Mahidol Music Journal

THE GUIDELINES FOR INTERMEDIATE CLASSICAL PIANO INSTRUCTION OF THE PIANO ACADEMY OF BANGKOK

Kwanchanok Isarathikul — 2024-08-08

The research aimed to achieve two primary objectives: 1) to conduct a comprehensive analysis of the intermediate classical piano instruction at the Piano Academy of Bangkok and 2) to compile a set of instructional guidelines, for intermediate classical piano education in the electronic manual format in a form of qualitative study. The participants from Piano Academy of Bangkok were divided two groups: 1) two experts, and 2) ten teachers. Data collection using a semi-structured interview instrument and non-participant observational methods. Data analysis in a form of analytic induction and presented in descriptive analysis form.

The research findings revealed that 1) within the instructional context, teachers customized their piano teaching approaches primarily to align with individual student capabilities and prior knowledge. 2) The instruction for the intermediate classical piano founds that (1) teachers' aspect—the role of teachers should emphasize a commitment to fostering collaboration among artists, assistant artists, and teaching collaborators. Teachers were encouraged to adopt a flexible disposition that facilitated students' openness to novel perspectives from their peers.; (2) Students' aspect— should emphasis is placed on teaching and learning design that is appropriate for each learner including physical aspect, age, practical skills, and expectations of parents.; (3) Instructional aspect— the pedagogy in the instructional aspect should involve students and parents in setting learning objectives and content.; (4) Environmental aspect—an atmosphere conducive to student learning prevailed, should complement by well-proportioned facilities and spaces equipped with high-quality musical instruments.

SOUND PRODUCTION METHODS FOR CLASSICAL PERCUSSION INSTRUMENTS

Wannapha Yannavut — 2024-08-08

This research focuses on the significance of sound production on classical percussion instruments, emphasizing the study, data collection, and analysis required to develop practical exercises. A musical composition for tom-tom was provided to a group of nine students, who engaged in performance and practice after receiving notations for a full day. Sound recordings were made before and after practical training, during which students underwent hands-on training to understand the workings of different muscle groups, including fingers, wrists, arms, and shoulders. This training aimed to enable students to produce sounds with varying qualities such as loudness, softness, clarity, sharpness, shortness, length, depth, etc., corresponding to different symbols and notations. Subsequently, sound recordings from both sessions were processed using computer software, revealing a clearer understanding of sound production following targeted muscle training. This research contributes valuable insights into the ability to produce and manipulate sound according to specific requirements, symbols, and various notations, including the distinct representation of different parameters outlined in the composition.

AN ANALYSIS OF OSCAR PETERSON'S IMPROVISATION IN THE GIRL FROM IPANEMA

Krichapol Inthanin — 2024-08-08

Oscar Peterson’s improvisation in The Girl from Ipanema is both pleasing and musically substantial. The research article investigates his improvisation in terms of harmony, rhythm, and individual techniques. The analysis has shown that Peterson used notes from chord tones and diatonic scales to create melodic lines. He also applies the blues scale without tonal relationships between chords. His rhythmic treatment incorporates accents and grouping of notes to achieve new directions. Techniques such as upper structure, rhythmic displacement, diatonic arpeggio, hemiola, turnaround, and harmonic generalization are also present in Peterson's improvisation.

THE TRANSMISSION PROCESS OF KNOWLEDGE AND TECHNIQUE FOR PLAYING KHLUI IN THAI COUNTRY SONGS

Nutthapat Ruangboon — 2024-08-08

This research aims to: (1) examine the biographical backgrounds of Khlui experts in Thai country songs; (2) explore knowledge transmission in Khlui playing Thai country songs; and (3) create an educational e-book on Khlui. The study employed a qualitative approach, specifically interpretative phenomenology, and purposive sampling to select seven recognized Khlui performance experts. Data was collected through in-depth interviews and participant observation.

The research findings reveal that all seven Khlui experts who specialized in Thai country songs showcased remarkable expertise and extensive experience, earning recognition for their contributions to Khlui performances. The study details the knowledge and technique transfer process, covering principles, methods for different age groups, steps, and psychological aspects. The study identifies various Khlui playing techniques, such as seating, posture, handling, airflow, finger system selection, and Khlui selection. The study highlights phenomena such as the historical evolution of Khlui-Thai, contemporary livelihood conditions for Khlui players, and adaptations to modern learning methods. The electronic book includes (1) the biographical backgrounds of Khlui experts in Thai country songs; (2) the transmission of knowledge for performing Khlui in Thai country songs; and (3) playing techniques for playing Khlui for Thai country songs style.

IN QUEST OF EMPTINESS: THE STUDY OF BUDDHIST INFLUENCES ON JONATHAN HARVEY AND HIS COMPOSITIONS

Poumpak Charuprakorn — 2024-08-08

Jonathan Harvey, a British electroacoustic composer and one of the most important composers of the twentieth century, integrated Buddhist influences into his life and works particularly composed in the 1990s onwards. Despite his significant contributions, there remains a need for a comprehensive study that investigates what led the composer to embrace spirituality as a foundation for his creativity and categorizes the impact of Buddhism on his compositions. The novel intent of this study is to not only touch on ideas or musical materials in his works that were inspired by Buddhism but also conduct significant analyses of his compositions to show the depth of Harvey’s understanding of Buddhist practice and philosophy, especially the notion of emptiness and how it became the foundation for his musical thinking. This article initially exhibits evidence of spiritually-related influences in his early life as a choirboy and during his exploration of Hinduism even before his encounter with Buddhism in the 1970s. He absorbed every culture and philosophy he had studied to broaden his artistic approaches and aesthetics. Since his first composition inspired by Buddhism in 1986, his music continued to draw upon Buddhist concepts. The religious influence appears in multiple formats for example the use of musical materials from Buddhist monastic music, the use of texts from Buddhist literature, and the depiction of Buddhist terms or stories. Meditation also played an important role in Harvey’s compositions and compositional methods. Being able to contemplate a musical object enabled him to develop musical ideas further while the state of tranquility he experienced during meditation became apparent in his sound world. His study of the Buddhist notion of emptiness led him to the understanding of the nature of human perception and the essence of music as the representation of the illusive reality: the core definition of emptiness. Harvey applied ambiguity to his music through the constant stage of functional change of musical material, the ambiguity of musical timbres, and the play with listener’s expectation. The ambiguity in musical compositions represents the philosophy of emptiness by demonstrating that everything only occurs in the mind.

THE TRANSMISSION PROCESS OF THE ART OF ANCIENT CHANTING DANCE OF WICHAI VEJ-O-SOT FROM WICHAI- RAJAN ANCIENT CHANTING DANCE BAND

Nathapol Wanjana — 2024-08-14

The purposes of this research are 1) to study the history and works of Rum Suad Performance of Wichai Vej-O-Sot from Wichai-Rajan Rum Suad Performance band and 2) to study the process of transmitting the art of Rum Suad Performance of Wichai Vej-O-Sot from Wichai-Rajan Rum Suad Performance band. The main group of informants specifically selected was Mr. Wichai Vej-O-Sot himself and a group of 5 students who received the art of Rum Suad Performance from Mr. Wichai Vej-O-Sot 3 years and up. The research instrument was an in-depth interview form, semi-structured interview form, and participatory observation. The owner of Wichai-Rajan Rum Suad Performance band, who has an accepted Rum Suad Performance in Chanthaburi Province, has been awarded an honorary certificate as a local scholar of wisdom, providing knowledge of Rum Suad Performance, and has formed a Wichai-Rajan Rum Suad Performance band for 10 years. His Rum Suad Performance technique conveys the art of Rum Suad Performance in an oral form called "Mukah-Pa-tha". People who are interested in being his students are selected from those who have a passion for Rum Suad Performance. The study and learning of Rum Suad Performace techniques starts with the transmission of music, singing, and dancing, using techniques based on psychology to create motivation. Rum Suad Performance contents and songs were taken from stories in various Thai literature. Mr. Wichai also uses basic dancing vocabulary and standard dancing moves to broadcast and use online media to promote Rum Suad Performance learning. The dancing performance test is used to measure and evaluate knowledge transfer from Mr. Wichai to his students. The broadcast location is Mr. Wichai's house in Chanthaburi Province. Most of his students are youths in the nearby community who receive support from their parents.

A STUDY GUIDE TO FRANZ LISZT'S LA CAMPANELLA

Maykin Lerttamrab — 2024-08-15

Everyone is familiar with Franz Liszt and believes that he is a musical genius. It is necessary to examine the composer's works in order to comprehend his inventiveness. This document delves into one of Liszt's most renowned compositions, La Campanella from Grandes Etudes de Paganini, S. 141. The goal of this study is to assist audiences and pianists in understanding this piece. An overview of Liszt's life and work is provided, as well as information on other composers who were associated with his work. The article also discusses the purpose of the composition, the historical context in which it was composed, how other works have had influences on Liszt's La Campanella, and the piece's influence on subsequent pianists. The article demonstrates the general formal structure of the work and assists students, instructors, and performers in the learning process of the etude by identifying technical difficulties that may arise when studying the piece and providing guidance on how to overcome such obstacles differently comparing to other articles that discuss on the same piece. Finally, the paper includes recommendations for effective practices.

PHLENG PLAY: VERSIFICATION PROSODY, MEANING, MELODY AND SOCIAL REFLECTION OF PATONG, PHUKET

Jaruwat Nualyai — 2024-09-17

This academic article was to argue for the folk song, Pleang Play, which is a uniqueness to Patong subdistrict in Phuket. The purpose of the study were to analyze the prosody, word using, and meaning of the lyrical texts. Additionally, the article examined melodic analysis in music study, including modifying melody based on the local dialect. Both musicological and ethnomusicological methods were employed in this study. The result revealed that local prosody was used in the creation of Pleang Play, and words were formed flexibly. In the Social reflections uncovered 8 cultural implications, including 1) Way of living, 2) Moral conceptions of duty, 3) Marrying off daughters to decent men, 4) Desserts used in Buddhist traditions, 5) Future inspiration instilled, 6) Places in Southern Thailand, 7) Family life and 8) Idioms for teaching women. Furthermore, the singing techniques relied on the local dialect especially for tone and melody. The three distinct sounds – note Mi, Sol and La – that made up the tonic points (main sounds) of the song, were what hung on the tone marks (Wannayuk). Consequently, from a sociological perspective, Pleang Play has effectively depicted the significant shift in Patong’s social milieu from an agrarian to an industrialised tourism society.

SAFEGUARDING AND SUSTAINABLE DEVELOPMENT OF PHIN PIA: THE INTANGIBLE CULTURAL HERITAGE OF LANNA, THAILAND

Great Lekakul — 2024-10-11

Safeguarding and Sustainable Development of Phin Pia: The Intangible Cultural Heritage of Lanna, Thailand focuses on the identity of phin pia musical instrument in relation to its value and the sustainable development of phin pia in Lanna region. This research focuses on the core knowledge of nine phin pia musicians from Northern Thailand.

The Overtone spot of 1-5 string phin pia can be separated into three positions on string as G D G or A E A. The two-string phin pia includes pok and jok strings which both strings are tuned as an interval forth (G and C), the three-string phin pia, those are tuned as an interval fourth and second (A C D), while four-string phin pia, pok and jok strings are tuned as intervals fourth and fifth (A C D G) and the five-string phin pia, those are tuned as intervals fourth, fifth, and third (A C D G F) respectively. The value of phin pia relates to the Buddhism and Brahmanism, the beauty of art and design aesthetics, and the sacred sound of phin pia.

Exploring the sustainable development of phin pia at present shows the phin pia line of succession in Lanna region can be segregated into four groups including Chiang Mai - Lamphun, Lampang, Chiang Rai, and Phrae - Nan provinces. However, Chaing Mai - Lamphun and Lampang provinces are the main phin pia line of succession. The form of sustainable development of phin pia comprises tradition, adaptation, research, instructional media and technology, and role establishment of phin pia in the modern Lanna society. The sustainable development of phin pia has been developed by means of globalised world which established the variety of phin pia identity. This is related to the way of developing the role of phin pia in Lanna society and culture in the future.

A COMPOSITION PROJECT “MUSIC AND LOVE”

Ramasoon Sitalayan — 2024-10-11

Music and love is a set of compositions for piano solo that aimed to offer original works by Thai composer as a choice for Thai piano students and listeners. Each composition is a program music that reflected and represented different interpretation of affection and love, such as love of a family, love between individual persons, love of the nature, love of religion, and love of national heritage. The title of 10 pieces are as follows: Home, Jasmine, Sibling, Soulmate, Oceans, Spirit of the Forest, Blue Sky Rag, Night Falls, Pagoda, and Blue Moon.

The researcher studied and analyzed character pieces for piano solo from the romantic period and used them as models for this composition project. The stylistic and pianistic approach had a strong connection with the title of each composition.

The researcher invited four distinguished Thai pianists to perform these works. These pianists are Pornphan Banternghansa, Tarin Supprakorn, Akkra Yuenyonghattaporn, and Mintra Rungruengsorakarn. The project was successfully presented as audio recordings, music videos, published score, and an online conference on different platform of social media. The link to music videos of this project was included in the discussion.

EXPLORING MUSIC THERAPY'S ROLE IN ALZHEIMER'S DISEASE: A COMPREHENSIVE REVIEW

Rada Makaraphun — 2024-10-25

Alzheimer's disease (AD) presents a formidable global health challenge, characterized by progressive cognitive decline and functional impairment, with conventional pharmacotherapies exhibiting limited efficacy. Amidst this backdrop, music therapy has emerged as a promising non-pharmacological intervention, potentially ameliorating cognitive function, emotional well-being, and behavioral symptoms in AD patients. However, existing research suffers from a lack of clarity regarding underlying mechanisms and is constrained by limitations such as small sample sizes. Acknowledging the intricate nature of AD emphasizes the criticality of personalized interventions. Tailored approaches, including curated playlists and therapeutic singing sessions, offer promising avenues to effectively address individual needs. The integration of music therapy into daily routines holds considerable promise for enhancing the quality of life for AD patients, fostering meaningful connections, and optimizing therapeutic outcomes. Personalized music therapy strategies for AD encompass various modalities, including curated playlist curation, engagement with musical instruments, customized activities, therapeutic singing sessions, and innovative technological applications. Curated playlists, tailored to individual preferences, evoke positive memories, and provide comfort, while engagement with musical instruments stimulates cognitive functions and fine motor skills. Tailored activities offer cognitive stimulation and mood enhancement, promoting a sense of community. Therapeutic singing sessions facilitate emotional expression and communication. Innovative technologies, such as music therapy apps and virtual reality platforms, offer immersive experiences and relaxation. Integrating these strategies into caregiving routines is paramount for improving the well-being of AD patients, underscoring the significance of personalized interventions in addressing the multifaceted challenges associated with the disease.

A PRACTICAL GUIDE FOR STUDYING BASSIST JOHN PATITUCCI'S PERFORMANCE OF "LIKE SOMEONE IN LOVE"

Tanarat Chaichana — 2024-11-01

Jazz pedagogy has always been associated with learning by ear. In fact, it is common for inexperienced jazz musicians to listen carefully to jazz masters and try to imitate them before experimenting on their instruments. However, as jazz education gained popularity, this approach spread beyond imitating previous performances on an instrument to transcribing performances in traditional notation. Unlike other transcription research, which provides the result through musical analysis, this study delivered three musical exercises- two-feels, walking basslines, and solo - that can be used for additional practice to gain a greater practical understanding of Patitucci's musical approach. By working on these bass exercises, jazz Bass players can become more proficient in Patitucci's performance methods.

The research method consists of three major strands: (1) transcribing the bass solo and accompaniment lines of John Patitucci's live performance of "Like Someone in Love," (2) providing a comprehensive musical analysis of Patitucci's performance, and (3) create bass exercises drawn from a musical analysis of John Patitucci's performance. The researcher transcribed John Patitucci and Chuck Loeb's rendition of "Like Someone in Love" on ArtistWorks, a professional online music learning platform. The bass transcription of this research consists of 162 bars (5 choruses). As a result, the comprehensive musical analysis reveals several of Patitucci's musical techniques, such as the use of slide notes, the chromatic approach, the rootless technique, and double-time during this performance. The research approach of this study can be used by jazz performers and educators who wish to integrate musical knowledge drawn from the transcription process into musical exercise.

FOUR REGIONAL FOLKSONGS FOR GUITAR DUET: A STUDY OF ARRANGEMENT AND TECHNIQUES FOR CLASSICAL GUITAR

Padet Netpakdee — 2024-11-05

Creative works in music, sprung from the idea of cross-cultural integration, usually herald musical novelty, ensuing significant commercial potential. The idea is that distinctive cultural regions of Thailand, including the northern, central, north-eastern, and southern areas, are open subjects for creativity. This article aims to explicate the creation of musical arrangements of four regional folksongs—involving Ruesiloungtam, Lakuduwo, No-nay, and Laiponglang—for guitar duet, on which the classical guitar is focused. The ideas gathered were collected from the interviews of four experts, aiming to initialise the creative thoughts for guitar arrangements. Then, the interviews were transcribed into texts using VB-CABLE Virtual Audio Device software before their being subsequently analysed, benefitting the work. Ruesiloungtam was arranged in the classical guitar style by using the contrapuntal technique. Lakuduwo was distinguished by adding a variety of sophisticated rhythmic bass lines to imitate the syncopated patterns of southern drums. Moving further to the variations, the duet comes to an incessant fight against each other and finally resolves in pleasant harmony. No-nay, despite its simple melody, was musically designed to implement complex arpeggiation techniques, akin to those in the classical period, to support the melody. Finally, Laiponglang involves the new melodic composition that imitates the sounds of the Pin Isaan and the Khaen, in effect, to imbue listeners with an engaging experience of Isaan folk music through the art of the classical guitar.

PIANO PEDAGOGY FOR OLDER ADULTS: DEVELOPMENT APPROACHES, BENEFITS, AND CHALLENGES

Vich Boonrod — 2024-11-08

This article aims to present concepts and methodologies for piano instruction tailored to older adults, considering the importance of music education on their physical and mental well-being, as well as the challenges and opportunities in the learning process. The article compiles and analyzes research findings on the benefits of piano learning for older adults, including cognitive development, quality of life enhancement, and promotion of social interactions. Furthermore, the article proposes appropriate teaching approaches for older adults, considering their physical limitations and specific needs. The article discusses technologies that support learning and suggests strategies for developing effective piano teaching methods for older adults. The author hopes this article will benefit music instructors, academics, and those interested in applying these methods and approaches to promote learning among older adults through music.

PIANO TRIO NO. 2 FOR VIOLIN, CELLO, AND PIANO

Wiboon Trakulhun — 2024-11-11

The composition Piano Trio No. 2, written for violin, cello, and piano, has a duration of approximately 7 minutes and 30 seconds. It employs the twelve-tone row technique based on the principles of twelve-tone music. The twelve-tone row is constructed from the trichord C, C#, E [0, 1, 4], which forms the prime set (014) and is transformed through inversion, retrograde, and retrograde-inversion to create the tone row P-0 in the form: 0 1 4 9 8 5 6 3 2 7 T E. Additionally, the composition incorporates structures of major and minor triads, as well as 4th and 5th relationships, within the tone row. The compositional techniques include overlapping 1-2 pitch classes between consecutive tone rows and hexachordal combinatorial relationships. However, the composer deviates from traditional atonal music by frequently utilizing pitch-class repetitions, pedal notes, and repeated pitch-class sets in the manner of an ostinato to establish a sense of tonal center. Thus, this composition represents a blend of the twelve-tone row technique and neo-tonal music.