Mahidol Music Journal

THE ROLE OF MUSIC ACTIVITIES IN STRENGTHENING FAMILY BONDS AND EARLY CHILDHOOD CARE IN VULNERABLE FAMILIES

Prapassorn Puangsamlee — Tue, 15 Jul 2025 00:00:00 +0700

Background and Objectives: This study aims to investigate the interest and readiness of vulnerable families in using music activities as a tool to enhance early childhood care. It is based on the concept that music can promote emotional and social development while improving familial relationships, particularly in situations where families have economic and societal limitations. Music has been recognized for its ability to support cognitive and emotional development in children while also promoting familial bonding. This research aims to understand parents' perspectives on music activities and their practicality in daily life to support early childhood development and strengthen family relationships.

Methods: A qualitative case study approach was adopted to gain in-depth insights into the role of music activities in early childhood care. The study involved ten families in Bangkok, selected through purposive sampling from a program aimed at promoting children's well-being in underprivileged settings. The sample group was specifically selected from a project aimed at enhancing children's well-being in underprivileged contexts, considering their readiness and willingness to participate. The selected families are from vulnerable households identified by the community and meet the criteria for multidimensional poverty, including low income, multiple deprivations, family system challenges, and inadequate caregiving. Families participating in this study must fulfill all of these conditions, and must be willing and able to join family music activities at the National Institute for Child and Family Development, Mahidol University. Data were collected through in-depth interviews and participant observations of family interactions during the program. The study focused on five music activities: (1) Guess the song, (2) Sounds Domino, (3) The Home Dance Party, (4) Relaxation Massage with Music, and (5) Musical Bedtime Stories. Each activity was intentionally designed to be simple, requiring minimal resources and a short duration (10-15 minutes) to reduce the burden on families. Moreover, the activities were flexible, allowing families to modify them based on their individual schedules, child development needs, and available resources. The study also examined how families adapted these activities over time and how they influenced children's engagement levels and emotional responses.

Results: The study revealed that participating families demonstrated a strong interest and readiness to incorporate music activities into their daily routines. Activities that encouraged active participation and enjoyment, such as “Sounds Domino” or “Animal Sound Dominoes,” were particularly well received due to their simplicity and ability to create a relaxed, engaging environment. Physical movement activities, such as family dance sessions, also gained positive feedback as they energized children and fostered stronger family connections. In contrast, passive music-based activities, such as “Relaxation Massage with Music,” were less favored due to the lower level of engagement and interaction. From the caregivers' perspectives, flexibility emerged as a key determinant of the success of these activities. Many caregivers expressed appreciation for the ability to modify activities to suit their family's daily schedules and individual capabilities. The short duration and low complexity of the activities allowed for consistent engagement without creating additional stress or burden. Additionally, caregivers reported noticeable improvements in children's self-confidence, communication skills, and creative expression as a result of participating in music activities. These activities also served as a catalyst for strengthening family relationships by creating meaningful opportunities for interaction. For example, musical bedtime stories not only contributed to emotional warmth and security but also reinforced language development and imagination. Meanwhile, family dance sessions provided an outlet for self-expression and facilitated joyful interactions among family members. Furthermore, the study found that incorporating music activities helped reduce stress among caregivers, making daily childcare routines more enjoyable and less overwhelming.

Conclusions: The findings of this study highlight that music activities can serve as a valuable tool for promoting early childhood development and enhancing family relationships, particularly among vulnerable families with limited resources. When designed to be simple, adaptable, and easily integrated into daily routines, music-based interventions can significantly improve the quality of life for both children and caregivers. This study underscores the importance of incorporating music into early childhood care by demonstrating its role in bridging the gap between caregivers and children, fostering positive and meaningful interactions. The results suggest that music activities can not only support children's developmental needs but also create a supportive and nurturing family environment. Future research should explore the long-term effects of these activities to assess their sustained impact on child development. Investigating the integration of music-based approaches in other vulnerable groups, such as families in rural communities or households with children with special needs, could further broaden the applicability and effectiveness of music interventions. Additionally, exploring digital and technology-enhanced adaptations of these activities may increase accessibility for a wider range of families. Practical suggestions include integrating this activity into child development centers, kindergartens, or creating a package of activities that are appropriate for families with time and resource constraints. This study represents a significant step in applying music as a practical tool for early childhood care and serves as a foundation for developing innovative activities that enhance child and family well-being in diverse contexts.

A SINGLE-CASE STUDY OF USING MUSIC THERAPY TO IMPROVE EXPRESSIVE LANGUAGE IN A STROKE PATIENT WITH BROCA'S APHASIA

Naphatipa Preechanon, Treetip Boonyam, Natee Chiengchana — Tue, 15 Jul 2025 00:00:00 +0700

Background and Objectives: This research examines the effect of music therapy on improving expressive language in stroke patients with Broca’s aphasia. Broca’s aphasia is a form of language impairment characterized by a significant difficulty in speaking and constructing grammatically correct sentences, particularly affecting conjunctions and prepositions such as ‘and,’ ‘or,’ and ‘but.’ Broca’s aphasia patients may also struggle with using prepositions. Although they retain an understanding of language and are aware of their communicative intentions, damage to the brain regions involved in speech production hinders their ability to articulate thoughts accurately, resulting in limited vocabulary. For example, a patient who wishes to say, ‘Take the dog for a walk,’ might express it as simply, ‘Dog walk.’ The rehabilitation of these skills often focuses primarily on speech therapy. Speech therapists provide various assessments and exercises to help patients practice and regain their speech abilities, aiming to restore them as closely as possible to their original state. Besides speech therapy, music therapy is another professional field commonly used abroad, either on its own or alongside speech therapy. Numerous studies have highlighted the positive impact of music therapy on the recovery from Broca’s aphasia. Music therapy is defined as the use of musical activities to support individualized therapeutic goals, emphasizing the dynamic interaction between the music therapist, music, and the client. These activities must be grounded in research, and music therapists are required to have completed accredited music therapy training. Through the researcher’s investigation, it was found that, in Thailand, a considerable number of stroke patients experience significant challenges in communication. However, music therapy has not yet been incorporated into the rehabilitation process for improving communication skills in stroke patients. Furthermore, the adaptation of music therapy to align with Thailand’s unique linguistic context remains underdeveloped. Internationally, numerous studies have explored the benefits of music therapy in stroke patients with Broca’s aphasia. These studies highlight that musical tones and rhythms can stimulate the right hemisphere of the brain, compensating for damage to the left hemisphere, enabling patients to use singing as an alternative means of communication. International research has investigated the use of music—particularly pitch, melody, and rhythm—to engage undamaged brain regions and facilitate recovery. Neurologic Music Therapy commonly employs techniques such as Melodic Intonation Therapy (MIT) and Therapeutic Singing (TS). While most studies focus on English-speaking populations, research on music therapy for stroke patients with Broca’s aphasia in Thailand remains lacking, despite the significant number of individuals affected and their unique linguistic needs. This study aims to examine the impact of music therapy on the rehabilitation of language skills in stroke patients with Broca’s aphasia. It seeks to provide guidelines for patients and families on utilizing music therapy for speech recovery and to offer insights for music therapists on effective rehabilitation methods. Additionally, this research will contribute valuable knowledge for further studies in this area.

Methods: This research employs a mixed-method incorporating both A-B single-case and a case-study design. Using Melodic Intonation Therapy and Therapeutic Singing, this study focuses on four key areas of speaking skills: intelligible verbalizations, verbalizing single words, verbalizing phrases, and verbalizing sentences. The music therapy intervention consisted of eight sessions in total. The Individualized Music Therapy Assessment Profile (IMTAP) and Thai Adaptation Aphasia Battery (T-WAB) were used to measure the outcome. The researcher employed the Thai Adaptation of the Western Aphasia Battery (T-WAB) to evaluate and classify the type and severity of aphasia. This assessment includes four key areas: 1) Spontaneous Speech, 2) Auditory Verbal Comprehension, 3) Repetition, and 4) Naming. Testing occurred both before and after the music therapy interventions, with assessments conducted by a speech therapist. Furthermore, the researcher used the Individualized Music Therapy Assessment Profile (IMTAP), a tool that music therapists utilize to evaluate various abilities in both children and adults. This study focuses on the language skills section (Expressive Communication), particularly subcategory E: Verbalizations, which encompasses assessments of comprehension, single-word responses, phrase construction, and sentence formation.

Results: The results showed that intelligible verbalizations during the baseline phase had an average of 40%, which steadily increased to 80% and even 100% during the music therapy phase. Verbalization of single words averaged 50% at the baseline, but scores gradually increased throughout the music therapy sessions, reaching a peak at 100%. For phrase-length verbalizations, the baseline average was 33.3%, which improved to 80% and eventually to 100% during the music therapy phase. Verbalization of sentences showed a baseline average of 0%, but increased to 40%, 80%, and 100% over the course of the therapy sessions.

Conclusions: This research provides guidelines for using music therapy to enhance the speaking skills of stroke patients with Broca’s aphasia. From this study, music therapists can gain valuable methods and procedures for applying music therapy techniques to improve expressive language in such patients, while those interested in further studying this population can also receive useful insights and guidelines for using music therapy in future research and development.

FRAGILITY: AN IMMERSIVE ACOUSMATIC COMPOSITION

Saranrat Sangchai, Poumpak Charuprakorn — Tue, 15 Jul 2025 00:00:00 +0700

Background and Objectives: The concept of acousmatic music has significantly influenced the paradigms of sound perception, compositional approaches, and technological applications, leading to new creative possibilities, including immersive sound experiences. Acousmatic music emphasizes the presentation of sound without a visible source, explicit meaning, or contextual reference, challenging traditional listening practices and encouraging deeper engagement with auditory perception. This study examines the use of acousmatic compositional techniques, field recordings, sound exploration through soundwalks, site-specific sound installation, and multi-layered spatial diffusion to create complex interactions between the listener and the environment, fostering an immersive listening experience that responds to spatial and contextual conditions. This exploration raises a research question: “How can compositional processes and tools be employed to create an acousmatic music composition that delivers an immersive experience?”

Methods: The researcher developed Fragility: An Immersive Acousmatic Composition, a collection of seven pieces with a total duration of 69 minutes, designed for two distinct presentation formats: 1. Soundwalks via the Echoes.xyz application (six compositions), including: (1) MAHANAKHON (2) HOK-LOM-HOK-LOOK (3) THE CITY OF ANGELS (4) (IN)VISIBLE (5) FORGET-ME-NOT and (6) FRAGILITY; and 2. A site-specific sound installation (one composition): (7) ARE YOU LISTENING? These two formats provide an opportunity for listeners to explore sound within a space while actively engaging with the surrounding environment, making the listening experience an integral part of the place and moment. The interplay between pre-composed sound and real-time environmental sound transforms each listening experience into a site-responsive event, continuously shaped by the listener’s position, movement, and interaction with the spatial and acoustic conditions of the environment. Unlike fixed-media compositions with predetermined structures, this approach allows sound to remain in a state of flux, adapting in real time to the shifting conditions of its surroundings. Everyday ambient sounds emerge and intertwine with the composed elements, challenging perception and expanding the act of listening across both virtual space and physical space in ways that cannot be replicated. Listening, in this context, is not merely the reception of isolated sonic events but an active engagement with sound, space, and the ever-changing environment. The conceptual framework of Fragility was informed by extensive fieldwork conducted in collaboration with THEATRE TO GO, a performance art collective that explores innovative ways of integrating artistic expression into everyday life. Through site-specific artistic interventions, the group emphasizes the role of public spaces and community culture as active agents in creative processes. Fieldwork in Bangkok’s historic district revealed ongoing socio-cultural transformations, which became a central theme in the composition. The historic district exhibits multiple layers of fragility, including the physical vulnerability of old wooden structures, the socio-economic shifts reshaping traditional communities, and the fluctuating sonic environment reflecting urban transitions. The selection of this site for field recordings captures these elements, reinforcing the composition’s core theme of impermanence and urban instability. Through the interplay of site-specific recordings, acousmatic transformations, and spatial diffusion, the work seeks to translate these observations into an immersive auditory experience. The Echoes.xyz platform played a significant role in expanding the possibilities of immersive acousmatic composition. The application allows sound compositions to be triggered according to designated geographic locations, offering a responsive listening experience that changes in real time as the listener moves through different spaces. This enables a non-linear engagement with sound, where the sequence and interaction of sonic events are determined by the listener’s navigation of the environment. Meanwhile, the site-specific sound installation offers a contrasting approach, immersing listeners in an auditory environment where the acoustics of the space and ambient noise actively shape the sonic perception. The interplay between pre-composed sound and environmental acoustics ensures that no listening experiences are identical, reinforcing the unpredictable nature of sound in public spaces. This aspect of context-dependent listening challenges traditional notions of composition and performance, making each listening encounter uniquely shaped by spatial and situational conditions. Listeners are not merely passive recipients but actively participate in the process of constructing new meanings of sound. Fragility was publicly presented as part of the itinerant performance project STREET FOOD THEATRE, held in Bangkok’s historic district from April 4-10, 2024, between 6:00 PM to 8:30 PM. The project invited audiences to engage with the seven compositions in their intended forms: six compositions as soundwalks on Echoes.xyz and one composition as a site-specific sound installation.

Results: The study and creation of Fragility: An Immersive Acousmatic Composition clearly address the research question in terms of acousmatic concepts, compositional techniques, multi-layered arrangements, and the use of music technology to construct immersive listening experiences that interweave site-specific with composed sound. Moreover, it reveals the potential of acousmatic concepts in creating auditory experiences that unfold across both physical and virtual space. The composition consists of two presentation formats—soundwalk and site-specific sound installation—both of which began with fieldwork to study and record the acoustic characteristics of the site. Acousmatic concept was also applied in selecting sound materials for composition and in designing immersive listening experiences. The result is an immersive sonic experience that invites the listener to explore sound in relation to the environment, while engaging all senses in the perception of sound, time, and space.

Conclusions: Ultimately, the researcher hopes that this study will contribute to the expansion of acousmatic concepts in contemporary contexts and the further development of immersive acousmatic composition. Rather than being solely perceived through hearing, these experiences foster deeper connections between the listener, space, and the surrounding environment. The successful integration of acousmatic techniques with real-world spaces in this project serves as a foundation for future explorations in sound-based and artistic practices.

PRASIDH SILAPABANLENG'S SIAMESE SUITE: TRANSCRIPTION FROM SYMPHONIC WORK TO PIANO CONCERTO

Chanyapong Thongsawang — Tue, 15 Jul 2025 00:00:00 +0700

Background and Objectives: Siamese Suite, a masterpiece of Prasidh Silapabanleng, was composed in May 1953 for the Queen Elisabeth Competition (international composition category) in Belgium. It was finally premiered at the UNESCO Music Conference in Manila, the Philippines, in 1954. Siamese Suite is the first Thai composition with a symphonic structure, consisting of four movements that showcase the essence of Thai cultural identity and music through the use of Western classical composition techniques. The first movement, “Moon over the Temple” in Andante con moto tempo, is based on an earlier piece called Intermezzo, composed for a graduation exam with Professor Klaus Pringsheim in Japan. The second movement, “In the Grand Palace” in Moderato tempo, reflects the Thai monarchy and the grandeur of the royal palace. The third movement, “Siamese Lament” in a slow tempo Lento cantabile, features a sorrowful melody, imitating the mournful sound of the Thai pi (an oboe-like instrument). The final movement, entitled “In Bangkok’s Chinatown,” is the longest, consisting of four parts: “Introduction” (Adagio), “Love Scene” (Lento), “Heartbreak” (Andante cantabile), and “At the Wedding” (Allegro). It derived from the original song “Chuen-Jai” (Rejoice) with a merry dance scene from the play “Ka-Buan-Se-Ri-Jean”, which reflects the Chinese Freedom Movement in 1937 by young Chinese students against Japanese occupation during the early stage of the second Sino-Japanese war. On the occasion of the 111^th anniversary of Prasidh Silapabanleng, the 125^th anniversary of Luang Vichit-Vadakan, and the 50^th anniversary of the passing of Klaus Pringsheim, a renowned composer and supervisor of Prasidh Silapabanleng at the Tokyo Academy of Music between 1935-37, the author conducted an artistic research project entitled “Silapabanleng’s Siamese Music, performed by Immanuel Orchestra in the community of Klongtoey” in 2023. The research aimed to arrange and perform Thai classical music in new transcriptions, while providing music education and performance opportunities for youth in the Klongtoey community through the Music for Life Foundation.

Methods: The researcher collected and studied the biography and works of Prasidh Silapabanleng from various sources such as books, music scores, letters, documents, stage play manuscripts, recordings, and photographs. The Siamese Suite was analyzed in detail from the original manuscript by the composer’s student, Mr. Kasem Suwongse, and from the later printed score by the Royal Thai Navy Music Division. The composition was arranged by the author for piano and orchestra as a piano concerto, maintaining the original harmonies while adapting it for piano performance. Additionally, the piece was arranged for solo piano performance, with efforts to preserve the orchestral sound’s essence by incorporating pianistic techniques such as arpeggios, tremolos, and traditional Thai musical elements to make it suitable for frequent performance. During rehearsals with the orchestra, the researcher adjusted both the piano part and orchestral arrangement to ensure effective mutual support and harmony.

Results: Performing the piano alongside the orchestra helped young musicians play more accurately in pitch, as the piano provided clear pitch references. Moreover, the piano added expressiveness, enriching the overall sound with techniques exploring the instrument’s tonal range, including smooth arpeggios, tremolo, imitation of the “Kro” technique from traditional Thai music, and the use of octave intervals played with alternating hands as an alternative to the marimba. This arrangement preserved the original composition’s uniqueness while expanding its accessibility to new audiences and contemporary contexts.

Conclusions: Today, Thai classical music is often arranged in various styles to suit modern social and cultural contexts. This artistic research project aims to promote valuable Thai musical works in forms that attract contemporary audiences, especially youth, enabling them to experience the aesthetics of Thai classical music while preserving historical narratives that may have been overlooked or forgotten. Through community-engaged arrangement and performance, this project serves as a bridge connecting the past and present, fostering understanding and appreciation for Thai cultural heritage.

FROM VIOLIN TO CELLO: CÉSAR FRANCK’S SONATA AND ITS TRANSCRIPTIONS

Eri Nakagawa — Wed, 13 Aug 2025 00:00:00 +0700

Background and Objectives: César Franck’s Sonata in A Major, originally composed for violin and piano, was transcribed for cello by Jules Delsart, and this transcription has been the basis for most subsequent cello editions. However, various editors have made distinct interpretative choices that affect the work’s technical demands and expressive qualities. This study explores Delsart’s transcription in comparison with four modern cello editions: those by Leonard Rose (IMC), Peter Jost (Henle), Douglas Woodfull-Harris (Bärenreiter), and Yuki Hasegawa (Édition les bons concerts). The primary objective is to examine how editorial choices—particularly with respect to register, dynamic treatment, articulation, and pitch alterations—diverge from Delsart’s transcription and how these changes impact the piece’s expressive character. By examining these variants, this study also explores how these editorial decisions manifest in the performances of six renowned cellists.

Methods: The study compares the original violin version of the Sonata to Delsart’s cello transcription and four modern editions. The analysis focuses on register changes, dynamic modifications, articulation variations, and pitch alterations. These modern editions represent a range of interpretive approaches—from those closely following Delsart’s original to those integrating more contemporary performance practices. To investigate how these editorial choices manifest in performance, six prominent recordings of the Sonata by renowned cellists are examined: János Starker, Jacqueline du Pré, Mischa Maisky, Steven Isserlis, Yo-Yo Ma, and Gautier Capuçon.

Results: The comparison reveals important distinctions between Delsart’s transcription and the modern editions, especially regarding register choices. Leonard Rose’s edition raises the cello’s register in certain passages to enhance brilliance and projection. In contrast, Peter Jost adheres more closely to Delsart’s register, preserving the work’s original character. Douglas Woodfull-Harris introduces slight modifications to the cello’s part, reflecting a sensitivity to historical performance practices, while Yuki Hasegawa reimagines the piano accompaniment to achieve better balance with the cello, addressing modern acoustic needs. Among the recordings studied, Jacqueline du Pré’s interpretation remains closest to Delsart’s choices, emphasizing the richness and depth of the cello’s lower register. Steven Isserlis adjusts the register to reflect Franck’s original violin part, incorporating early performance traditions into his interpretation. Yo-Yo Ma and Gautier Capuçon both raise the register in various sections to ensure clarity and projection, adapting their performances to the modern concert hall environment. Mischa Maisky explores the full range of the cello, bringing a sense of intensity and clarity by blending both low and high-register passages. Finally, János Starker strikes a balance, using a selective approach to register choices that enhance the richness of the work while maintaining tonal balance.

Conclusions: This study highlights how register choices in César Franck’s Sonata in A Major, in Delsart’s transcription for cello and piano, profoundly shape the emotional and stylistic character of a performance. The decision to remain faithful to Delsart’s transcription, with its emphasis on the cello’s natural depth, or to explore higher registers for a more lyrical, brilliant sound, offers performers a wide range of expressive possibilities. These choices are not simply technical but reflect each performer’s unique artistic vision, balancing tone color, projection, comfort, and expressive intent. A recent recording by Adam Satinsky and the author reflects these nuanced decisions, demonstrating how engagement with register can heighten a performance’s communicative power. Through these interpretations, Franck’s Sonata continues to invite personal expression, fostering ongoing exploration of its emotional and musical potential.

CULTURAL ARTS KNOWLEDGE TRAINING COURSE FOR THE SURVIVAL OF ETHNIC GROUPS IN PHUTAKIAN COMMUNITY THA SAO SUBDISTRICT, SAI YOK DISTRICT, KANCHANABURI PROVINCE

Dhanyaporn Phothikawin, Prakhru Sutthisarasophit, Wararat Seechomnim — Tue, 19 Aug 2025 00:00:00 +0700

Background and Objectives: The Ban Phutakian Community, Tha Sao Subdistrict, Sai Yok District, Kanchanaburi Province, is a community with a history that dates back to before World War II. It is also a community where various ethnic groups have settled, including the Mon ethnic group, the Karen ethnic group, the Thai Yuan ethnic group, and other ethnic groups. As a result, the arts and culture within this community are diverse and unique. It has also provided arts and culture occupations that support people in the community. However, due to the changing social and cultural situation, the knowledge of arts and culture that has a role and function in traditions and culture has been reduced in importance, which also affects these arts and culture occupations. The number of people employed in arts and culture has decreased. As a result, music teachers, musicians, and actors have moved and changed their occupations, which is an important reason why the arts and culture that are the foundation of the Phutakian community are disappearing. Therefore, this research aims to study the history and knowledge of arts and culture for the livelihood of ethnic groups and to develop a training curriculum for knowledge of arts and culture for the livelihood of ethnic groups, in order to be a tool for preserving and restoring cultural heritage to remain in a tangible form and to be an important foundation for the development of training curricula which will help promote the transfer of knowledge from generation to generation systematically, resulting in participatory learning within the community. This can also create opportunities to adapt traditional wisdom to suit modern lifestyles, which will lead to awareness of cultural values in ethnic groups, especially among youth who are the inheritors of knowledge in the future.

Methods: We conducted the research using Participatory Action Research (PAR) as the primary methodological framework. Field data were collected through semi-structured interviews, focus group discussions, and participant observation. The key informants included: (1) community leaders and local wisdom holders, (2) musicians and performing artists, and (3) school directors and teachers. Additionally, a quantitative research component was conducted using a questionnaire survey, with the population and sample group consisting of students at Phutthawimut Wittaya School.

Results: The research results found that history and knowledge of arts and culture are cultural heritages of ethnic groups, reflecting the identity of the community through knowledge of arts and culture, including ethnic traditional play, ethnic music, and Mon Likay performances. However, due to social and cultural changes, some of this knowledge has been lost. The community has therefore begun to restore it by using the educational process. This process can be integrated with Participatory Action Research (PAR) community participation to conduct training courses to create a learning process in arts and culture. The evaluation results of the training course on knowledge of arts and culture for livelihood showed that the level of awareness of the training course on arts and culture for livelihood in terms of curriculum and content, lecturers, teaching media and equipment, study locations, and environment was at a high level. In terms of training activities, knowledge and understanding gained from training, as well as application of this knowledge, were at the highest level.

Conclusions: This research aimed to study the history and knowledge of arts and culture for the livelihood of ethnic groups within the Phutakian community. This knowledge of arts and culture has been passed down from generation to generation, becoming a model that can be learned, especially ethnic traditional play, music, and Mon Likay performances. It plays an important role in traditions and rituals and enhances entertainment, love, and unity within the community. However, with the current social and cultural dynamics, the arts and culture of ethnic groups within the community have begun to disappear. Therefore, this study designed the process of developing a training course on knowledge of arts and culture for the livelihood of ethnic groups using the concept of curriculum development, starting from problem analysis, setting goals, selecting and organizing content, and designing learning experiences to evaluation, emphasizing the participation of knowledgeable people in ethnic communities together with educational institutions to create a learning process that is consistent with the context of the community. The results of this research indicate that the development of such a training course is a concrete approach that can effectively conserve, restore, and promote the continuation of cultural knowledge and plays an important role in sustainably maintaining cultural identity in the community.

SYNTHESIS OF RESEARCH ON THE OVERVIEW OF STUDIES ON ORCHESTRAS AND EDUCATION: A SYSTEMATIC REVIEW

Nonthawat Saetung, Saya Thuntawech — Wed, 03 Sep 2025 00:00:00 +0700

Background and Objectives: Orchestras stand as a testament to the evolving landscape of Western music and compositional techniques, transcending their primary role as purveyors of entertainment to embody significant cultural and societal functions. Beyond the concert hall, the educational mission of orchestras has been a longstanding and vital aspect of their existence. This commitment is particularly evident in the tradition of Children's Concerts, which emerged in the early 20th century. These performances were instrumental in fostering an early appreciation for classical music among younger generations, establishing a practice that continues to thrive. Today, numerous professional orchestras across the Western world actively champion and support diverse educational initiatives, recognizing the profound impact they can have on individuals and communities. In the Thai context, while orchestras are a subject of some academic inquiry, existing research predominantly utilizes them as sample groups or focuses on management-related issues. Although a handful of studies touch upon educational aspects, a preliminary investigation reveals a notable gap: there is a distinct absence of systematic review research specifically dedicated to exploring the intricate relationship between orchestras and education. This identifies a critical area for further scholarly exploration. Consequently, the present research endeavors to bridge this gap by meticulously synthesizing the existing body of knowledge on this topic through a rigorous systematic review methodology, aiming to provide a comprehensive overview and establish a foundation for future inquiry into the educational contributions of orchestras.

Methods: This study employs a systematic literature review to examine the overall landscape and status of studies linking orchestras with educational activities. The goal is to generate knowledge useful for developing future educational programs by orchestras. The researchers conducted a literature search through Chulalongkorn University's EBSCO Discovery Service (EDS). The inclusion criteria were academic journal articles and theses/
dissertations published between 2020 and 2024 (a 5-year period) to ensure the recency and modernity of the research. The keywords used for the search were “Orchestra and Education,” with the condition that both terms must appear in the abstract to specifically target studies focusing on educational activities organized by orchestras. Initial search results yielded 1,894 studies. After applying the defined screening criteria, 9 relevant studies were selected for in-depth analysis. The collected data was then synthesized across three main dimensions: basic research information, research objectives, and research methodology, utilizing descriptive statistics for data analysis.

Results: The synthesis of 9 studies on orchestras and education revealed several key findings. The majority of the studies (N=4; 44.45%) were published in 2024, with the primary context (N=3; 33.34%) being Australia, while the remainder originated from Sweden, the United States, the United Kingdom, Romania, and South Korea. The main objective of most studies (N=6; 54.55%) was to “study” the role of orchestras in education, followed by “exploring” (N=4; 36.36%). This reflects that many scholars are still in the process of understanding the fundamental aspects of orchestra involvement in educational projects. Additionally, some studies aimed to assess program impact, analyze program effectiveness in promoting learning outcomes, and examine the relationship between orchestra participation and social development. Regarding research methodology, the majority of the reviewed studies (N=7; 77.78%) employed qualitative research methods, indicating a trend towards in-depth exploration of experiences and perspectives related to orchestra education. Interviews were the most frequently used qualitative tool (N=6; 42.86%), alongside surveys, participant observation, and document analysis to gain insights into orchestra education practice s. This systematic literature review highlights that orchestras are not merely performing entities for entertainment; they also serve as significant educational spaces. Many orchestras globally are currently adapting their roles by offering high-quality performances alongside educational activities to enhance audience knowledge and reach diverse groups. Furthermore, orchestra educational programs play a crucial role in promoting social equity and community engagement. Several studies indicate that these programs contribute significantly to achieving social goals such as reducing disparities in music education, enhancing quality of life, and providing musical opportunities for underprivileged youth. This aligns with efforts to use music as a tool for social change, particularly through youth orchestras and community music programs. Collaboration between orchestras and educational institutions is also highly important, with many studies emphasizing how these partnerships significantly support music education curricula, professional development for musicians, and audience engagement.

Conclusions: Orchestras play a vital role in music education and community engagement, with many now prioritizing educational programs as a core mission. Future research should focus on developing innovative teaching models, assessing the long-term impact of orchestra-based education, and exploring the role of digital technology in expanding music learning opportunities. This research aims to serve as a guide for educators, musicians, policymakers, and researchers interested in promoting the educational role of orchestras, and to foster a deeper understanding of how orchestras can continue to evolve as comprehensive centers for music learning, reaching all groups and ages in the future, thereby solidifying their place as dynamic cultural and educational institutions for generations to come.

A STUDY GUIDE TO MAURICE RAVEL'S LE TOMBEAU DE COUPERIN

Maykin Lerttamrab — Fri, 12 Sep 2025 00:00:00 +0700

Background and Objectives: Maurice Ravel’s Le Tombeau de Couperin stands as a significant work in the solo piano repertoire, blending Baroque-inspired dance forms with Impressionist harmonic language. Composed during World War I and dedicated to Ravel’s fallen friends, the suite is both a technical challenge and an emotionally profound reflection on grief and resilience. In addition to its historical and artistic significance, Le Tombeau de Couperin presents numerous technical obstacles. This research aims to address these challenges by offering a detailed movement-by-movement guide to the suite, combining performance-based insights with analytical strategies. The objective is to assist pianists in overcoming technical obstacles while deepening their interpretive understanding of the work’s structure, rhetoric, and historical context.

Methods: The study uses a combination of score analysis, practical performance insights, literature review from books and articles, and teaching experience. Each movement of the suite is examined individually, with particular attention given to aspects of rhythm, articulation, pedaling, voicing, and hand coordination. Technical illustrations and examples drawn from the Durand edition are supplemented by suggestions for alternative fingerings, redistribution of hand roles, and expressive shaping. The research also considers Ravel’s performance indications and historically informed practices, placing them in dialogue with contemporary pedagogical strategies. Insights from the author’s personal performance experience—including video documentation available on his public YouTube platform—further inform the applied dimensions of the study.

Results: The analysis identifies specific technical and interpretive challenges across all six movements. In the Prélude, managing the interplay between flowing triplets and grace-note articulations is essential for preserving rhythmic momentum and transparency. The Fugue requires clarity of voicing in polyphonic textures, delicate handling of articulation markings, and flexible solutions for navigating polyrhythmic figures. The Forlane presents metric ambiguity and harmonic complexity, demanding careful control of voicing and chordal texture. In the Rigaudon, large leaps and hand crossovers necessitate strategic physical positioning to ensure continuity and rhythmic precision. The Menuet introduces double trills and intricate pedal transitions that require delicacy and timing, while the Toccata culminates in dense chordal textures, rapid alternating hand patterns, and overlapping thematic material that challenge both technique and expressive projection. For each challenge, the study proposes movement-specific solutions grounded in pianistic logic and pedagogical experience.

Conclusions: Le Tombeau de Couperin is a technically sophisticated and emotionally resonant work that demands a holistic approach from performers—balancing technical mastery, stylistic fluency, and expressive insight. This study demonstrates that the suite’s most formidable difficulties can be mitigated through strategic hand redistribution, efficient fingering systems, and historically informed interpretive choices. Moreover, it emphasizes the importance of understanding the emotional and cultural significance embedded in the suite’s neoclassical aesthetic and wartime context. The findings offer a valuable resource for pianists seeking to approach the work with confidence, clarity, and depth. The full research, titled A Study Guide to Maurice Ravel’s Le Tombeau de Couperin, provides a detailed roadmap for mastering one of the most poetically intricate and pedagogically rewarding works in the piano literature.

AN IMPROVISATIONAL STUDY FOCUSED ON RHYTHMIC ANALYSIS, EXAMINING MOTIF DEVELOPMENT, RHYTHMIC DISPLACEMENT, AND THE IMPLEMENTATION OF METRIC MODULATION IN WYNTON MARSALIS'S SOLO OF "APRIL IN PARIS" FROM THE ALBUM "MARSALIS STANDARD TIME VOLUME ONE"

Sarit Tanpensuk — Tue, 23 Sep 2025 00:00:00 +0700

Background and Objectives: This research article analyzes the improvisation in the piece “April in Paris” by Wynton Marsalis, recognized as one of our time’s most influential jazz musicians and composers. His work “April in Paris” reflects his comprehension and skills in improvisation and complex arrangement through his integration of advanced techniques and deep understanding of jazz tradition. The melody features rhythmic patterns that use metric modulation alongside the main tempo of the piece. This creates a contemporary feel while blending traditional jazz elements. The song is interpreted from a fresh perspective, yet it retains the essence of the original swing style, which is characterized by an ABCD formal structure. However, the rhythmic choices for the melody player and the accompaniment have changed. In sections A, B and D of the melody, the accompaniment plays at a speed of 210 BPM and alternates back to a normal speed of 140 BPM in section C through metric modulation. Additionally, the melody changes the rhythm in section B, starting the motif on the first downbeat rather than the first upbeat. This technique is known as rhythmic displacement, which affects the overall rhythm of the work. The benefits of this study include gaining knowledge and understanding of various motif development techniques that can be applied in practice, understanding and being able to create one’s rhythmic displacement for improvisation, understanding and being able to construct metric modulation patterns, and distinguishing the tempo between the improviser and the accompanying performer during instances of rhythmic layering. Furthermore, these skills can help the performer maintain a consistent tempo when applying metric modulation techniques. The development of knowledge in improvisation also helps enhance understanding of different methods and techniques, leading to future training pathways. Additionally, it can inspire and guide new musicians in developing their styles and techniques and deepen their understanding of music theory for further research into various techniques applicable to improvisation and composition.

Methods: The ideas and sources important for analyzing the improvisation in this piece are based on the principles of motif development outlined by Hal Crook. He described various methods of motif development, including extension, fragmentation, inversion, augmentation, diminution, and repetition, among others. Furthermore, this method enables the integration of multiple processes. Ted Pease’s work explains the concept of creating metric modulation as changing the tempo by substituting the lengths of notes about the original tempo. For instance, in the work analyzed here, the original tempo is set at 140 BPM, and the change in tempo occurs by using the length of the triplet quarter note, leading to a new tempo of 210 BPM. Playing the new tempo alongside the old tempo creates a situation in which the listener perceives and recognizes what is known as polyrhythm. The author studies and references these concepts regarding rhythmic displacement and the metric modulation process. The primary objective of this research article is to analyze the motif development and the creation of metric modulation in improvisation on the song “April in Paris” by Wynton Marsalis. The aim is to explore the techniques of motif development to study the processes used to modify and develop the motif from the song’s melody, such as extending note values, reducing the number of notes, and expanding the motif to understand the methods musicians use during improvisation. This article examines improvisational techniques that influence rhythm in different ways. It includes an analysis of symmetrical and asymmetrical note groupings, rhythmic displacement, and the concept of metric modulation as it applies to changing tempos. These techniques have significant implications for developing engaging forms of improvisation and for understanding ideas related to rhythmic layering. It also involves studying the relationship between the tempos of the improviser and the accompanist to comprehend the construction of complex rhythmic structures. The research begins with the author transcribing Marsalis’s performance in this work and categorizing the analysis points from the transcription. These points are classified, including motif development, rhythmic displacement, the application of metric modulation, and the polyrhythm, and then analyzed according to these categories. This research analyzes various forms of motif development, considering that the motif used have shifted rhythms, resulting in rhythmic displacement. Besides the impact of rhythmic displacement on the rhythm patterns, the article also studies the creation of metric modulation from the melody’s arrangement and Marsalis’s improvisation. However, in this article, there is no discussion of harmony; it focuses solely on the study of improvisational performance for the purpose of creating and developing phrases, with an emphasis on the rhythmic aspects.

Results: The results reveal that motif development, rhythmic displacement, and the use of metric modulation to create overlapping tempos indicate several forms of motif development available for use. Employing motif development techniques in improvisation creates a continuous narrative, allowing listeners to grasp the intended communication. Moreover, rhythmic displacement can be clearly expressed when used in conjunction with motif development, as the first note of the motif determines the starting rhythm of the phrase. As the motif is developed, the number of notes and the rhythms can change, resulting in a shifting melody and the occurrence of rhythmic displacement. The metric modulation process becomes evident when improvisation is performed using the arrangement of melodic cells combined with the development of motifs sequentially into phrases, using a consistent note ratio. In Marsalis’s improvisation, this is the use of dotted eighth notes in a triplet. These dotted eighth notes in a triplet, at a tempo of 140 BPM, are equivalent to straight dotted eighth notes at a tempo where the quarter note equals 210 BPM. When improvisation in the style of metric modulation occurs, if the accompanying performers maintain the original tempo, it results in the superimposition of two tempos. This characteristic can create a complexity that makes the performance more interesting.

Conclusions: The study of the improvisational process is a crucial aspect of jazz musicianship. It contributes to developing instrumental techniques and fosters a more profound understanding that can be practically applied. The improvisational approach employed by Wynton Marsalis in this work exemplifies the use of diverse rhythmic concepts, making it a valuable model for further study and application. This process can be categorized into two main areas: integrating these rhythmic ideas into the arrangement and their use in improvisation. In arranging new compositions, students may incorporate the concept of metric modulation into specific sections or throughout the entire piece to introduce novel rhythmic variations. Likewise, in the context of improvisation, this technique can be explored as a means of creative expression and rhythmic innovation.

IDEAS AND COMPOSITIONAL TECHNIQUES IN "TWO SIDES OF THE SAME COIN" FOR TWO ALTO SAXOPHONES

Attakorn Sookjaeng — Tue, 04 Nov 2025 00:00:00 +0700

Background and Objectives: Two Sides of the Same Coin is a contemporary composition for two alto saxophones. It follows the creative success of the composer’s previous work, Sadayu, for soprano saxophone—a piece that received international attention through performances at the 18th World Saxophone Congress in Croatia, the Singapore Saxophone Symposium 2018, and the 17th Thailand International Composition Festival 2023. Despite the growing support for Thai composers in academic and professional music circles, compositions for saxophone duet are still relatively few. This composition aims to create a repertoire for saxophone and build upon existing knowledge. Furthermore, the piece was intended for performance on international stages, thereby contributing to the continued global recognition of Thai composers’ work.

Methods: This study is qualitative research in music composition. The process began with a study of Sadayu, which is notable for its use of coloristic changes and applying pentatonic scales. The goal was to surpass the musical and technical complexity of the earlier piece. Two Sides of the Same Coin draws its conceptual foundation from a physical object: a coin. The motion of a spinning coin inspired not only the title but also the sonic ideas of the piece.

Results: The compositional concept of changing tone colors was inspired by observing the blurred alternation of a coin's head and tail as it spins—an effect mimicked in the music using bisbigliando, a technique involving rapid alternation between ordinary and alternative fingerings for the same note. This is further enhanced by using a wide vibrato spanning a quarter of a tone and exaggerated vibrato as well as aggressive tongue fluttering techniques to add intensity to sustained pitch. The use of extended techniques in terms of sound effects adds interest to the composition by using pitches that are ambiguous or unpitched sound and including distorted sounds. These techniques play a secondary role to timbral changes namely slap tongue, air blowing, tongue ram, multiphonics, and key clicks. The melodic development focuses on the subtle and skillful application of pentatonic scales through pitch distribution, the simultaneous presentation of two pentatonic scales, and rapid changes in pitch collections to make the music more interesting and colorful. The composition successfully fulfills its original objectives. It presents complex compositional techniques, integrates extended saxophone techniques as core elements, and has already been featured in international music festivals. The premiere performance occurred at the 18th Thailand International Composition Festival 2024 using two alto saxophones as originally intended. A subsequent performance at the XXI Ciclo Internacional de Música Contemporánea in Spain featured a version for two soprano saxophones, which also conveyed the essential timbral transformations and technical demands of the original with equal effectiveness.

Conclusions: The composition Two Sides of the Same Coin effectively showcases extended techniques and a skillful, sophisticated application of the pentatonic scale. Due to its successful performances on international concert stages, it can be said that the piece is suitable for both alto and soprano saxophones. For future performances, the researcher encourages musicians interested in this work to choose the type of saxophone based on previously performed versions, and they are also welcome to experiment with using tenor or baritone saxophones.