advanced playing techniques including scales, arpeggios, intervals, and passages in different tempi. Moreover, emotion and feeling need to be properly considered since an interesting poem had been involved. Therefore, the researcher has studied and practiced the composition thoroughly to convey the whole performance with perfection.

MUSIC COMPOSITION OF AN ARCHEOLOGICAL DANCE: PRASAT KAONOI SI CHOMPOO

KITTIPAN CHITTEP — 2024-03-27

The qualitative research entitled Music Composition of an Archeological Dance: Prasat Kaonoi Si Chompoo aims to compose a Thai traditional music called Rabam Prasat Kaonoi Si Chompoo inspired by an archeological site “Prasart Kaonoi Si Chompoo”, Klong Namsai, Aranyaprated, Srakao province. The study reveals that Prasat Kaonoi Si Chompoo located on Klong Namsai, Aranyaprated, Srakao province consists of 3 pagodas in which archaeological antiques were found. There is a festival called Boon Khuen Kao, the villagers are worshiping and made merit on the 15th day of the waxing moon in the 6th lunar month including paying homage to the Buddha footprint as a festival. There was no culture of folk music in the area of Klong Namsai community.
Rabam Prasat Kaonoi Si Chompoo was composed by Thai traditional music theory, consists of 3 movements of three 2nd variation melodies and a 1st variation melody expresses the uniqueness of archeological site and the way of living of Klong Namsai people. The musical dialect of the Khmer accent represents the pass Khmer civilization, the Laotian accent represent the Thai-Yor people in Klong Namsai. The normal Ching rhythmic pattern in the 2nd variation and 1st variation was used, there were two Natab namely Natab Khmer in Khmer accent melody and a special Natab in Laotian accent melody. There were two musical scales namely Chawa and Piang-or Bon. The melody was a semi-general melodic line and there was no stock character used in the piece. Rabam Prasat Kaonoi Si Chompoo was a music that connected the way of living, community, art and culture.

THE DEVELOPMENT OF HIGH QUALITY SOUND OF THE “KONGWONGYAI” MADE BY CASTING

WIRAD SONGCROH — 2024-03-27

The main problem of the Kongwongyai that are produced by the casting method. Most musicians agree that there is a big sound like tackles. Unlike the Kongwongyai that are produced by hammer (a traditional method) which it gives the sound like a bell. The idea is to create this invention by adjusting the proportions. This is why the idea to create this invention. The purpose of this project is to improve the sound quality of Kongwongyai which made from castings. It is durable, easy to store and move easily. also keep in traditional playing as it be.

THEMATIC ANALYSIS IN “BHATTHARA MAHARAJA” BY NARONGRIT DHAMABUTRA

SARAWUT PHALACHEEWA — 2024-03-27

This research presents the analysis and study of the concepts and methods used in the important themes of “Bhatthara Maharaja”, composed by Thai composer, Narongrit Dhamanutra. The study is conducted within the scope of analyzing the melodic structure and the use of important themes in the development of the composition. The researcher applied the concept of traditional musical analysis including the use of concepts within the branch of contemporary classical music focusing on critical analysis and the description of other components as well.
The research of “Bhatthara Maharaja” shows the musical structure consisting of the melodies from the orchestra and the choral ensemble. The composer uses the motive as the main material in developing and broadening the melody in order to make it longer which eventually becomes a musical phrase, a sentence, and a period. Internal melodic structure corresponds to the harmony used in the composition. The reappearance of the main melody presents itself with various improvements including rhythmic augmentation, rhythmic transformation, repetition, transposition, intervallic changing, octave displacement, imitation, and variation. This demonstrates the ability to use a single material efficiently and effectively, developing the composition with unity.

VOCAL RECITAL BY RATTAPONG PITICHAN: CLASSICAL AND MUSICAL THEATRE REPERTOIRE

RATTAPONG PITICHAN — 2024-03-27

The objective of this study is to create a performance of solo singing presents classical music and musical theatre, with a total of 12 songs selected. The researcher selected six classical music pieces to be sung, including Italian and German song, and six songs from musical theatre, selecting famous and popular pieces in both English and Thai. Due to the unique and challenging characteristics of the selected songs, the researcher studied and analyzed techniques for singing, language, ,musical interpretation, and details of the accompanying musical parts in order to choose the most appropriate techniques for each song and to effectively communicate with the audience to fulfill the musical purpose of both genres of music.

THE DESIGNS OF THE THAI ALPHABETS WITH THE IDENTITIES OF NAKHON PATHOM PROVINCE

SURAPONG PRASERTSAK — 2024-03-27

The purposes of the research study, the designs of the Thai alphabets with the identities of Nakhon Pathom Province, are to design the alphabets and to provide the guidelines for people who are interested in designing alphabets with identities. The documents, texts and studies were reviewed. The five scholars who were the community philosophers in the province were interviewed in order to identify the identities of the province. Then, it was summarized and the ten prototype Thai alphabets were designed with the identities. The alphabets were revised by the seven experts in history, arts, cultures and local communities in order to select the appropriate alphabets and to evaluate the efficiencies of the alphabets. The experts consisted of the three scholars and the four experts in graphic design and 5 years of professional experiences or longer. It was found that the alphabets could represent the characteristics of the province, and the alphabets were appropriate for titles at the high level. The selected alphabets were consonants, vowels, tone marks, Thai numbers and Arabic numbers. The opinions and the satisfactions towards the alphabets were surveyed from the samples as follows: (1) the 10 professional designers who were 25 – 60 years with two years of working experiences or longer and (2) the 30 individuals who were 20 – 60 years with experiences in graphic design. It was found that the alphabets could clearly communicate their meanings at the high level. There were the alphabets that must be revised. “ก” (Kor) was similar to “ถ” (Thor). “ห” (Hor) was similar to “น” (Nor). “๑”, a Thai number, had the tail longer than that of the other alphabets.

“THE RIVERS OF LIFE” FOR ORCHESTRA

WARAVOOT KONGKAEW — 2024-03-27

“The Rivers of Life” for Orchestra is a program music inspired by the way of life of people along the rivers with their own unique culture, especially the musical culture that relates to the ethnic groups that lived in that area. The important rivers of the four regions of Thailand connect the culture, traditions, and important identities of each region together. The piece is divided into four movements that span of 23 minutes. The name of each movement derives from the name of the river that runs through each region of Thailand. Namely, Tapee River, Mun River, Ping River, and Chao Phraya River are used as a link in presenting river basin folk music. A touch of their lives is presented through a combination of orchestral setting and folk instruments from each region. This piece utilizes contemporary music composition techniques to enhance traditional Thai melodies. For example, thematic transformation, mode system, variation, and other techniques. These techniques give the composition a more varied ambiance and color while completely preserving the essence of folk music.

SAW-U HARMONIC STYLE IN MINSTREL PERFORMANCE

PRACHAKON SRISAKON — 2024-03-27

This research article is partially fulfilment of the research on knowledge from minstrel song in Sawankhalok, Sukhothai by Khru Pratheep Suksopha (National Artist in Performing Arts, Folk Song 2020). The form of Khru Prateep's minstrel performance consists of 1) teacher worship song, 2) King anthem song, 3) hail song, 4) narrative song, 5) fable song, and 6) farewell song. According to this minstrel performance, the research’s objective was to present the harmonizing style of Saw-U with Singer. This research is conducted by a qualitative research methodology by participating in observations, interviews and researching academic papers.
The harmonic style of the minstrel is played when the singer sings hail song and narrative song. Both songs’ form are A/ B/ C while Aew-Khlao-Saw harmonizing style is done in farewell whose form is A/ B /A. Style of harmonizing phrase regarded as Penta-Centric Scale to counterpoints with the rule of harmony.
The results showed that the first issue Saw-U harmonic style in minstrel song divided into three sections: 1) the introductory melody is applied as drawing out the note like singing song. 2) the improvisation freely expressed with ingenuity and final note of each phrase must maintain the high ‘do’ melody. 3) In the final part of the song, the melody is played as the vocal song by drawing out to slow down (largo). The second point Saw-U Harmonic Style in Aew Klaw Saw melody divided into three sections: 1) the introductory phrase is played as the vocal song to start the song. 2) the improvisation must have ingenuity defend main sound of the melody (MI) in last word in the earlier phrase and high do (DO) in the last word of the passage. And 3) last part of the song is as same as the intro melody, and ended up with the slow down note. From both issues, The musicians must play according to the context. Keep the main voice in sync with the vocals footer to lead harmonic style.

ART FOR PUBLIC: THE CREATION OF ART FOR APPROPRIATE AESTHETICS AND IN THE NEW NORMAL - A CASE STUDY OF "YOO YEN PEN SUK AT SALAYA"

PAWINEE BOONSERM — 2024-03-27

This article is a part of a research project on “Art for public project: Creative Art for New Appropriate Social and Cultural Movement Post COVID-19”. The objective is to create a case study on " The Creation of Art with Appropriate Aesthetics and in the New normal " for Thai society, and to present the concept and process of creating public art that will lead to emotional relief and motivation to move forward with hope. The research team designed an activity to promote art and culture under the concept of "Yoo Yen Pen Suk at Salaya" at Wat Suwanaram, Salaya subdistrict, Phutthamonthon district, Nakhon Pathom province, on July 13, 2022, using research and development (R&D) methodology and working with various community integration concepts, including public art, ecological aesthetics, relational aesthetics, collaborative creativity, and socio-cultural issues related to the post-COVID-19 pandemic situation. The research findings suggest that the success of creating public art to promote art and culture must consider appropriateness and timing, as well as integration with various social issues through different processes. These processes include communication for social learning, artist-network collaborations, community participation from all sectors, understanding and gathering cultural resources within the area, and utilizing the "conservation, deconstruction, and creation" concept as a guideline for design and creative processes to drive truly beneficial community-oriented artistic endeavors. The approaches and principles presented in this public art form can be applied or considered as alternatives for future artistic group projects and other emerging phenomena.