Mahidol Music Journal

KANTRUM: THE LEGACY OF THE KHMER ETHNIC GROUP LIVING IN THAILAND

Noppon Chaiyason — 2024-06-27

This article is part of the research on Kantrum 250 Songs, with the objective of collecting Kantrum songs in three provinces, namely Buri Ram, Surin and Si Sa Ket Provinces, using qualitative research methods and choose to use a specific field data storage area is a cultutal area where the Khmer language is mainly spoken, because "Kantrum" is an area-specific intellectual heritage with clear cultural boundaries. Most of whom live in the three aforementioned provinces. The researcher used a population and sample group that had roles and expertise in southern Isan folk music. Then collect and record data according to the research objectives by means of descriptive analysis.

The results of the study found that Kantrum is a folk perfoming art of the Khmer Thai people that is widespread in Khmer-speaking societies. From a collection of more that 250 songs discovered, rhythms can be divided into four categories based on instrumentation, tempo, melody, and mood: 1) slow tempos, 2) medium tempos, and 3) fast tempos. These three groups of rhythms. It is a group of songs that have the same melody and melody. And appears unique only in Surin and Buri Ram provinces and 4) Si Sa Ket Province group this group is special in that they use gongs to direct the rhythm instead of cymbals and cymbals. And still maintains the original identity of ancient Kantrum, which is different from the Kantrum game of Surin and Buri Ram provinces that has develoeped to another level.

PROPOSED GUIDELINES FOR CREATION AND DEVELOPMENT OF MUSIC AESTHETIC INSTRUCTIONAL PACKAGE TO ENHANCE MUSIC APPRECIATION FOR UPPER PRIMARY STUDENTS

Riyas Chesoh — 2024-06-27

This research is mixed-methods research and aims to: 1) investigate the guidelines for creating and developing a music aesthetics instructional package with the aim of enhancing music appreciation among upper primary students and 2) develop a music aesthetics instructional package that can effectively enhance music appreciation among upper primary students. The study consisted of six procedures, involving interviews with nine key informants selected through purposive sampling. These informants were grouped into 3: 1) 3 music teachers from formal educational settings 2) 3 experts in music activities 3) 3 experts in music media. Data, collected through semi-structured interviews and instructional package quality assessment forms, was analyzed using data analysis techniques and descriptive statistics. The findings of the study revealed that the instructional package offered guidelines for creating and developing a music aesthetic aligned with the concept of learning aesthetics and the six steps of learning audio art: 1) perception 2) imitation 3)practice 4) improvisation 5) composition and 6) summarizing learning results together. Moreover, an evaluation conducted by five experts indicated that the teaching packages exhibited a notably high level of quality, signifying their efficacy for practical implementation.

"AN IMPERFECT SCHEME" FOR ALTO SAXOPHONE A CREATIVE RESEARCH IN MUSIC COMPOSITION

Wisuwat Pruksavanich — 2024-06-27

This creative research, An Imperfect Scheme for Alto Saxophone, aims to study and present saxophone extended techniques, such as Slap-tonque, Multiphonic, and Alternate finger, through the combination of progressive rock music. The author presented the research by analyzing saxophone extended techniques and applying these techniques in the composition. The author found that applying the Slap-tonque technique would be difficult at a fast tempo. On the other hand, the Multiphonic and Alternate finger techniques are limited by hand position. Both requiring mobility and the possibility to link between notes, especially in fast rhythms. By using these techniques, led into the result of the unique sound and timbre as well as demonstrated the saxophone in the progressive rock musical style.

DIRECTION OF ART-MUSIC PROGRAM IN HIGH SCHOOLS

Thanraphat Ditdumrongsakul — 2024-06-27

Academic article on the topic of the Direction of Art-Music Programs in High Schools. The author has analyzed the curriculum and related academic documents. To present the musical content that appears in the general education curriculum at the high school level that includes the Art-Music Program in the curriculum. Regarding the music curriculum in schools, course structure, and additional subjects in the music curriculum. Including interviews with teachers in schools that provide music curriculum teaching. This article presents 4 schools that have different teaching methods for Art-Music program: 1) Sisaketwittayalai School, Si Sa Ket Province 2) Srinakharinwirot University Prasarnmit Demonstration School (Secondary) 3) Triamudomsuksa Patthanakarn Suwannabhumi School and 4) Triamudomsuksanomklao Samutprakarn School. This study found that schools are flexible in structuring their curriculum to suit the school context, aims, and goals of studying music at the high school level at each school. Directions fot creating and developing music curricula in the future. Teaching and learning must be adjusted to be consistent with the knowledge and abilities of individual learners within the standard framework of musical knowledge and abilities that learners should receive. Teachers are the key to transferring knowledge and developing students' skills to the highest level of excellence. In addition, the subjects should be diverse to meet current career needs both domestically and internationally. To provide students with a broad perspective on education and careers.

GUIDELINES FOR THE DEVELOPMENT OF MUSIC LEARNING MANAGEMENTS FOR STUDENTS WITH SPECIAL NEEDS IN PRIVATE NON-FORMAL MUSIC SCHOOLS IN THAILAND

Pornnatcha Koonkaew — 2024-06-27

This research aims to investigate the opinions of teachers in non-formal private music schools towards students with special needs, and to develop guidelines for organizing music learning for such students with special needs in non-formal private music schools in Thailand. The research adopts a mixed methods approach, combining qualitative and quantitative research designs. The researcher collected questionnaires from 320 music teachers in non-formal private msuic schools across Thailand and conducted focus group discussions with 7 music experts to explore ways to enhance music learning management for students with special needs.

The result indicated that majority of the teachers had a level of knowledge that should be improved to understand and develop guidelines for organizing music learning for such students with special needs. The suggestions towards music teaching strategies can be divided into three aspects as the following: 1) Teachers are required to understands students with special needs in order to prepare teaching strategies effectively. 2) Teachers should establish teaching goals and serve as effective communicators between learners, parents, as well as doctors and therapists. 3) The development of teaching materials should be applied in order to properly guide the students, and there should be a workshop session to guide parents in order to support students with special needs.

CLASSICAL PIANO LEARNING MANAGEMENT FOR GENERATION ALPHA STUDENTS: A CASE STUDY OF SEK THONGSUWAN

Thunyaporn Assawaweeradej — 2024-06-27

This article aimed to study the classical piano learning management of Sek Thongsuwan, biography, and achievements of Sek Thongsuwan. Presently, Sek Thongsuwan is recognized as a highly esteemed Thai classical piano teacher and notable achievements in teaching. Particularly noteworthy, he held the distinction of being the first Thai national to graduate with a Specialist in Piano Performance degree from St. Petersburg State Conservatory in Russia. With his exceptional teaching abilities and proficiency, he facilitates rapid advancement in the learning processes of his students. Over a span of ten years, students under Sek Thongsuwan have garnered more than 100 awards in piano competitions, both nationally and internationally. Given the aforementioned significance, the researcher was motivated to investigate Sek Thongsuwan's classical piano learning management for Generation Alpha students, aiming to enrich classical piano instruction among all piano instructors.

The research employed a qualitative research methodology. Data were collected by using in-depth interviews and non-participatory observations. The results indicated that: 1) Sek Thongsuwan was s professional piano teacher with the ability to teach students of various ages and different skill levels, especially excelling in transferring knowledge to young students. 2) Classical piano instruction for the Alpha Generation students encompassed the following aspects: (1) the objectives aimed at fostering concentration, diligence, and patience to meeting parental expectations, (2) the materials comprised individualized plans, note reading, finger strengthening exercises, music interpretation and expression, musical pieces, and relevant skills, (3) learning management included enrollment and initial agreements, instructional principles, techniques, methods, and a structured teaching and learning sequence, (4) instructional media encompassed a grand piano, sheet music, flashcards, a metronome, an iPad, and the Note Rush application, and (5) the assessment incorporated task submissions and ABRSM examinations. This study's findings can serve as a valuable guide for enhancing the effectiveness of classical piano learning management.

INNOVATION OF CREATION MUSIC PROCESS FOR COMMUNITY DEVELOPMENT: CASE STUDY BANG YI KHAN COMMUNITY

Suppabhorn Suwanpakdee — 2024-06-27

The research project "Innovation of Creative Music Process for Community Development: Case Study Bang Yi Khan Community" had two objectives. Firstly, it aimed to design creative music activities and organize music-playing workshops for young, local participants. Secondly, the project aimed to compose collaboratively with the participation of those young participants in music compositions and showcase creative musical works. The principal method is participatory action research and development, which began by auditioning selected sample ages nine to thirteen about 54 young participants in Bang Yi Khan, after parameters were calculated from 200 populations. The result of the research presented good practice in creative music workshops, including fundamental instrumental music practice and local historical surveying. Simultaneously, the collaborative music composition process was community-inspired, leading to the new 10 compositions in a music showcase entitled "Bang Yi Khan: Community, Music and Life". This showcase was curated to deliver the research documentary, performance, and seminar, and the community and public participated in the concert research procedures concerning music activities and songs from collaborative musical compositions that revealed the essence of humanity, community, music, and life in the highest satisfaction level of Likert scale. Hence, innovative musical creations have the potential to foster a sense of community and cohabitation among individuals.

ELECTRIC GUITAR PERFORMANCE INTERPRETATION IN "LIKE WHAT?"

Jetnipith Sungwijit — 2024-06-27

This academic article aims to present the composition and interpretation of electric guitar playing in the Like What?. Composed by Associate Professor Dr. Denny Euprasert, it was written for the Project R band to be performed at the Thailand International Jazz Conference on the main stage on February 15, 2015 at the College of Music, Mahidol University Nakhon Pathom Province. The songs feature jazz fusion music combined with funky rhythms and released performances with a small jazz ensemble. The composition combines the concept of basic minor blues progressions, a half-whole diminished scale, upper structure triads, and rhythmics ideas. The main theme is played by the drummer, alternating within the phrases and the transition combines the concept of polyrhythm concept.

Interpretation of the electric guitar playing during the main melody is using alternating strumming techniques. The connecting sections are arranged mostly with groups of 3 notes on the 6th-5th-4th strings as well as the accompaniment of an electric guitar during a musician's improvisation, played in the style of rock music mixed with the funky rhythms. Improvisation interpreting using scales and modes related to chord progressions. Combining the use of line pushing techniques. Playing a blind sound, a group of 2-3 notes, and using overdrive to create rock music dimentions.

THE CONCEPT OF TARGET NOTES FOR JAZZ IMPROVISATION

Teerus Laohverapanich — 2024-06-27

The purpose of this academic article aimed to present the improvisation method with a various type of setting target notes. By explaining how to approach the melody towards the method of using target notes in various ways including: chord tones, scales and modes related to the chords, chromatic approach and enclosure. Along with examples of improvisations using target notes by 4 jazz saxophonists, who played an important role in creating various styles of jazz music, including: Coleman Hawkins, the tenor saxophonist who played a major role in the swing big band era, Charlie Parker, the alto saxophonist who invented a method of bebop improvisation, Paul Desmond, the alto saxophonist who played an important role in the creation of cool jazz and west coast Jazz, and John Coltrane, the tenor saxophonist who played a role in the creation of hard bop, modal jazz and free jazz. The performance of the four saxophonists demonstrates how to improvise with a different approach in target notes. Therefore, this article is useful for the musicians who want to study improvisation in an intermediate to advanced level.

COMPARATIVE ANALYSIS OF "RAI-CHATRI" AND THE SONG "PHAN NA"

Prachya Boonmasoongsong — 2024-06-27

When the Office of Music, Fine Arts Department organized the activity "Khon Meets Nora, Cultural Heritage in the Way of Inheritance and Creativity," there was a Khon performance of the Ramayana, the Ramakuta Ayutthaya series, at the 7^th Cycle Birthday Anniversary of His Majesty the King, Prince of Songkla University, Trang Campus, as part of the project. Exhibiting traveling performing arts and music with a troupe of dancers from the Sangkhi School and students from Thaksin University Songkhla Campus being a joint performer. It was the first time that the lyrics, musical accompaniment, and Nora dance moves were arranged into a pantomime.

When considering the improved pantomime script used for performing, it was found that the song Nora sang was called Pleng "Phan Na," it has some important characteristics similar to "Rai-Chatri." Which is an important song used in the Chatri drama. It was found that the song "Phan Na" uses similar lyrics but adjust it to suit the context of the melody. Because the words used in Nora's song forced touching and the number of words in each paragraph is less. There is a similar singing technique of the leading singing and the repeating singing of the choruses. There is a similar drum rhythm expressions in term of a state of being tensed to the utmost and then resolved at the end. It is considered to be the most important characteristic in the state of complex beauty according to aesthetic principles. Principles and reasons for choosing Nora songs helps lead the audience to experience the unique flavor of southern music more clearly. Reflects traces of the idea that Chatri drama is a combination of Lakhon Nok and Nora dramas from the south. This is another piece of evidence that reinforces and supports the idea that the Chatri drama was influenced by the original Nora.