Mahidol Music Journal

FROM THE RINGS TO THE REEDS: MUSIC COMPOSITIONS BASED ON THAI BOXING DANCE

Yos Vaneesorn — Wed, 20 May 2026 00:00:00 +0700

Background and Objectives: The research project “From the Rings to the Reeds: Music Compositions Based on Thai Boxing Dance” emerges from critical recognition of the profound aesthetic dimensions and cultural significance embedded within the Wai Khru Muay Thai, a ceremonial practice that constitutes an integral component of Thailand's intangible cultural heritage. The ritualistic performance tradition operates as a complex artistic system which combines musical elements with dance choreography and combat techniques to present vital aspects of Thai cultural heritage and philosophical beliefs. The Wai Khru ceremony presents an intricate combination of musical elements and bodily movements which performers maintain through oral tradition and physical execution while the Pi Klong ensemble provides its unique sound palette. Wai Khru Muay Thai exists as a sophisticated repository of cultural memory, encoding within its formal structures the philosophical principles undergirding Thai Buddhist cosmology, social hierarchies, and ethical frameworks. The ritualistic movements which honor teachers and ancestors and protective spirits function as cultural transmission performances through which practitioners demonstrate their connection to history while preserving their community's fundamental beliefs. The practice of Wai Khru enables participants to establish educational links with tradition which generates spiritual growth and artistic development and social consciousness that enables knowledge preservation between generations. Despite its long history and complex artistic value, Wai Khru Muay Thai has not received enough attention from modern composers who could use it as a base for their work. This study addresses this gap by interrogating possibilities for creative reinterpretation of musical essence distilled from Wai Khru Muay Thai within modern art music composition. The research aims to study the process of transforming Wai Khru Muay Thai into modern Western woodwind instrument compositions which would expand musical repertoire and create cultural exchange opportunities. The selection of woodwind instruments was based on their acoustic qualities and because their breath-based sound production creates direct physical contact between performer and instrument, which allows for precise dynamic control and expressive inflection that mimics human vocal emotional responses.

Methods: The methodological framework unites analytical research with artistic creation through a research-through-creation approach which allows theoretical analysis and compositional work to mutually support one another. The first stage involved a thorough examination of academic materials which studied Wai Khru Muay Thai and its ceremonial importance and musical heritage. The research identified essential rhythmic structures and melodic patterns and scalar systems and symbolic gestural elements which together form a complete set of musical components for composition development. The research study analyzed three main aspects, which included pitch organization and scalar construction, rhythmic structures and metric frameworks, and timbral characteristics and instrumental techniques. The research examined Pi Java's unique melodic shapes and modal characteristics and decorative elements together with Na Thap's intricate rhythmic cycles and accentual structures. The next compositional stage combined the traditional elements found through analysis with Western compositional methods, which included pan-triadic harmony and various formal structures and extended woodwind playing techniques such as multiphonics, flutter tonguing, and vocal-instrumental approaches. The selection of musical elements followed two guidelines, which aimed to increase expressive and structural complexity while maintaining clear links to Thai cultural heritage. The research maintained academic rigor and cultural authenticity through its use of structured interviews with expert practitioners and scholars who specialized in Thai music and ritual practice. The finished works became available through three distribution methods, which included public concerts, analytical studies, and digital platforms that provide free access to scores and recordings with interpretive explanations.

Results: The research produced fourteen new musical works which successfully combined Thai ceremonial dance elements with Western classical music components. The three representative works, including Echoes of Grace and Valor, Sacred Homage, and Celestial Serenade, show how the gestural language and melodic development and rhythmic intricacy and tonal elements of Wai Khru Muay Thai translate into woodwind performance techniques. The modern woodwind repertoire receives important additions through these compositions which introduce performers to culturally unique pieces that test their technical skills while delivering fresh listening experiences through genuine cultural materials. The compositions received major public attention because they were performed at national and international venues which earned positive reviews from professional musicians and academic experts. The project reached wider audiences through its strategic distribution across academic conferences as well as digital score libraries and streaming services and curated playlists, which made both artistic content and theoretical materials accessible to the public.

Conclusions: This research demonstrates that Thai traditional dance and music embody substantial artistic and theoretical value for contemporary compositional practice, offering rich source material providing genuine insights into alternative organizational principles and expressive possibilities. The research shows that protecting cultural heritage needs more than just keeping records because traditional knowledge systems need creative methods to stay alive when they interact with modern artistic settings. The project develops a repeatable research method which researchers can use in future studies while building long-term facilities to protect and develop and promote Thai musical heritage worldwide. The research shows how traditional knowledge systems unite with modern compositional techniques to build international intercultural musical exchanges which protect Thai artistic heritage for contemporary cultural production.

THE DEVELOPMENT OF AN INTEGRATED EMBODIED COGNITION AND MUSIC THERAPY PROGRAM TO ENHANCE EXECUTIVE FUNCTIONS OF PRIMARY STUDENTS WITH A TENDENCY TOWARD LEARNING DISABILITIES

Chinnapat Charoenrat, Dusadee Intraprasert, Daranee Saksiriphol — Mon, 25 May 2026 00:00:00 +0700

Background and Objectives: In recent years, a growing number of primary school students have been identified as having a tendency toward learning disabilities, which significantly impacts their academic development, classroom adaptation, and social functioning. Of particular concern are deficits in executive functions—a set of cognitive skills involving self-regulation, planning, working memory, and cognitive flexibility. Students with weaknesses in these areas often struggle with behavior regulation, following multi-step instructions, and maintaining attention, all of which hinder learning. Embodied cognition is a concept that emphasizes the integration of bodily experiences into the learning process. When combined with music therapy—a well-documented method for stimulating brain regions related to executive function—this integrated approach offers an innovative strategy to support cognitive development in children with learning difficulties. The use of music and movement in learning may lead to improved attention, emotional regulation, and self-discipline, especially when designed in developmentally appropriate, engaging formats. This study, therefore, aimed to: (1) explore the executive function skills of primary school students with a tendency toward learning disabilities; (2) develop an integrated embodied cognition and music therapy program to enhance their executive functions; and (3) examine the effectiveness of the developed program in improving executive function skills among the target group.

Methods: This mixed-methods study was conducted in two phases. Phase 1 involved a survey of executive function skills among 230 primary school students suspected of having learning disabilities. Participants were selected from schools under the Office of the Basic Education Commission in Bangkok. The assessment tool used was the KU-THEF (Teacher Version), which evaluates nine domains of executive function: inhibition, emotional control, flexibility, initiation, planning and organization, working memory, task monitoring, self-monitoring, and materials organization. Phase 2 involved an experimental intervention using a quasi-experimental design. Sixty students were purposively selected and divided equally into an experimental group (n = 30) and a control group (n = 30). The experimental group participated in a 10-session intervention program (45 minutes per session), incorporating embodied cognition and music therapy-based activities, such as “I Create the Rhythm,” “Remember and Jump,” “Move as I Plan,” “Clean it up,” and “I Am the Inspector.” All participants were assessed before the intervention (pre-test), immediately after (post-test), and four weeks later (follow-up test). Data were analyzed using descriptive statistics and ANCOVA to compare performance across the three time points between the two groups.

Results: The findings from phase one revealed that the majority of students exhibited below-standard levels of EF, particularly in the domains of task monitoring, material organization, planning and organization, working memory, and initiation. In phase two, the experimental group demonstrated statistically significant improvements in their overall executive function scores compared to the control group (p < .05), both in the post-test and the follow-up test. Notable gains were observed in planning and organization, working memory, and self-regulation—core components of executive functioning necessary for learning and everyday functioning. Additionally, behavioral observations and teacher reports indicated that students in the experimental group showed increased focus, improved task persistence, and greater classroom engagement. Students became more confident, expressed creativity, and participated actively in group activities. Many also demonstrated enhanced responsibility and organization when managing classroom materials.

Conclusions: The integrated embodied cognition and music therapy program developed in this study was found to be effective in enhancing executive functions in primary school students with learning difficulties. Its strength lies in the holistic integration of cognitive, physical, and emotional engagement through structured and playful learning experiences. The activities were developmentally appropriate, stimulating, and motivating for the target group, promoting both skill acquisition and behavioral growth. These findings align with global research trends emphasizing the importance of movement, emotion, and multisensory learning in cognitive development. The success of this intervention suggests strong potential for application in regular school settings, as well as adaptation for other vulnerable student populations. Future studies should consider long-term implementation and cross-contextual validation of the program to further assess its sustainability and impact on academic and social outcomes.

HARMONISING TRADITION: CHORALISATION OF CENTRAL THAI 'KIAO KHAO' FOLK SONGS

Sarin Chintanaseri, Narongchai Pidokrajt, Kyle Fyr — Tue, 26 May 2026 00:00:00 +0700

Background and Objectives: This research focuses on the preservation and creative transformation of phleng kiao khao (Rice Harvesting Song), a traditional Central Thai folk song deeply embedded in the region’s agricultural way of life. The study reimagines this folk genre in the context of choral music, specifically exploring how its cultural, musical, and poetic elements can be adapted into a structured a cappella choral setting. The main objectives are twofold: (1) to investigate the musical characteristics and traditional vocal styles associated with kiao khao songs, which include call-and-response structures, tonal fluidity, and improvisational phrasing; and (2) to develop a choral reinterpretation that maintains these songs’ original spirit while applying principles of Western music theory. In doing so, the research aims to bridge the gap between oral folk traditions and modern choral performance, allowing for a new mode of cultural expression that resonates with contemporary audiences.

Methods: The study employed a mixed-methods approach, incorporating qualitative ethnomusicological research with creative practice. Fieldwork of kiao khao song was carried out across four provinces—Suphan Buri, Ang Thong, Bangkok, and Nakhon Pathom—where master folk singers (pho phleng and mae phleng) were engaged through interviews and collaborative singing sessions. These interactions provided valuable insights into regional dialects and performance gestures. They also revealed poetic structures and improvisational techniques used in the original folk context. The researchers recorded and transcribed all collected songs into Western notation, using digital audio tools and manual notation methods. Based on these transcriptions, a series of choral arrangements were developed using four-part harmony as a base, though the final compositions involved five vocal parts—including two ostinato lines—to retain the repetitive and rhythmic qualities of the folk idiom. A laboratory choir was then formed to rehearse and refine the arrangements, providing feedback that shaped the final performance structure.

Results: The findings confirm that kiao khao songs, originally used to ease the burden of harvesting rice through humor and flirtation, possess distinct features such as semi-sung and semi-spoken delivery, flexible rhythm, and tonal variance. These features posed challenges when adapting the songs into a choral format, particularly in standardising pitch and metre while preserving the natural speech rhythms of Thai language. However, through iterative experimentation, the choralisation process succeeded in maintaining the cultural identity of the original work. Key strategies included anchoring the pitch around baritone lines, using ostinato patterns to simulate traditional repetition, and incorporating drone tones and traditional percussion instruments (ching, krap, ramana) to emulate the folk atmosphere. The homophonic and antiphonal textures in the choral arrangement allowed the piece to retain its dialogic nature, while enhancing musical complexity through harmony. Audience responses from the concert tour indicated high levels of engagement and cultural resonance. The inclusion of master singers in public performances validated the authenticity of the adaptation and reinforced intergenerational connections. This study also demonstrates how traditional oral literature, when translated effectively into written musical form, can serve educational, performative, and cultural-preservation purposes within a modern framework.

Conclusions: This research presents a viable model for transforming oral folk songs into formal choral compositions, achieving both preservation and innovation. The choralisation of kiao khao not only revitalises a fading cultural practice but also opens new possibilities for integrating folk music into contemporary musical education and performance. This method supports Thailand’s broader cultural policy goals, offering a sustainable framework for safeguarding intangible cultural heritage through interdisciplinary collaboration and creative engagement. The project stands as a testament to the enduring value of Thai folk music and its potential to evolve within changing cultural landscapes.

ANALYSIS OF THE VIOLIN'S ROLE AND PERFORMANCE TECHNIQUES IN DMITRI SHOSTAKOVICH'S PIANO TRIO NO. 2 IN E MINOR, OP. 67, ALLEGRETTO

Thaphad Sungwijit — Tue, 26 May 2026 00:00:00 +0700

Background and Objectives: Music research encompasses diverse approaches and methodologies, including historical musicology, ethnomusicology, pedagogy, and analytical studies. Among these, musical analysis serves as a crucial method for uncovering compositional logic, structural design, and expressive devices in musical works. Such analytical perspectives not only contribute to academic discourse but also provide invaluable resources for music education—particularly in courses like musical form and analysis, performance studies, and 20th-century music. The Piano Trio No. 2 in E minor, Op. 67 by Russian composer Dmitri Shostakovich is of particular interest due to its emotional depth, structural sophistication, and political resonance. The fourth movement of this quartet, Allegretto, is notable for its intense and aggressive musical expression. Scholars and performers have widely interpreted the movement as a representation of horror and suffering experienced by Jewish victims during the Holocaust. In particular, the movement alludes to atrocities committed in Nazi concentration camps such as Majdanek and Treblinka, where Jewish prisoners were reportedly forced to dig their own graves and dance on top of them before execution. These brutal realities are transformed into musical language through a blend of thematic development, harmonic tension, rhythmic instability, and instrumental color, with the violin playing a central role in shaping the movement’s dramatic arc. This study focuses specifically on the Allegretto movement of the piece, aiming to analyze its overall musical structure and context, as well as the violin’s role and performance techniques.

Methods: The study investigates relevant contexts surrounding Shostakovich’s Piano Trio No. 2, including characteristics of 20th-century music, the biography of Shostakovich, musical form, melody, harmony, and violin techniques. Related academic literature was reviewed, and the musical score was analyzed in detail to meet the research objectives. Findings were synthesized and interpreted to formulate scholarly insights.

Results: Shostakovich’s Piano Trio No. 2 is structured in four movements, with the Allegretto functioning as the fourth and final movement. This movement, often referred to as a "Dance of Death," is composed in Sonata-Rondo form and consists of 404 measures. It contains three principal themes—A, B, and C—organized as follows: themes A, B, and A are presented in the exposition; theme C forms the development; and themes A, B, and A return in the recapitulation. Each section ends with transitional material and codas that help articulate formal boundaries. In the exposition (97 measures), Theme A is presented in E major, with the violin performing the melody using pizzicato technique, lending a dry, percussive character. Theme B then modulates to C Lydian mode, and the violin switches to a harmonic role, using chordal pizzicato that creates a homophonic texture and projects a heightened dynamic intensity. The development section (228 measures) is the most extended and complex part of the movement, featuring irregular meter, rapid shifts in rhythm, and contrapuntal interplay between piano and strings. This section also introduces two new subsidiary motifs, which are passed between instruments in a tightly woven polyphonic texture. The violin is required to execute multiple stops and articulate sharply defined gestures under dynamically extreme conditions. Elements of themes A and B are fragmented and transformed in this section. In the recapitulation (77 measures), Theme A returns in E major and is soon followed by Theme B in B major (the dominant key), and ultimately returns to Theme A in the tonic. The conclusion features a perfect authentic cadence in E major. Throughout the movement, instrumental roles alternate between melodic and harmonic functions. The violin’s writing is particularly expressive and technically demanding, incorporating techniques such as pizzicato, pizzicato chord, high-register playing, up or down bow stroke, multiple stops, staccato, and col legno (using the wooden part of the bow). Collectively, these techniques contribute to the movement’s grotesque character and dramatic tension, encapsulating Shostakovich’s fusion of structural precision and emotional intensity.

Conclusions: The Allegretto movement of Shostakovich’s Piano Trio No. 2 reveals a sophisticated fusion of 20th-century and 18th-century compositional approaches. Harmonic language is marked by dissonant chords, chromatic mediant relationships, and tritone intervals—hallmarks of 20th-century expression. Rhythmic structures include frequent meter changes and irregular patterns, intensifying the psychological tension of the work. The violin part demonstrates a wide range of extended techniques, such as col legno, aggressive multiple stops, pizzicato chords, and extreme dynamics. Interestingly, Shostakovich also incorporates classical techniques such as melodic repetition, imitation, and thematic variation, as well as a formal framework (Sonata-Rondo) typically associated with the 18th century. This hybridization suggests a neoclassical inclination, where traditional elements are revisited and reinterpreted within a modern context. The violin serves as a medium for conveying anguish, resistance, and fatalistic humor.

A SCOPING REVIEW OF CREATIVE RESEARCH AMONG WESTERN MUSIC STUDENTS AT CHANDRAKASEM RAJABHAT UNIVERSITY

Pongpob Sukittiwong — Wed, 27 May 2026 00:00:00 +0700

Background and Objectives: Creative research is a process of generating new knowledge in the arts through creative practice as a key method. It has been established as one of the standard learning processes in undergraduate-level art curricula. The Bachelor of Music program in Western Music at Chandrakasem Rajabhat University has continuously implemented creative music research as part of its curriculum. The program focuses on knowledge and experience that students have developed from the course of their studies and gives them an opportunity to freely create their work and publish it. As a result, a large number of student creative music research projects have been produced. Conducting a systematic analysis of the existing research using a scoping review approach allows for the mapping of the knowledge landscape and identification of research gaps, which can serve as a foundation for clearer and more effective educational processes. The aim of this study is therefore to conduct a scoping review of creative research in music conducted by Western Music students at Chandrakasem Rajabhat University.

Methods: This research was a descriptive study employing the scoping review methodology, following the steps: identifying relevant studies, analyzing the studies, organizing the data, and comparing and synthesizing the findings. A total of 348 qualified studies from the academic years 2015-2024 (B.E. 2558-2567) were selected. The research instrument was a document analysis record form. Data collection involved recording document files in electronic format for analytical reading based on the specified issues. Data analysis techniques include content analysis, thematic analysis, and frequency counting and distribution.

Results: The findings revealed six key themes: 1) Most works primarily focused on composing and publishing musical pieces. Secondary goals included telling stories, conveying personal emotions, blending or preserving cultural elements, analyzing musical ideas, and developing innovative technologies; 2) The most common keywords related to technology, music styles, and techniques. Gaps in the research included areas such as health and psychology, sound theory and art, virtual media technology, contemporary music, and environmental or soundscape studies; 3) Main sources of inspiration included personal life experiences and emotions, reference artists and musical styles, and pop culture media. Alternative inspirations included sound design and innovation, environment, nature and travel, culture, local traditions, and history, society, well-being and psychology, mythology, religion, fantasy, and war; 4) Primary concepts and theories included music technology and sound design, contemporary harmony, scale and modal theory, complex rhythms and time signatures, instrumental techniques, and methods of musical composition; 5) Key creative processes included music production, sound design, mixing and mastering, composing melody, chords, and song structure, live performance, multimedia video presentation, and using music technology tools; 6) The main musical forms included verse–chorus, progressive forms, through-composed forms, and strophic forms.

Conclusions: The scoping review highlights students’ key interests in applying music technology, fusion and contemporary music characterized by diverse integration and experimentation, and film score, media music, and experimental music. The findings support recommendations for developing course content and curricula that align with student aspirations for advanced studies. Additionally, the findings identified gaps in both research focus and methodology, especially the need to clarify and strengthen research objectives, enhance analytical approaches to support the creative process, document procedures more clearly and systematically, and adopt more challenging theoretical frameworks and musical forms. These findings contribute to recommendations for improving instruction and advancing creative research at the graduate level to better address these gaps.

THE APPLICATION OF CIRCULAR MOTION IN PIANO PERFORMANCE: REDUCING TENSION AND ENHANCING AGILITY

Natsarut Chandee, Sornsuang Tangsinmonkong, Preeyanun Promsukkul — Wed, 27 May 2026 00:00:00 +0700

Background and Objectives: Piano study at the undergraduate and graduate levels requires both technical skill and understanding of musicality, yet many students face challenges with muscle tension caused by excessive practice or ineffective technique. This tension can interfere with performance, restrict musicality, and potentially lead to long-term injury. Building on a pedagogical perspective, this study investigates circular motion as a method for reducing tension and improving agility. Although circular motion is widely acknowledged in pedagogical literature, its practical use in specific repertoire is often overlooked. This study addresses that gap by providing applied examples, comparative analysis and performance videos. The following objectives drive the research: 1) To study the injury risks posed by muscle tension in piano performance and to examine its effects on the freedom of movement and the expression of musicality; 2) To study the concept of circular motion described by pedagogues; 3) To apply circular motion in piano performance to reduce tension and improving agility, and to demonstrate the differences after its application.

Methods: This study uses a documentary method to investigate sources from books, theses, journal articles, and online pedagogical sources to support the research objectives, involving a literature review on muscle tension and the pedagogical perspective of circular motion. Furthermore, the study explores the effectiveness of circular motion by practical application on selected piano repertoire which were chosen based on their variety of techniques, including running notes, broken chords, leaps and arpeggios. Moreover, the study visualizes the differences from applying circular motion in demonstration videos and public performance in a lecture-recital. Finally, the findings are be compiled in a research article.

Results: The results of this study can be summarized as follows. 1) Muscle Tension: across a variety of the piano technique literature, pedagogues and piano teachers consistently emphasize the importance of cultivating awareness of muscle tension in piano performance. Tension is widely recognized as a major culprit, as it limits agility, restricts freedom of movement and finger flexibility, inhibits performance, and increases the risk of injury. To prevent this, pedagogues encourage the use of multiple parts of the body and promote relaxation as a healthier approach. 2) Circular motion involves natural, curved movements of the wrist, forearm, hand, and shoulder, allowing tension to be shared among these areas, which is more effective and helps prevent physical strain and stiffness compared to abrupt, linear movement. 3) Circular motion can be applied to various musical passages. It provides better angles to strike the keys when performing running notes, smoother transitions when playing arpeggios and greater accuracy when playing leaps. The application of this technique reduces physical strain and promotes fluid, effortless performance. 4) Lecture-recital: the lecture-recital described in this article clearly illustrated the improvement in musicality when playing with and without the application of the circular motion. Moreover, the performer experienced physical ease throughout the entire performance.

Conclusions: This study highlights the importance of avoiding muscle tension in advanced piano study and proposes circular motion as an effective approach to both injury prevention and technical fluency in performance. Demonstration videos and a lecture-recital help to clearly visualize the improvement achieved through the use of circular motion. Its implementation in pedagogy offers educators and students a practical and adaptable approach for developing healthier and more expressive playing habits.

THE MUSLIM PROCESSION IN THE SOUTHERN BORDER PROVINCES: A STUDY OF MUSIC CULTURE FOR PRESERVING AND RESTORING CULTURAL HERITAGE

Sakolput Kottunti — Wed, 27 May 2026 00:00:00 +0700

Background and Objectives: The culture and way of life of Muslims in the southern border provinces of Thailand are based on the fusion of traditional beliefs influenced by Hinduism, Buddhism, and Islam, which results in local traditions that are unique and different from other regions, especially in terms of religion, language, lifestyle, and various rituals. The organization of the procession is an important element in local traditions that expresses respect, faith, and loyalty to important persons and communicates cultural identity through performing arts, music, costumes, and local arts. The music in the procession plays an important role in creating an atmosphere and enhancing the sacredness of the ritual. It is a representation of the local Muslim music culture that should be preserved, restored, and developed sustainably to promote understanding between people inside and outside the culture and as a case for creating academic knowledge that reflects the identity and wisdom of the southern border communities. The objectives are to study the components of the Muslim procession in the southern border provinces and study the bands in the Muslim procession in the southern border provinces.

Methods: This research on the music culture in the Muslim procession in the southern border provinces is a qualitative research study using an ethnomusicological approach to preserve and restore cultural heritage wisdom. Data were collected through participatory and non-participatory observation, as well as structured and unstructured informal interviews with 8 experts in history, culture, and music and 15 people who are experienced and widely recognized in the community in organizing local parades. The research instruments consisted of cameras, audio recorders, and notebooks. The data collection focused on ethnic history, procession components, musical characteristics, and the roles of local musicians. The data analysis used a descriptive analytical method based on issues related to procession components, musical characteristics, and local cultural identity to present the results in a systematic academic manner.

Results: The research results found that the Muslim procession in the southern border provinces is based on beliefs and values from local cultures that combine Brahmanism, Buddhism, and Islam. It consists of 6 processions: a musical procession, a noble procession, a Bunga Sireh procession, a bird caretaker procession, a bird carrying pole procession, and a spear and dagger procession. The participants in the procession are dressed in local southern costumes. The music used in the Muslim procession in the southern border provinces is found to include the Pi-suna, Gong, and Gendang, in the form of a gong and drum ensemble, which plays the sound to make the procession fun, powerful, and sacred, and also performs the Silat (a Malay martial dance). The musical instruments have a loud sound and also feature elegant, fun, powerful melodies, and an aggressive rhythm. Three songs were found to be used in the procession. In Narathiwat Province, a song called “Rayakalae” was used in the procession. In Yala and Pattani Provinces, songs were used in the procession with improvised melodies to the rhythm of gongs and drums, though the names of the songs used in these processions were not known. There was a tradition of paying homage to teachers before the performance, family inheritance, and an annual ceremony to pay homage to teachers.

Conclusions: The Muslim procession in the southern border provinces of Thailand is a tradition that reflects the combination of religious beliefs, namely Brahmanism, Buddhism, and Islam. From research results and study of historical documents, it was found that Muslim processions in the southern border provinces have 6 main components: a musical procession, a noble procession, a Bunga Sireh procession, a bird keeper procession, a bird carrying pole procession, and a spear and dagger procession. Participants in the procession usually dress in southern traditional clothing. In terms of music, the procession uses a gong and drum ensemble consisting of a Pi-suna, Gong, and Gendang, which create a joyful, majestic, and sacred atmosphere. Including the performance of Malay martial arts (Silat), the songs used in the procession have characteristics specific to each region, such as the song “Rayokalae” in Narathiwat province, while in Yala province and Pattani province, improvised melodies are used. In addition, there is a tradition of paying respect to teachers before playing and passing down musical skills through the bloodline within the family.

CHINESE FOLK INFLUENCES: TCHEREPNIN’S STRATEGY OF IMITATION AND INNOVATION IN CYCLE OF SEVEN CHINESE FOLKSONGS, OP. 95

Ying Long, Eri Nakagawa — Wed, 27 May 2026 00:00:00 +0700

Background and Objectives: Alexander Tcherepnin’s Cycle of Seven Chinese Folksongs, Op. 95—commissioned for the Chinese bass Yi-Kwei Sze—constitutes a focused experiment in intercultural composition. Drawing on Chinese poetry and regional folk melodies, the cycle reflects Tcherepnin’s sustained engagement with Chinese musical idioms. This study investigates his strategies of imitation and innovation in four representative songs of Op. 95: “West River Moon” (No. 1), “Love Song of the Wagon Driver” (No. 2), “Dance of the Little Bird of Youth” (No. 6), and “Working Song” (No. 7). Specifically, it analyzes three dimensions: (1) timbral evocation of traditional Chinese instruments via pianistic techniques; (2) scene and motion evocation through pentatonic resources and rhythmic-textural design; and (3) textural innovation, including melodic-accompaniment interaction. The findings demonstrate how Tcherepnin articulates Chinese modal characteristics within Western harmonic and pianistic idioms, evoking traditional Chinese musical aesthetics while achieving novel artistic outcomes.

Methods: This qualitative study employs document and score analysis to examine four selected songs from Op. 95. Part 1 surveys cultural context and compositional design through a systematic review of primary sources, historical documents, and musical scores. Part 2 applies three analytic dimensions: (1) timbral evocation (register, articulation) associated with traditional instrumental sonorities; (2) scene and motion evocation (pentatonic organization and rhythmic-textural structure); and (3) textural innovation (melodic-accompaniment writing and contrapuntal layering). Across both the melody and accompaniment parts, the study evaluates how traditional Chinese elements are reframed within Western tonal and pianistic frameworks, considering aspects of tonality, melodic trajectory, and accompaniment.

Results: The findings are presented along the same three dimensions. First, in “West River Moon,” Tcherepnin evokes traditional instrumental timbres through strategic register placement, articulation, and pedaling, suggesting the ban gu (wooden clapper) and yang qin (hammered dulcimer) while remaining sounds idiomatic to the Western piano. Second, in “Love Song of the Wagon Driver,” he integrates pentatonic resources within chromatic progressions and combines a steady rhythmic fabric with staccato articulation, producing a dance-like propulsion that suggests carriage movement; in “Working Song,” distinctive rhythmic patterns and polyrhythmic layering, with targeted accentuation and textural contrast, emulate the cadence and momentum of coordinated fieldwork. Third, “Dance of the Little Bird of Youth” demonstrates an innovative melodic-accompaniment technique: the piano assumes an independent, line-bearing role, weaving complementary pentatonic strands to generate polyphonic textures while preserving characteristic Chinese modal traits.

Conclusions: Drawing on evidence from four songs in Op. 95, this study shows how Tcherepnin synthesizes idiomatic Chinese sonorities with Western harmonic and pianistic practices through: (1) timbral evocation via pianistic techniques; (2) scene and motion evocation through pentatonic-centered rhythmic-textural design; and (3) innovations in textural writing through melodic-accompaniment procedures. These pieces demonstrate that traditional materials can be respectfully recontextualized while generating new artistic outcomes. Taken together, Tcherepnin’s strategies suggest that effective musical translation requires deep engagement with source traditions alongside technical ingenuity to mediate between distinct musical systems. This historical case offers a framework for contemporary composers and analysts in today’s interconnected musical environment, with insights that may inform pedagogy, historically informed performance, and future intercultural compositional design.

FACTORS INFLUENCING PARENTS' SELECTION OF MUSIC SCHOOLS IN BANGKOK AND THE METROPOLITAN AREA

Pannapat Kritpet, Saya Thuntawech — Wed, 27 May 2026 00:00:00 +0700

Background and Objectives: Parents play a pivotal role in sustaining and ensuring the success of their children’s music learning through school selection, financial support, time management, motivation, and progress monitoring. In Bangkok and its metropolitan area, where a large number of private music schools operate under intense market competition, parents face diverse choices and hold high expectations regarding instructional quality. Understanding the factors that influence their school selection decisions is therefore crucial. This study aims to (1) analyze the factor structure underlying the variables affecting parents’ selection of private music schools and (2) examine parents’ perceptions of the importance of these factors, in order to reflect current trends in urban parents’ decision-making toward music education.

Methods: This study employed a quantitative research design using a 38-item, five-point Likert scale questionnaire developed from the Marketing Mix 7Ps framework, comprising Product, Price, Place, Promotion, People, Process, and Physical Evidence. The questionnaire was validated for content accuracy (IOC = 0.96) and tested for reliability (Cronbach’s alpha = 0.83). The sample consisted of 530 parents whose children were enrolled in private music schools registered with the Office of the Private Education Commission (OPEC) in Bangkok and its metropolitan area. Data were collected through an online survey conducted between April and May 2025. Descriptive statistics and exploratory factor analysis (EFA) were employed for data analysis, using Principal Component Analysis (PCA) with Varimax rotation.

Results: The Kaiser-Meyer-Olkin value was 0.865, and Bartlett’s Test was significant (p < .001), confirming data suitability for EFA. Nine factors were extracted, accounting for 64.15% of the total variance: (1) Convenience and effective management, (2) Academic goals and achievement, (3) School culture and atmosphere, (4) Administrator credibility and school reputation, (5) Attitudes emphasizing learning enjoyment, (6) Variety of activities and courses, (7) Location and facilities, (8) Price-consciousness and value for money, and (9) Price-quality attitude. Perception ratings revealed that “School culture and atmosphere” ( = 4.75, SD = 0.39) and “Attitudes emphasizing learning enjoyment” ( = 4.63, SD = 0.52) received the highest mean scores, followed by “Convenience and effective management” ( = 4.36, SD = 0.57), “Price-quality attitude” ( = 4.34, SD = 0.67) and “Administrator credibility and school reputation” ( = 4.34, SD = 0.65). The next factors were “Academic Goals and Achievement” ( = 4.22, SD = 0.72), “Location and Facilities” ( = 4.05, SD = 0.86), and “Variety of Activities and Courses” ( = 4.04, SD = 0.81). Meanwhile, “Price Consciousness and Value for Money” received the lowest mean score among the factors ( = 3.74, SD = 0.84). These findings suggest that urban parents prioritize emotional and social quality dimensions over price-related considerations.

Conclusions: The findings reveal that urban parents place the highest importance on emotional and social quality factors, particularly the learning atmosphere, students’ happiness, and positive teacher-student relationships, rather than price competition. Next in importance include convenience and effective management, which align with the demands of fast-paced urban lifestyles. School reputation, credibility, and Price-Quality Attitude further reflect parents’ confidence and willingness to invest in higher-quality education. While academic goals and supplementary activities remain relevant, they are not decisive in school selection. Moreover, this study extends the applicability of the Marketing Mix 7Ps framework to the context of private music schools, indicating that the most influential components are associated with Product, People, and Physical Evidence—namely, teachers, curricula, instruction, and positive learning environments—which parents perceive as more valuable than price considerations alone.

EFFECTS OF MUSIC THERAPY ON DYSARTHRIA REHABILITATION IN PARKINSON'S DISEASE PATIENTS

Napapas Horrungruang, Natee Chiengchana, Treetip Boonyam — Wed, 10 Jun 2026 00:00:00 +0700

Background and Objectives: This study aimed to investigate the effects of music therapy on dysarthria rehabilitation in Parkinson’s disease patients. Dysarthria in these patients was typically characterized by disrupted speech patterns, impaired vocal resonance, articulation difficulties, reduced speech intelligibility, and irregular speech rhythm. These symptoms arose from the brain’s inability to control the muscles involved in speech production effectively. Various underlying conditions could lead to dysarthria, including stroke, brain infections, and neurodegenerative diseases such as Parkinson’s disease, which affected brain regions responsible for motor control and muscular coordination. Conventional rehabilitation for dysarthria primarily involved speech therapy, wherein speech-language pathologists assessed individual cases and designed personalized training programs, typically focusing on strengthening the patient’s respiratory system and articulatory muscles. In addition to speech therapy, music therapy has emerged as a complementary intervention that has gained considerable recognition, particularly in Western countries. A growing body of research supports the positive impact of music therapy in improving speech-related symptoms among individuals with Parkinson’s disease, suggesting its potential as an effective adjunct to traditional therapeutic approaches. Music therapy is a therapeutic approach that utilizes musical elements to achieve individualized goals. The interventions employed in music therapy are evidence-based and facilitated by trained professionals who had completed specialized certification programs in the field. A review of the literature revealed that, in Thailand, research on music therapy for Parkinson’s disease remains limited, particularly with respect to both physical and speech rehabilitation. Furthermore, the application of music therapy in the Thai language context warrants further investigation due to the unique tonal and phonetic features of Thai, which differed substantially from English, the primary language of most existing international studies. Research conducted abroad showed that music therapy has yielded positive outcomes for Parkinson’s patients with dysarthria, including improvements in speech clarity, breath support, vocal intensity, and pitch modulation. Most of these studies have utilized Neurologic Music Therapy (NMT) approaches, particularly techniques such as Vocal Intonation Therapy (VIT) and Therapeutic Singing (TS). However, these interventions were largely applied in English-speaking populations. Given that a significant number of Parkinson’s patients with dysarthria are also found in Thailand, this study was designed to examine the effects of music therapy on dysarthria rehabilitation among Thai patients with Parkinson’s disease, employing the principles of Neurologic Music Therapy (NMT). The objective was to provide additional therapeutic options for patients and their families by using music therapy to manage dysarthria. Moreover, the study sought to generate in-depth knowledge on music therapy practices for professionals in the field and to contribute to the academic development of this underexplored area.

Methods: This study employed a multiple-case study design to examine the effects of music therapy on dysarthria rehabilitation in Parkinson’s disease patients. The interventions were based on the principles of Neurologic Music Therapy (NMT), emphasizing the use of Vocal Intonation Therapy (VIT) and Therapeutic Singing (TS) techniques. A total of three participants, all individuals diagnosed with Parkinson’s disease, voluntarily participated in the study after being recruited through a poster and Facebook announcements. The music therapy sessions consisted of ten sessions in total. The assessment tools included PRAAT, software designed to analyze vocal quality, and a speech fluency evaluation form. A speech therapist evaluated the participants before and after the music therapy sessions. For the data analysis, the researcher conducted a mean-difference analysis alongside a qualitative analysis of interview transcripts and music therapy session notes.

Results: The findings indicated that the average speech volume level before receiving music therapy was 75.62 decibels for all three participants. Following the music therapy sessions, the average volume increased to 80.73 decibels. Regarding speech fluency, the average number of utterances before the intervention was 18, which increased to 21 after the music therapy sessions. These results suggest that music therapy had a beneficial effect on dysarthria rehabilitation in Parkinson’s disease patients.

Conclusions: The findings of this study demonstrate that music therapy can effectively support the rehabilitation of dysarthria in individuals with Parkinson’s disease. Professional music therapists benefit from acquiring structured methods, procedures, and techniques specific to music therapy for the treatment of dysarthria, both in patients with Parkinson’s disease and in individuals experiencing similar speech impairments. Additionally, for those interested in this patient population, the study provides practical guidelines, relevant data, and insights into the application of music therapy, which could serve as a foundation for further research and development in future studies.

DEVELOPING AN UNDERGRADUATE CURRICULUM FOR GUZHENG MAJORS IN SICHUAN PROVINCE (CHINA) TO CULTIVATE MUSIC INTERPRETATION SKILLS IN THE 21ST CENTURY

Taotao Zhou, Nuttika Soontorntanaphol, Tepika Rodsakan — Wed, 10 Jun 2026 00:00:00 +0700

Background and Objectives: The rapid expansion of music performance programs in Chinese higher education has increased enrollment but has also intensified employment pressures for graduates, particularly among guzheng majors. Despite the 2018 National Standards emphasizing competency-based education, including artistic interpretation, expressive performance, cultural understanding, and professional readiness, most programs continue to prioritize technical skills over interpretive development. This study therefore aimed to examine the current state of interpretation training for undergraduate guzheng majors in Sichuan Province (China), identify deficiencies in interpretive competencies, and develop a curriculum explicitly designed to cultivate music interpretation skills in alignment with educational and labor-market needs. To strengthen alignment with the title, this study specifically emphasizes interpretation-centered problems as the core issue. In particular, the study identified several critical weaknesses in students’ interpretive abilities, including underdeveloped expressive nuance, insufficient timbre shaping, and limited narrative expression; a weak integration of theoretical knowledge such as form, motif, style, and cultural meaning with expressive performance; and a limited ability to articulate artistic intention, which collectively hinder students’ artistic growth and reduce their competitiveness within contemporary professional music environments.

Methods: A convergent parallel mixed-methods design was employed. Quantitative and qualitative data were collected concurrently, analyzed independently, and integrated during the interpretation phase. Quantitative data were collected from 300 students and instructors using a validated questionnaire (Cronbach’s = 0.885) to identify gaps in music interpretation skills. Qualitative data were obtained through semi-structured individual interviews with guzheng instructors, graduates, and employers, as well as focus group discussions with curriculum leaders and senior guzheng instructors from 14 universities. Thematic analysis revealed recurring challenges in expressive performance, stylistic literacy, and interpretive communication. The integration of quantitative findings and qualitative themes directly informed the design of a six-module interpretation-centered curriculum. The curriculum was grounded in Outcome-Based Education (OBE), Understanding by Design (UbD), Constructivist Learning Theory, and the Feynman Technique.

Results: Findings revealed three core deficiencies: (1) underdeveloped interpretive skills such as expressive nuance, timbre shaping, and narrative expression; (2) weak integration of theoretical knowledge including form, motif, style, and cultural meaning with expressive performance; and (3) limited ability to articulate artistic intention, indicating insufficient reflective and communicative competence. High-priority needs were identified for interpretive analysis, stylistic understanding, and performance communication. The integration of quantitative and qualitative results guided the design of a six-module interpretation-centered curriculum, including expressive interpretation, stylistic literacy, structural and narrative analysis, cultural interpretation, communication skills, and reflective practice. Innovative pedagogies such as peer critique, flipped instruction, and multimedia-supported interpretation were incorporated to strengthen interpretive learning outcomes.

Conclusions: The study concludes that current guzheng training models are insufficient in cultivating interpretation skills essential for contemporary professional performance. The proposed curriculum provides a targeted, interpretation-centered, and outcome-driven framework that effectively addresses the key skill gaps observed among learners. It strengthens expressive performance, enhances cultural and stylistic understanding, bridges theory and practice, and improves communicative competence. The six newly designed modules explicitly foster interpretive artistry and professional readiness, supporting national efforts to modernize music education and offering a replicable model for other performance-based disciplines within increasingly diverse musical learning environments. Future directions include pilot implementation, evaluation of module effectiveness, and expanded application in diverse teaching contexts.

OLIVIER MESSIAEN'S STYLE AND THE MUSIC COMPOSITION "TURANGALÎLA-SYMPHONIE"

Pattra Pongsangsuriya, Narongrit Dhamabutra — Wed, 17 Jun 2026 00:00:00 +0700

Background and Objectives: Olivier Messiaen (1908-1992) is one of the contemporary composers who played a significant role in the development of French music and Western art music in the twentieth century. One of his masterpieces is the Turangalîla-Symphonie (1946-1948), a large-scale symphony lasting over 85 minutes and consisting of ten movements. This work transcends the traditional symphonic framework through its use of an exceptionally large orchestra combined with solo piano and an early electronic instrument, the Ondes Martenot, the employment of complex rhythmic structures and modal systems, as well as the presentation of emotional and symbolic concepts rather than direct literary narration. This article aims to analyze and establish an overall framework for understanding Messiaen’s compositional style through an examination of the principal musical elements and distinctive characteristics found in each movement of the Turangalîla-Symphonie.

Methods: This study employs a qualitative methodology based primarily on literature synthesis and musical analysis. The sources include academic documents, music textbooks, interviews, as well as scores and performance recordings. The research process consists of two interrelated parts: 1) a study of Messiaen’s compositional style in four dimensions, including his interest in ornithology, the system and structure of modes, the rhythmic system, and the concept of sound color; and 2) an analysis of the Turangalîla-Symphonie, which presents structural details and the use of principal themes, as well as the overall characteristics of the musical elements in each movement.

Results: The results of the study are divided into two parts. 1) The study of Messiaen’s compositional style found that his musical language is unique and highly systematic. It did not occur by chance but resulted from the accumulation of life experience, education, and religious belief that were integrated together. Messiaen’s compositional style can be identified in several dimensions, both musical and philosophical. This study focuses on four main aspects: interest in ornithology, the system and structure of modes, the rhythmic system, and the concept of sound color. Each aspect reflects the composer’s perspective and intention to create a musical world distinct from other composers of his time. 2) The analysis of the Turangalîla-Symphonie concentrates on the musical components that reflect Messiaen’s compositional style. This work is not only a large-scale symphony but also a space in which the composer expressed his distinctive musical ideas, including the use of cyclical themes, the contrasting structural organization in each movement, and the integration of sound color with diverse and complex rhythmic movement. The result shows that this symphony does not narrate the legend of Tristan and Isolde directly but presents symbolic meanings of time, love, joy, and death, which form the central concept of Turanga and lîla, which are conveyed with artistic power.

Conclusions: The study found that Messiaen’s Turangalîla-Symphonie demonstrates the breaking of boundaries of the traditional symphonic form and the creation of a new compositional framework that reflects his individuality in both musical and philosophical dimensions. The outstanding features of this composition are not only its large-scale structure or the diverse use of instruments, but also its expression of the philosophy of love, life, death, and joy through a systematic organization of musical elements. The research results indicate that Messiaen succeeded in integrating religious experience, nature, and literature into contemporary musical creation, making this work one of the most influential compositions for later composers. It continues to be an important subject of academic study in the field of music today. Therefore, this study is significant in understanding one of the major compositions of the twentieth century and in providing a conceptual framework that can be applied to the analysis of contemporary musical works in the future.

THE EVOLUTION OF MUSIC EDUCATION IN INDONESIA: FROM COLONIALISM TO COMMERCIALIZATION

Citra Aryandari — Wed, 17 Jun 2026 00:00:00 +0700

Background and Objectives: This study examines the evolution of music education in Indonesia from the colonial era to the present, investigating how Western musical traditions have shaped national music education frameworks. The research explores the cultural, political, and economic forces that have transformed musical pedagogy and their implications for traditional Indonesian musical heritage and contemporary practice.

Methods: This research employs a comprehensive historical-critical methodology integrating multiple data sources. Primary sources include systematic analysis of palace manuscripts from the Yogyakarta Palace library (dating from early 1900s), government documents, institutional archives, and educational curricula across historical periods. In-depth interviews were conducted with 23 musicians, educators, and cultural custodians to capture lived experiences of musical adaptation processes. Secondary sources include scholarly literature and music histories. The study uses interdisciplinary analytical frameworks including post-colonial theory, political economy, and Bourdieu's cultural capital theory, examining four historical epochs: Colonial era (pre-1945), Sukarno period (1945-1965), New Order (1965-1998), and Reform era (1998-present).

Results: The analysis identifies three distinct phases in Indonesian music education: strict governmental control under Sukarno (1945-1967), gradual liberalization during the Suharto era (1967-1998), and market-driven transformation in the Reform period (1998-present). The Yogyakarta Palace orchestra case illustrates how Western musical instruments were integrated with traditional gamelan, resulting in hybrid forms that reflected broader patterns of cultural exchange and negotiation. Western music entered through elite institutions and missionary activity, creating localized hybrid forms. The government systematically built a national music education framework, privileging Western classical music through institutions like the Indonesian Music School (SMI/1952), the Indonesian Music Academy (AMI/1961), and the Indonesian Institute of the Arts (ISI/1984) to serve nation-building objectives. A significant finding is the contemporary dominance of private institutions like Yamaha Music School and Purwacaraka Music Studio, which have displaced government-run establishments as primary providers of music education, reaching exponentially more students while standardizing curricula around Western frameworks.

Conclusions: The shift from state-controlled to commercially-driven music education reflects broader economic changes, including middle-class growth and urbanization. However, this transformation has created a democratization paradox: while commercial expansion has increased overall access, it has also erected significant economic barriers that exclude lower-income populations, raising questions about educational equity and the preservation of cultural heritage. The study contributes theoretical insights on cultural hybridity, Bourdieu’s cultural capital in postcolonial contexts, and the complexities of market-driven education systems. It reveals how music education functions as a contested field where cultural identity, economic interests, and political priorities intersect, with Western frameworks persistently positioned as the universal standard despite Indonesia's political independence. The findings underscore the need for deliberate policy intervention to address access inequalities, correct curricular imbalances favoring Western music, and support the preservation and innovation of traditional Indonesian musical heritage within a pluralistic educational ecosystem.

SIMPLE AND PRACTICAL WARM-UP ROUTINES FOR DEVELOPING FUNDAMENTAL BOW-ARM TECHNIQUES FOR YOUNG VIOLIN AND VIOLA STUDENTS IN THAILAND

Jirajet Jesadachet, Kyle Fyr — Wed, 17 Jun 2026 00:00:00 +0700

Background and Objectives: Tone production is a crucial foundation that directly affects musical expression, technical facility, as well as intonation development. In Thailand, consistent and systematic training of the bow-arm is known to be essential but is often underemphasised in early study. Many existing resources by legendary violin pedagogues are either too extensive or complex, making them impractical for young players to use daily. This research aims to design a concise and accessible set of warm-up exercises targeting the essential components of tone production for violin and viola students in Thailand. The exercises specifically address four critical aspects of bow-arm development: bow weight balance, bow speed control, detached-bow string crossing, and slurred-bow string crossing. The objectives are twofold: first, to create a simple and compact daily warm-up routine that develops the basic foundations of tone production; second, to evaluate the effectiveness of these exercises through experimentation. Ultimately, the goal is to provide students with a reliable and efficient tool to support their progress in repertoire studies by strengthening their tone production skills at a university level.

Methods: The exercise set was designed by surveying and adapting principles from major pedagogues and treatises. These ideas were derived into four short, progressive exercises to be played exclusively on open strings, thereby eliminating left-hand distractions and enabling students to focus entirely on sound quality and bow control. The experimental study then followed a convergent parallel mixed methods design, combining quantitative adjudicator assessments with qualitative student interviews. Students enrolled in university violin or viola programs at various institutions in Thailand were recruited as participants. Each was instructed to integrate the exercises into their daily practice for sixty consecutive days. Prior to and after the program, participants were evaluated by a panel of three expert adjudicators. In addition, semi-structured interviews were conducted with each participant before and after the trial to document their self-perceived challenges, progress, and experiences with the exercises.

Results: After a 60-day period of practising the designed bow-arm exercises, the nine participants demonstrated an average improvement of 10.4% in foundational bow-arm techniques, as measured by adjudicators evaluations across 16 technical subjects. Individual improvement rates ranged from 7.1% to 14.5%, with the most notable gains observed in bow contact with strings, contact point control, and bow straightness. Post-practice interviews indicated that participants developed greater awareness of their bow arms, improved bow control, and achieved more relaxed posture and sound production. Most participants reported improvements in specific areas such as bow control at the frog, long tone strokes, and pinky finger relaxation. Feedback also confirmed that the exercises were manageable and effective for integrating into daily practice.

Conclusions: This study demonstrates that this set of four very easy, short, structured bow-arm exercises can effectively improve the foundational technical skills of Thai violin and viola students. Over a 60-day period, participants showed an average improvement of approximately 10% across all key aspects, including bow grip, arm flexibility, bow distribution, contact point control, and tone production. Students reported better bow control, enhanced sound quality, and greater awareness of their bow arms during repertoire practice. The exercises, requiring only 10-15 minutes daily and focused solely on open strings, provide a practical, progressive, and low-risk approach to technical development. These results suggest that integrating such exercises into regular practice routines can support skill acquisition, reduce early-stage technical challenges, and elevate overall playing standards in Thai violin and viola education.

THE DEVELOPMENT OF WESTERN VOCAL PEDAGOGICAL TRANSMISSION IN THAILAND AFTER THE POLITICAL TRANSITION (1932-1988)

Wed, 24 Jun 2026 00:00:00 +0700

Background and Objectives: Western vocal pedagogy in Thailand has been influenced by Western singing traditions since the reign of King Rama V. This influence led to a transition in Thai singing styles toward modern Thai song (Phleng Thai Sakon) and has continued to develop to the present. However, the developmental processes and mechanisms for the “transmission” of such vocal pedagogical knowledge lack clear systematic evidence. Furthermore, there is an absence of concrete research explaining the models, methods, and strategies of transmission amidst social and political changes. Therefore, this research aims to investigate the development of Western vocal pedagogy transmission in Thailand between 1932 and 1988. This period marks a significant era following the political transition that substantially impacted the nation’s cultural landscape and educational system.

Methods: This study employs historical research methodology by collecting and analyzing primary and secondary sources. These sources include 20 textbooks and teaching documents related to singing and music, as well as biographies of vocal and music instructors from the studied period. Additionally, in-depth interviews were conducted with 22 key informants, divided into two groups: (1) teachers and instructors who directly transmitted the knowledge, and (2) students who were recipients of such knowledge. The analysis focuses on synthesizing teaching principles, training methods, and knowledge transmission mechanisms within the context of the teacher-student relationship.

Results: The findings reveal that the development of Western vocal pedagogy transmission in Thailand between 1932 and 1988 can be categorized into three key eras based on the socio-political context: (1) The Foundational Era (1932–1957): The state played a crucial role in determining instructional direction through nationalist policies and the establishment of music institutions. (2) The Era of Educational System Integration (1958-1972): Western vocal instruction was systematically integrated into higher education levels. (3) The Developmental Era (1973-1988): Continuous knowledge transmission occurred from pioneer teachers to a new generation of students, resulting in a clearer pedagogical lineage. Furthermore, the synthesis of transmission principles and concepts identified four main “schools of vocal pedagogy”: the Music Theory-Based School, the Institutional Academic-Classical School, the Performance-Oriented School, and the Nationalistic-Classical School. Key instructors served as the core centers of transmission for each school.

Conclusions: The research results indicate that the development of Western vocal pedagogy transmission in Thailand was not merely a passive reception of Western influence. Instead, it was a process of adapting and applying knowledge through the mechanism of transmission from teacher to student in each era. Understanding these transmission strategies helps elucidate the transition from Western teaching concepts to the Thai context and reflects the essential foundations of vocal instruction in Thai educational institutions today.