Mahidol Music Journal

IMPACTS OF URBANIZATION AND MODERNIZATION ON GUCHUIYUE: SYSTEMATIC LITERATURE REVIEW

Yue Mao — 2026-08-26

Background and Objectives: Guchuiyue (鼓吹乐, Chinese drumming and bowing music), a traditional Chinese wind and percussion ensemble, has undergone profound transformation amid China’s rapid urbanization and modernization. While previous studies have documented changes in performance contexts and transmission practices, few have systematically examined how these transformations are structurally linked to broader socio-economic processes. This study aims to: (1) synthesize how urbanization and modernization have reconfigured the functions and ritual ecology of guchuiyue; (2) analyze the transmission challenges emerging under these structural changes; and (3) identify the adaptive strategies and regional patterns through which practitioners negotiate continuity within evolving cultural fields.

Methods: Following the Preferred Reporting Items for Systematic Literature Reviews and Meta-Analyses (PRISMA 2020) protocol were systematically searched for studies published between 2000 and 2024. Keywords related to guchuiyue, urbanization, modernization, transmission, and functional transformation were combined using Boolean operators (AND/OR) in bilingual search strategies. After multi-stage screening and eligibility assessment, 41 studies were included. Quality appraisal followed the Critical Appraisal Skills Programme (CASP) checklist, which was used to guide interpretive weighting rather than strict exclusion, given the qualitative nature of the reviewed studies.

Results: Urbanization has reconfigured guchuiyue across four interrelated dimensions. First, functional transformation is characterized by a shift from ritual-centered communal service toward diversified domains including staged performance, cultural tourism, and digital dissemination. Rather than a linear replacement, these functions coexist along a continuum, with funerary practices remaining relatively resilient while wedding-related and community rituals decline. Second, a transmission crisis has emerged through the convergence of aging practitioner populations, declining youth participation, and the erosion of repertoire and notation systems. These challenges are driven by rural–urban migration, educational mobility, and the misalignment between traditional apprenticeship systems and contemporary socio-economic expectations. Third, adaptive responses are evident in the institutionalization of training through schools and conservatories, the expansion of digital platforms for dissemination and recruitment, and participation in Intangible Cultural Heritage (ICH) initiatives. These strategies enhance visibility and economic sustainability but may also contribute to repertoire simplification and the weakening of ritual functions. Fourth, distinct regional typologies can be identified, including conservative–ritual-centered models with strong communal embedment, hybrid–stage-oriented models balancing ritual and performance functions, and industry/digital-oriented models driven by commercialization and media platforms. These typologies illustrate differentiated pathways of adaptation shaped by local cultural resources, policy environments, and market conditions.

Conclusions: This article shows that urbanization and modernization are structural forces that reshape the functional roles, ritual ecology, transmission conditions, and regional pathways of guchuiyue in contemporary China. Rather than producing a simple linear decline, these processes have generated an uneven pattern of functional reconfiguration in which ritual, staged, touristic, and digital forms coexist, compete, and overlap across different local settings. At the same time, urban change intensifies transmission pressures—aging practitioners, youth disengagement, and repertoire loss—while also prompting adaptive responses through educational institutionalization, heritage programs, and digital dissemination. Guchuiyue’s contemporary transformation is therefore best understood as an urbanization-driven process of negotiated continuity, shaped by migration, marketization, educational mobility, platformization, and heritage institutionalization. Taken together, these four dimensions—functional transformation, transmission crisis, adaptive responses, and regional typologies—constitute a functional reconfiguration framework for understanding how guchuiyue is reshaped under conditions of urbanization and modernization.

MYTH, MEANING AND STRUCTURE: A LÉVI-STRAUSSIAN ANALYSIS OF THAI-LANGUAGE OPERAS

Fueanglada Prawang Carlson — 2026-09-04

Background and Objectives: This research examines four Thai-language Western-style operas: Ngau Pa (2000) by Pathorn Srikaranonda, The Lunch Box (2009) by Thanapoom Sirichang, and The Story of the Long-Gone Animals (2008) and Covido The Opera (2021), both by Krisada and Napisi Reyes. Though relatively new, they already play a key role in Thailand’s opera tradition, bringing together old stories, Buddhist ideas and issues from modern life. The research employed Claude Lévi-Strauss’s theory of myth to examine ways operas use story patterns, and how their narrative structures maintain cultural values and tradition, while incorporating modern issues. The study aims to highlight inclusions such as family responsibility, love, grief, sacrifice, despair and renewal, as well as symbolic and supernatural entities which bring about transformation. As a result, the study shines a light on the ways Thai-language operas remain tied to tradition while integrating contemporary issues.

Methods: The research employs Lévi-Strauss’s structuralist method of analysis, in which each opera is first segmented into minimal narrative units (mythemes) based on libretti, synopses, and available performance materials. These units are then grouped into binary oppositions according to narrative tension, such as filial rejection versus maternal devotion or stasis versus reconnection. The oppositions are subsequently arranged into vertical columns to map how narrative relationships shift and develop across each work. This process enables rigorous comparison across the four operas while revealing underlying structural coherence. Secondary sources on structuralism, mythology, and opera provide contextual support and guide interpretation in line with Lévi-Strauss’s approach.

Results: The findings indicate that all four operas follow a consistent four-part mythic structure, demonstrating the continued influence of traditional narrative logic in Thai-language opera. Across the works, binary oppositions such as love versus duty, despair versus support, and isolation versus engagement are consistently shaped through symbolic or supernatural figures. These elements drive narrative transformation and allow contemporary concerns, including environmental crisis, mental health, and pandemic-induced isolation, to be expressed within enduring mythic patterns.

Conclusions: This research demonstrates that Thai-language opera functions as a contemporary vehicle for myth, using structural oppositions and symbolic elements to negotiate both traditional values and modern social issues. By applying Lévi-Straussian analysis, the research highlights how inherited narrative structures remain active and adaptable within a Southeast Asian operatic context. While limited by the small number of available works, the findings position Thai-language opera as a dynamic site of ethnomusicology in which cultural continuity and contemporary relevance intersect.

"BAMBOO AND STEEL" FOR DUET SOPRANO SAXOPHONE A CREATIVE RESEARCH IN MUSIC COMPOSITION

Wisuwat Pruksavanich — 2026-09-09

Background and Objectives: The creative research project “Bamboo and Steel” for duet soprano saxophone presents cross-cultural and musical ideas. The concept employs “Bamboo” as a symbol of Asian culture, representing simplicity, nature, and Thai musical tradition, while “Steel” symbolizes Western culture, industrial advancement, and modern musical technology. The work was composed in a progressive rock style, which aligns with the composer’s expertise and allows for the exploration of complex musical structures. This research has three main objectives: 1) to study the possibilities of blending Thai and Western musical instruments to achieve a harmonious sound combination; 2) to investigate contemporary saxophone performance techniques, emphasizing microtones—a pitch interval smaller than a semitone; and 3) to create a composition that applies microtonal techniques effectively in combination with Thai and Western musical elements.

Methods: The process began with selecting suitable Thai and Western instruments. Thai instruments were chosen based on tonal compatibility and non-overlapping frequency ranges (e.g., mong, ching, chab, jakhe). Most of these instruments have short sustain, except the mong, which functions as a bass. The jakhe and mong were adapted to the 12-tone equal temperament system by using the Melodyne plug-in before being integrated with Western instruments, including electric guitar, electric bass, synthesizer, and drum set. For the saxophone, the researcher focused on developing microtonal fingering on the soprano saxophone by testing several instrument brands to determine the most suitable fingering systems. Additional techniques—such as polyrhythm, multiphonics, and slap tongue—were also applied to create complex rhythmic and textural structures. The final stage involved recording, mixing, and mastering. The recording was produced in Logic Pro X through three approaches: live recording (saxophone and bass), sampling (Thai instruments and Superior Drummer 3 for drums), and synthesized sounds. Mixing emphasized sound balance, stereo dimension, EQ (Equalizer), compressor, and spatial effects (reverb and delay) to blend the timbres of instruments from different cultures. The final mix was sent to Fascination Street Studio (Sweden) for mastering to meet digital audio publishing standards.

Results: The outcome of this creative research is the composition Bamboo and Steel, which demonstrates the integration of Asian and Western musical elements. Technically, tonal blending was achieved by adjusting Thai instruments (jakhe, mong) to the 12-tone equal temperament system, enabling them to perform seamlessly with Western instruments. In terms of performance, the researcher developed flexible microtonal fingerings based on tonal variations among saxophone brands, producing clear microtonal expressions through close intervals and contrary motion between two saxophones. Structurally, the piece employs polyrhythms and multiphonics effectively, consistent with the characteristics of progressive rock. The composition has been published as a score and digital audio file through the Samila Sound platform, with QR code links to full recordings. It was premiered at the 20th World Saxophone Congress 2025 in China and later performed at the International Saxophone Meeting in Rome, Italy.

Conclusions: Bamboo and Steel successfully bridges Asian and Western musical worlds through the language of contemporary music. The work highlights the saxophone’s potential to employ microtonal and modern extended techniques while integrating Thai traditional instruments within a rock-based context. This project expands creative possibilities for saxophone repertoire and offers new perspectives on incorporating Thai music into global contemporary performance practice.

MUSICAL CHARACTERISTICS OF SAW SAM SAI SOLO ON LAOKHAEN SONGCHAN COMPOSED BY PROFESSOR UDOM ARUNRAT

Thitikhit Chaiwongsa — 2026-09-10

Background and Objectives: The solo performance represents a unique pinnacle within the heritage of Thai classical music culture. This specific genre of musical composition serves as a comprehensive repository of performance knowledge, intricate techniques, and artistic expressions tailored to each specific Thai traditional instrument. Furthermore, solo musical performances inherently embody three profound dimensions of artistic purpose: 1) Performance to demonstrate the unique idiomatic path (Thang Diao), which highlights the distinctive character, sonic capabilities, and structural pathways specific to each instrument; 2) Performance to showcase precision and absolute memorization, which evaluates the performer's mental acuity and mastery in recalling complex melodic routes and technical nuances flawlessly; and 3) Performance to demonstrate supreme virtuosity and dexterity, which reveals the advanced artistic proficiency of the soloist who executes these intricate pathways with impeccable accuracy, emotional depth, and complete mastery of advanced instrumental techniques. Crucially, a solo performance must always be accompanied by rhythmic percussion instruments to maintain the structural tempo. The genre of solo pieces can be classified into three major categories based on their origins and functions: 1) Solo pieces derived from traditional repertoire and fundamental musical paths, such as Khaek Mon Samchan; 2) Solo pieces designed to accompany dramatic performances, such as Choet Nok and Laophaen Songchan; and 3) Inherently independent solo compositions, such as Thayoi Diao. This research focuses on the solo performance of the Saw Sam Sai in the piece Laokhaen Songchan, following the specialized lineage and musical path of Professor Udom Arunrat (also traditionally known as Laophaen Songchan). This solo composition is historically presumed to have originated during the early Rattanakosin period and has since been continuously preserved, refined, and transmitted across generations by numerous Thai classical music masters. Consequently, this historical continuity and artistic depth have inspired the researcher to undertake a comprehensive musicological investigation into the musical characteristics, structural elements, and performance techniques of the solo Saw Sam Sai in Laokhaen Songchan following the pedagogical path of Professor Udom Arunrat.

Methods: This study employs a qualitative research methodology based on musicological frameworks. The primary objective is to thoroughly investigate the structural musical characteristics and the specialized performance techniques required for the solo Saw Sam Sai performance of Laokhaen Songchan within the tradition of Professor Udom Arunrat. To achieve this, the researcher systematically gathered comprehensive data from diverse sources, including relevant academic literature, historical documents, textbook analyses, in-depth interviews with contemporary music masters and experts, direct participant observations during live demonstrations, and practical performance analysis. Furthermore, data triangulation and rigorous validation methods were implemented to ensure the accuracy, reliability, and integrity of the collected musicological information.

Results: The analytical study of the musical characteristics of the solo Saw Sam Sai in Laokhaen Songchan according to the path of Professor Udom Arunrat was successfully executed in accordance with the conceptual framework and research objectives. The empirical findings reveal that this specific solo path for the Saw Sam Sai in Laokhaen Songchan was meticulously adapted and refined from the traditional solo path of Laophaen Songchan. Professor Udom Arunrat deliberately selected the title Laokhaen Songchan for this composition. Structurally, the composition utilizes the specific classifier “Wak” to designate each musical phrase or section. The entire piece is composed of a total of 8 distinct Wak, arranged as follows: 1) Wak Nuea Laokhaen, 2) Wak Thiaoplian Nuea Laokhaen 3) Wak Sum Laokhaen, 4) Wak Lao An San I, 5) Wak Soi Lao An San I, 6) Wak Lao An San II, 7) Wak Soi Lao An San II and 8) Wak Chop. Regarding the modal structure, the analysis indicates that the primary scale or mode used is the F FGAXCDX scale, which acts as the principal structural tonality, while the B BCDXFGX scale functions as the secondary or auxiliary mode. In terms of performance techniques, the solo execution on the Saw Sam Sai exhibits two primary characteristics: 1) Performance techniques for melodic ornamentation, which refer to the foundational and advanced techniques used to embellish the basic melody of the Saw Sam Sai, including specialized fingering such as Phrom Poet, Phrom Pit, Phrom Chak, Uean Siang, Khayi, Si Krathop, Niu Rut, and Niu Kong; 2) Performance techniques for establishing unique identity, which specifically refers to “Siang Sep” (Sep sound). “Siang Sep” is an innovative, highly sophisticated performance technique created specifically for the Saw Sam Sai by artistically mimicking the acoustic characteristics, breath accents, and unique phrasing of the traditional northeastern reed mouth organ (Khaen). This distinctive “Siang Sep” technique functions as a signature stylistic ornament that enriches the identity of this musical path, and it has been developed into an advanced instructional exercise for the Saw Sam Sai, serving as a prerequisite study before students advance to other highly complex solo repertoires.

Conclusions: The study of musical characteristics Saw Sam Sai on Laokhaen Songchan by Professor Udom Arunrat demonstrates the development of solo performance styles from past to present, grounded in the lineage of knowledge transmitted through The Phraya Phumisewin (Jit Jittasevee) school. Furthermore, it illustrates the creation of performance techniques that enhance the unique identity of this particular solo style which is recognized as the sole Saw Sam Sai solo version with a Lao accent in the entire Saw Sam Sai solo repertoire.

AN ANALYSIS OF PIANO SONATA NO. 5, OP. 53 BY ALEXANDER SCRIABIN

Vich Boonrod — 2026-09-10

Background and Objectives: Alexander Scriabin’s Piano Sonata No. 5, Op. 53 (1907) is a transitional work in which the composer moves from a late-Romantic idiom toward a personal harmonic system, and is the first of his sonatas cast in a continuous single-movement form. Its pitch organisation draws extensively on the “mystic chord” (a six-note collection, represented here as C-F©-Bb-E-A-D) rather than on functional tonality. Existing scholarship has tended to treat the work’s structure, its philosophical background, or its performance challenges separately. This study offers an integrated reading across three dimensions: musical structure; the documented aesthetic context of Theosophy, the Mysterium project, and Scriabin’s tone-colour associations; and performance-practice implications.

Methods: The study applies qualitative musicological analysis to the first edition (Leipzig, 1910), supported by verified secondary literature. Because the first edition does not print measure numbers, all measure references are the author’s editorial count from the first notated measure. Aesthetic and philosophical material is treated as documented context and interpretation, not as a demonstrated cause of musical events; performance claims distinguish historical evidence of Scriabin’s playing from the author’s score-grounded recommendations.

Results: The work compresses sonata procedure into a continuous single movement of 456 measures. The mystic-chord collection functions as an important organising resource in the sonata’s non-functional harmonic language. Where Scriabin’s documented ideas can be related to specific passages — for example his association of F© with “bright blue” — the relationship is presented as interpretation rather than demonstrated fact. The performance findings connect pedalling, voicing, and temporal flexibility to identified passages and to historical accounts of Scriabin’s style.

Conclusions: In this work, compositional technique can be read in relation to Scriabin’s documented aesthetic context; the single-movement design supports a continuous expressive trajectory, and informed performance is aided by awareness of both the harmonic system and the documented aesthetic background. The study offers a model for evidence-disciplined analysis of early-modernist repertoire and practical, score-based guidance for performers.

ANALYSING TONE-MELODY CORRESPONDENCE IN THAIPOP USING THE CANTOPOP "LING YI SEI SAAM" SONGWRITING METHOD

Tanpeng Leong — 2026-09-18

Background and Objectives: Over the past seven decades, Hong Kong scholars have developed systematic approaches to lyric-melody correspondence, contributing both to songwriting practice and to academic research. Of these approaches, the “Ling Yi Sei Saam” (0243) method stands as a representative example. However, research on this topic remains limited despite the rapid development of Thai popular music (Thaipop). Existing studies on Thai music have largely focused on traditional songs, leaving Thaipop underexplored from a musicological and linguistic perspective. In this study, we examine the phonological features of Thai tones, including their values and contours. We investigate lyric–melody correspondence in Thaipop, identifying songwriting techniques based on by the Ling Yi Sei Saam method. Furthermore, we propose a preliminary methodological framework for Thai lyric–melody alignment as a foundation for future research.

Methods: This study is a framework-based analytical study using the Ling Yi Sei Saam method. The lyric-melody correspondence in six Thai popular songs sung in standard Thai that are top-ranking in the Thaipop music charts, namely Top Charts and Billboard Thailand, were examined. Each song was transcribed and notated, including its lexical tone, IPA transcription, musical notation, and International Pitch Notation. Musical structure, scale degrees, and pitch intervals were systematically recorded, and tone values were mapped to the melodic contour. The aligned linguistic and musical data were then analysed to identify pitch range distributions and to compare patterns across the selected materials.

Results: The results show that tone-melody correspondence in Thaipop follows consistent structural patterns. Tone 1 aligns most frequently with the tonic in the central pitch range, while Tone 2 is stably mapped to lower scale degrees (V and VI). Tone 3 frequently occurs in the lowest pitch positions in a song besides when it is in the upper pitch range. Tone 4 and Tone 5 are associated with the upper pitch range and often mark melodic peaks. Tone 3, Tone 4, and Tone 5 belong to the higher pitch range, which map to scale degrees II and V and have a strong tendency to resolve to the tonic (I). In addition, this study shows that tone-melody mismatches commonly occur with the presence of a falling tone. Comparatively, Thaipop exhibits broader tonal distribution across pitch ranges than Cantopop, particularly in the treatment of the falling tone.

Conclusions: This study demonstrates that the alignment of lexical tones and melodies of the lyrics of Thaipop songs follows a consistent pattern to preserve lyrical intelligibility. The findings show that both Thai and Cantonese popular music share some similar language constraints and tone-melody mapping patterns, resulting in a modified Ling Yi Sei Saam framework adapted to Thaipop songwriting and analysis. Overall, this study develops a greater understanding of the lyric-melody relationship and highlights the need for further research.

MASTERING PROKOFIEV'S VIOLIN SONATAS OP. 56 AND 115: A PEDAGOGICAL FRAMEWORK BRIDGING TRADITIONAL METHODS AND MODERN REPERTOIRE

Lin Niu — 2026-09-18

Background and Objectives: Although traditional violin pedagogy, deeply influenced by the pioneering methods of Leopold Auer, Carl Flesch, and Ivan Galamian, has had a profound impact on string education, its application remains largely confined to the classical and romantic repertoires. Given that the unique harmonic and rhythmic demands of 20th-century modernist music necessitate a modernized pedagogical approach, this study constructs a structured violin teaching framework based on Sergei Prokofiev’s Sonata for Two Violins, Op. 56, and Sonata for Solo Violin, Op. 115. The primary objective is to systematically recontextualize historical teaching principles to address the specific interpretive and technical challenges of these modernist works.

Methods: This study is positioned as practice-led pedagogical research. To articulate and systematize modern violin teaching practices, the research employs a triangulation approach integrating three distinct sources of professional evidence: detailed score analysis to identify structural and technical hurdles; the synthesis of pedagogical literature from Auer, Flesch, and Galamian; and reflective insights derived from performance practice. This methodology is operationalized through a three-phase iterative process encompassing historical contextualization, comparative technical calibration, and pedagogical synthesis.

Results: The research culminates in the development of a comprehensive, progressive three-stage curriculum: Solo Mastery (Op. 115), Unison Coordination (Op. 115), and Duet Collaboration (Op. 56). The framework successfully translates complex modernist concepts—such as chromatic displacement, intricate rhythmic synchronization, and dissonant counterpoint—into targeted, actionable exercises. By applying Flesch’s scale systems for intonation, Galamian’s principles for bowing and “critical ear” synchronization, and Auer’s relational phrasing for ensemble dialogue, the sequence cultivates technical independence, collective listening, and advanced chamber-music interaction.

Conclusions: This framework provides the first explicit pedagogical framework adapting the historically dominant Auer–Flesch–Galamian pedagogical methods to Prokofiev’s modernist repertoire. By shifting the instructional focus from mere mechanical execution to reciprocal peer learning within a social-constructivist framework, the curriculum not only deepens the interpretive understanding of Prokofiev's works but also equips advanced students with the technical resilience and collaborative empathy required for the broader canon of 20th- and 21st-century music.