Vol. 11 No. 2 (2024): July-December 2024

บรรณาธิการแถลง | Editorial

• Editorial

  4-5

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บทความวิจัย | Research Article

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

  Kritsana Saisunee, Supachai Chansuwan

  13-29

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

  Apichai Limtaveekiettikul

  30-42

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

  Supapipat Posuwan, Kumkom Pornprasit

  43-56

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

  Montira Manorin, Naraphong Charassri

  57-68

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• THAI MUSIC COMPOSITION: PHLENG CHA RUEANG MONGKHOLASUTRA

  Pramot Teangtrong, Pattara Komkam

  69-86

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• MASTER VOCAL RECITAL BY CHOMWILAI JOHANNGOA

  Chomwilai Johanngoa, Kittinant Chinsamran

  87-100

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• MASTER VOCAL RECITAL BY ISSARAPONG DORKYOR

  Issarapong Dorkyor, Kittinant Chinsamran

  101-116

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• INNOVATION OF THAI MUSICAL INSTRUMENT “LOM RAI”

  Sawanya Tubsang, Pornprapit Phoasavadi, Pattara Komkam

  117-135

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

  Tanarat Chaichana

  136-150

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

  Apiruk Potituppa

  151-170

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• SERI’S ACCENT, SUPHAN ACCENT

  Nantida Chandransu, Danai Noichuen, Duangduan Longsawas

  171-188

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บทความวิชาการ | Academic Article

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

  Patcha Noisa-ard

  190-204

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• Instructions for the Authors

  205-214

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