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This research is a study from relevant documents, textbooks, and research works. The objectives of the research are 1) to establish Northeastern string quartet in ensembles of Northeastern folk musical stringed instruments, and 2) to compose Northeastern folk melodic patterns for performing in the Northeastern string quartet.
The results show that nowadays, Northeastern folk music bands have been developed in various styles due to the contexts of popular music culture. Therefore, I, the researcher, have the idea of establishing Northeastern string quartet by using the Northeastern folk stringed instruments, consisting of Phin (Northeastern acoustic three-stringed lute), Saw Isan (Northeastern bowed fiddle), Hai Song (a set of earthenware jars with rubber bands stretched over the open mouths), and Khim Isan (Northeastern hammered dulcimer). Besides, Glong Tueng Jo (a hand drum), Ching (pair of small thick cymbals joined by a cord), Chap Lek (pair of smaller flat cymbals joined by a cord), and Kor Lor (a type of Northeastern percussion instrument) are added to the orchestra to create rhythm. It is found out that the quality of sound is harmonized with the dimension of the sound, which is caused by the combination of the Northeastern folk stringed instruments. The sound is smooth, melodious, and unique. Then, I, the researcher, have analyzed the sound quality of the Northeastern string quartet in order to compose three Northeastern folk melodic patterns including Srisaran Dokchan, Lai Naree Sri Dokchan, and Udon Sunshine by using the concepts of Thai music composition. As a result, three Northeastern folk melodic patterns are suitable for the Northeastern string quartet causing a new phenomenon in the value of Northeastern folk music culture. It is regarded as the development of the music education industry and can be used as a guideline for the study of the establishment of the band and the composition of Northeastern folk musics in the future.
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