Music and Performing Arts Journal

PERFORMANCE METHODS OF SAW-U FOR PHELNG THEP NIMIT SAM CHAN FOLLOWED BY KRAW NOK PASA IN KHREUNGSAI PIJAVA BY KRU JIRAPON PETCHSOM

2025-06-25T08:47:27+07:00

The study aimed to explore the context of Saw-U performance in Khreungsai Pijava ensemble and to investigate the performance method of Saw-U for the song "Thep Nimit Sam Chan" followed by "Kraw Nok Pasa" in Khreungsai Pijava ensemble by Kru Jirapon Petchsom via qualitative research methods. The results of the study demonstrated that Saw-U played a vital role in the ensemble. Kru Jirapon Petchsom's performance with the Saw-U in the ensemble required advanced skills: extensive musical knowledge, achieving a state of musical transcendence, selecting suitable melodies to perform, and creating musical interactions. The performer must be precise in the main melody of the song and possessed quick decision-making and execution abilities. Given the fast tempo characteristic of Khreungsai Pijava performances, Saw-U players were required to possess the proficiency to skillfully devise melodic structures, thereby facilitating effective, conspicuous, and well-balanced Saw-U performances within the ensemble. The research findings showed used by Kru Jirapon Petchsom for this song, including Reach out the rhythm, Sag the rhythm, Cross the sound, Repeat the sound, and Swipe the finger. These techniques represented the distinctive style of Kru Jirapon Petchsom in creating the sound of Saw-U, a low-pitched musical instrument, to produce a resonant, clear, melodious, and aesthetically pleasing tone to the performance of the Saw-U within the Khreungsai Pijava ensemble.

SAW-U PERFORMANCE TECHNIQUES FOR POH-CHANG PUPPET THEATER MUSIC ACCOMPANIMENT TO EPISODE OF NANG WAN THONG HAAM THUB FORM KHUN CHANG KHUN PAN

2025-06-25T09:10:38+07:00

Thesis on Saw-U Performance Techniques for Poh-Chang Puppet Theatre Music Accompaniment to Episode of Nang Wan Thong Haam Thub from Khun Chang Khun Pan. With the use of qualitative researching methods, aims to study the background and fundamental information that are related to Poh-Chang Puppet and it aims to study performance principles, techniques, and melodies of Saw-U being used for accompanying Puppet performance. The result of the study reveals that puppet performance was created during the reign of King Rama 5 and had been popular from then. Until 2541 B.E. Poh-Chang Puppet performance group was established, initiated by Suksan Puangklad, and supervised by Chuen Sakunkaew. The knowledge was passed along, and its unique identity was created. Saw-U is in combination with Wong Piphat (The Thai Classical Orchestra), therefore its principles of playing are 1) the tone of Saw-U is one level higher than Piphat which allows more convenience in puppet performance 2) decrease one volume during songs that are performed with Piphat. This study shows playing techniques that lead to the unique tonal timbre of Saw-U, as well as the outstanding accent based on each song’s identity. Ten mentioned playing techniques found in the songs are Phrom Pid, Phrom Perd, Kluen, Sabud Siang Diaw, Khran, Kratob Siang, See Siang Chid, Pra, Sabud Nen Siang Raek. The rhythms of Saw-U used in puppet performance can be divided into 4 types; phleng hoon krabok, sacred repertoire, miscellaneous pieces, and singing secular pieces in moderate and fast tempo.

PERFORMANCE TECHNIQUES OF SAW-U FOR KRAW NAI SOLO AND KHON PERFORMANCE IN KHAB PIPEK EPISODE BY SURIYA CHIDTHOUM

2025-06-25T09:27:42+07:00

The study is focused on the basis of the Saw-u performance of the Kraw Nai solo and in the Khon performance: Khab Pipek Episode. It employs qualitative methods to investigate Suriya Chidthoum’s Saw-u performance of the Kraw Nai solo and his solo performance accompanying the Khab Pipek Scene of the Ramayana performed in the Khon dance. The performance of the Kraw Nai solo originated in the early Rattanakosin Era with the pipat instruments. Later, the Kraw Nai solo was composed for Thai string instruments. The Saw-u performance of the Kraw Nai solo by Suriya Chidthoum was influenced by Luang Phiro Siang So. Who taught Worayot Suksaichon and Thira Phumani. The solo was composed with in the five Thai major pentacentric mode’s, namely Do Re Mi X Sol La, Sol La Ti x Re Mi X, Fa Sol La X Do Re X, and Re Mi Fa X La Ti X. 14 musical techniques were used, such as Phrom-op (opening phrase), Khatab-seung (striking sound), Phrom-jak (rolling technique), ext. Suriya Chidthoum’s performance of the Kraw Nai solo during the Khon dance depicting the Khab Pipek Scene of the Ramayana was structured the same way as the performance of Thira Phumani. Suriya Chidthoum use the musical techniques of mourning, extending notes, played it without an accompaniment of percussion, and performed only one Lukyon. However, during the Khab Pipek scene when Phiphek encountered Rama’s soldiers, the solo was played with a series of short notes and dense texture. The performance of the Kraw Nai solo for the scene ended when the monkey covers his face with his hands and 12 musical techniques were used, such as Khatab-seung (striking sound), Phrom-op (opening phrase), Kan-chak-suek (swaying bow), etc.

A STUDY OF THE PHRA MALAI CHANTING MELODY FOR RUMSUAD PERFORMANCES IN THE EASTERN REGION

2025-06-25T09:36:47+07:00

This qualitative research aims to study the Phra Malai chanting melody for Rumsuad performances in the Eastern Region. The study used research methods to examine specific issues, including chanting, sequences of steps, and the gathering and analysis of chanting from three Rumsuad corps: the Arjun Luk Sunthorn Phu Rumsuad corps in Rayong province, Wichai Rachan Rumsuad corps in Chanthaburi province, and Mae Boonying Charoenwong Rumsuad corps in Trat Province. The research results found that the rules for chanting Phra Malai adhere to the contents of the Phra Malai chanting scripture, S. Thammaphakdi edition. First part, is the chanting of Pali verses, beginning with the topic of Phra Malai, history of Phra Malai, and the verse of Phra Malai reciting hell. From the gathering and analysis of the data, it was found that the melody of Phra Malai chanting is a total of 25 melodies. The structure of all melodies is a short melody based on changing chants. The structure of all melodies is a short melody based on changing chants. The chant melody was used by the Euan Siang (drawing out the voice) method to switch chanting words, Sroi melody (a part use for playing) , Sroi word (a part use for singing), inserting words, and repeating words. The scale depends on the initial note and has a range of no more than one and a half tones. All melodies consist of no more than five ending notes. The movement of sound has a direction of ups and downs, involving emphasis, sustainment, and movement according to the tones of the chants. Melody forms by moving the end of a note (which may be before or after the note) and having the normal beat, the free rhythm, and the special rhythm for some melody. The Phra Malai chanting follows a pulse rhythm, but in Chanthaburi province, the musical instruments were used to.

THE STUDY OF DIRECTING SATIRIC COMEDY YOUR SISTER'S HUSBAND

2025-06-25T09:49:40+07:00

This research aims to study and synthesize the process of directing a dark comedy play, Once Upon a Time My Sister Had a Husband (or Your Sister's Husband) by Alfian Sa'at, in order to communicate the issue of unequal treatment of others. Additionally, it seeks to explore directorial techniques that can convey the main themes of the play, which originally reflects the Malay-Singaporean cultural society, and adapt it to reflect the experience of women in Thai society.

The researcher began by reviewing relevant materials and developing a conceptual framework for experimentation. The findings indicate that in order to help the audience understand the message of the play through the presentation of dark comedy, three key elements must be addressed: 1) working with actors, 2) working with timing on stage, and 3) working with visuals on stage. The research concluded that by focusing on these three elements, the director was able to successfully adapt Once Upon a Time My Sister Had a Husband (or Your Sister's Husband) by Alfian Sa'at, using dark comedy to communicate the theme of unequal treatment of 'others' in human society, and to transform the original reflection of the Malay-Singaporean cultural context into a reflection of women's experiences in Thai society.

FACTORS INFLUENCING THE DEVELOPMENT OF THAI SCREENPLAYS FOR INTERNATIONAL MARKET

2025-06-25T11:00:55+07:00

This academic article aims to examine the impacts on the creative process of Thai screenplay writing, identify problems, and investigate the causes behind the lack of readiness of Thai screenplays to compete at an international level. The goal is to propose solutions and further develop the Thai film industry. The author gathered information from various film-related documents, including policies, statistics, articles, interviews, and news. Additionally, the study involved in-depth interviews with seven professionals in screenplay writing and related fields, as well as participation in one film discussion event. The findings reveal three main factors affecting the creative process of Thai screenplay writing, which are critical for elevating Thai films to the global market:

Content and Genre: Thai films often lack diversity and novelty in content and genre. Initial ideas frequently fail to capture the audience's attention.
Shifts in Viewing Preferences: The global trend of film consumption has changed during the COVID-19 pandemic, moving from traditional cinema viewership to streaming platforms. This shift has intensified competition in content production within the industry.
Limitations Faced by Screenwriters: Screenwriters often struggle with constraints related to time, income, and career advancement. These challenges come from a lack of understanding by producers regarding the screenplay writing process. Additionally, film distributors need to develop a deeper understanding of the global market. The government must transition from a regulatory role to a supportive one by implementing policies that genuinely understand and cater to the needs of the film industry.

THE IDEA FOR SAW SAM SAI MELODY CREATIVITY, WITH CASE STUDY OF KROB CHAKAWAN MELODY SONG CHAN

2025-06-26T08:48:21+07:00

This study is aimed at investigating principles techniques accompanying to Saw Sam Sai variation from Gong melodies in Krob Chakawan Song Chan. 1. The findings reveal that there are four steps in making variations: (1) the translation of Gong’s melodies to Saw Sam Sai’s using skeleton melodies. In accordance with the direction of three melodic patterns resulted into is considered thin and thick textures; (2) variation rendering for the melodies expanding into diverse range from the original; (3) translating and making the used for the combination in gong melodies; (4) elaborating the melodies using the previous 3 steps as mentioned to compose the advanced Saw Sam Sai melodies. 2. Techniques used in Saw Sam Sai’s melodies and variations involved three dements inclining; counterpoint, increasing of notes and its frequency, and creating the variation of melodic directions.

KHAMPRAD NORA: CREATING NEW STORY THROUGH CONTEMPORARY DRAMA

2025-06-26T08:56:20+07:00

This research aims to design and create contemporary dramas to communicate the doctrines embedded in Nora's way. Morality, ethics, and principles of living according to Nora's typical life. Using a creative research methodology in performing arts that emphasizes practice as research with a devising theater process by reflecting the views of participants who are students of the Department of Performing Arts, Thaksin University. The process of creating an event is divided into 4 stages: finding and developing issues, developing stories/scripts, developing performances, and presenting works. There was an audience of high school students in Songkhla Province who acted as evaluators with group discussions. The study found that re-synthesizing and reanalyzing Kamprad is a process that will still make the predicate still in use and existence repeating and expanding understanding on a large scale creates an interpretation and learning of hidden true meanings such as this contemporary drama. The main essence of the story is gratitude presented in the form of a Hybrid Performance mixed dancing Nora singing using the structure of the old Nora word play combined with storytelling in a new way. This makes it easier for the audience to learn Nora's story from the preamble. At the same time, the drama can communicate the essence of gratitude. Even if it is presented through the creation of a new meaning.

THE ANALYSIS AND INTERPRETATION OF THE POEM OF SOULS AND THE CREMATION FOR WIND ENSEMBLE AND THAI MUSIC ENSEMBLE BY PIYAWAT LOUILARPPRASERT

2025-06-26T09:02:49+07:00

The research article is a part of the thesis entitled of "The Analysis and Interpretation of the Poem of Souls and The Cremation for Wind Ensemble and Thai Music Ensemble by Piyawat Louilarpprasert” is a qualitative design. The data collection in this research is divided into two parts; firstly, the data collected from related document of academic papers, secondly, the interview data from the composer. The objectives of this study were 1) to examine an overview of the piece including structure, instrumentation, notation, tempo and meter, and 2) to analyze and to interpret the main components of the piece including melody, harmony and tone color.

The Poem of Souls and The Cremation is a Sectional form. The composer employs the concept of dissonance, cluster and noise, along with the tone color of Thai traditional music. The overall sound of the piece evokes emotion and feeling of fear, sadness, longing, calm, departure and ritual. The piece was analyzed and interpreted until all elements were understood to comprehend the performance practice of the piece and the composer's intention. The findings contribute significantly to the understanding of both Western and Thai musical elements and can be implemented as guidelines for conducting music for wind ensemble and Thai music ensemble.

PROCESS OF MAKING PIN BY MASTER INSAUY MOONTHA

2025-06-26T09:10:20+07:00

The thesis "Process of making Pin by master Insauy Moontha" investigates the Information related to Pin and to study the process of making a pin and to assess the sound quality of master Insauy Moontha's Pin. According to the research findings, master Insauy Moontha is an artist and Thai Instrument maker based in Nan province, Thailand. Currently, he works as an artist and Thai Instrument maker. He has experiences from creating Pin through experimenting and observing Pin from many artists. Master Insauy Moontha's process of making Pin was found to be meticulous and attentive at every step. The findings showed that the physical characteristics of Pin induce 8 steps. In addition, factors that affect the sound quality of the 6-step. The characteristics that appear in the creation process are found as followings: The guitar coil is used instead of the traditional coil; Corrosion of head gasket to insert resin for insulation support; The pattern of a double waterdrop-shaped air hole. The evaluationof master Insauy Moontha by seven qualified people were found that there was aconsensus that both physical characteristics and the sound quality of master InsauyMoontha consisted of a good the physical characteristics of beautiful of Pin, thecorrect proportions, the shape and sound characteristics of Pin is all in good stard.The quality of sound is resonant, clear, without any hoarseness or distortion.

PERFORMANCE METHODS OF PICHAWA FOR WEAPON PERFORMANCE REPERTOIRE BY KRU PEEP KONGLAITHONG (NATIONAL ARTIST)

2025-06-26T09:18:18+07:00

This qualitative research, titled Performance Methods of Pi Chawa for Weapon Performance Repertoire by Kru Peep Konglaithong (National Artist), explores the repertoire for weapon performances and the playing techniques of the Pi chawa in these songs. The study identifies six pieces in the weapon performance repertoire: Krabi Leela Song Chan, Yon Dab Song Chan, Mon Ram Dab Song Chan, Lom Song Chan, Long Song Song Chan used to pay homage to the late master, and Yon-Plaeng used for the "Ram Dern Plaeng" and entering combat in all performances. In term of techniques for playing Pi Chawa for weapon performance, the performer must adjust the tonal range to make the melody flow smoothly, both in terms of finger placement and breath control, while also ensuring that the melody enhances the emotion of vigor and excitement, such as by playing the sol note (sound called Ho). Additionally, special techniques are employed to enrich the melody, including tongue tapping with short blows, tongue cuts, double tongue taps, short blow tapping, vibrato, ornamentation, finger tapping, trilling, condensing the melody, and tone striking. The techniques for playing Pi Chawa in each song require one-on-one learning to acquire accurate knowledge, as the details of these techniques are intricate and complex.

THE TRAINING DESIGN FOR BODY AND MOVEMENT DEVELOPMENT OF MUPA DANCE TROUPE

2025-06-26T09:30:36+07:00

This study employs a practice-led research approach within the framework of research and development. The objectives are: 1. to design a training process for movement and dance skills tailored to the performers of the MUPA Dance Troupe and 2. to create a public performance. The study adopts a continuous experimental process, utilizing the training outcomes of the first cohort of performers to systematically develop an effective training methodology.

The training process design emphasizes the study of physical attributes and fundamental movement and dance skills, alongside a literature review to identify relevant theories and concepts. The training framework consists of three components: 1. flexibility and strength 2. movement and dance and 3. expressive use of the body.

The research findings led to the development of four specialized training exercises: 1. flexibility and strength training 2. MUPA Dance Troupe Workout 3. Graham technique exercises and 4. ballet workout. These exercises serve as foundational training for learners without prior dance experience, enabling them to understand and effectively utilize their bodies in dance. Additionally, the practical training outcomes were integrated into the creation of the performance Stop Station, in which performers successfully demonstrated their movement and dance potential with efficiency and artistic expression.

AN ANALYSIS IN PLENG PRAJUMWAT ON THE THAI MUSIC SCHOOL OF MASTER TEACHER RUAM PROMBURI

2025-06-25T09:05:03+07:00

This article examines the Khru Ruam Phromburi Music School composition Prajumwat. Khru Ruam learned the Prajumwat from a Mon descendant, Khru Sum Dontricharoen. Then Khru Ruam transmitting this song to the students, namely Mr.Pramuan Krutsing, Mr.Surin Jeuahom, Mr.Phum Pheuyphaoyen, and Mr.Udomsak Phromburi. The analysis of Prajumwat revealed that the composition employed two groups of scales, namely the GABxDEx and CDExGAx scale groups. The technique for playing the Kong Mon of Prajumwat involves a variety of movements of the hands. Prajumwat's musical performance encompasses four distinct styles. 1) normal performance 2) playing the remaining tracks on the return round, including Khaek Mon Bang Khun Phrom, Mon Ram Dap, Salika Khamen, Asae Woonkee, etc. 3) Performing in variation form (Thang Plein) by incorporating the Yam Khum melodies into the main composition. 4) performing the Prajumwat Thang Mai by following the Old Prajumwat style. Additionally, the form of the song's melodic structure and its performance manner indicate that it has been adaptable and flexible; depending on the musical culture of the music school, the playing technique can be altered.

KHRU KANYA ROHITAJOL: A SINGER FROM THE BANG YAI CANAL TO THE FINE ARTS DEPARTMENT

2025-06-25T10:54:10+07:00

This article presents the biography of Khru Kanya Rohitajol. She was a renowned singer at the Sakon Kaewphenkat Thai Classical Music Office at Bang Yai Canal in Nonthaburi Province. Khru Kanya was a distinguished musician at the Department of Fine Arts Office of Performing Arts Academy of Music. Khru Kanya sang a series of Thai classical songs with Khru Sakon Kaewphenkat and Khru A-ngun Bua-iam. She sang in the Khon stage performance with Khru Suda Khiawwichit and Khru Chaemchoi Duriyaphan. Khru Kanya had a unique, outstanding voice. Her experience and expertise were widely recognized by Thai singers and musicians. She was a Thai singer who inspired Thai other singers. Moreover, she played a key role in helping the Department of Fine Arts preserve and promote Thai classical music. Her contribution to Thai classical music is greatly appreciated and worthy of study.

THE CHORUS PERFORMANCE OF "AUN-AYCF THAILAND" WITHIN THE ASEAN COMMUNITY

2025-06-26T09:24:46+07:00

This academic article examines the choral performance of the song "AUN–AYCF Thailand," focusing on its compositional concepts and the contextual factors that influence its presentation. The findings reveal that the song functions not only as a musical expression of aesthetic value but also as a symbolic representation of cooperation within the ASEAN community, encompassing both cultural identity and inter-university relations. The song features structural flexibility, allowing for adaptation to various performance contexts while maintaining the core idea of unity in diversity. Its composition and arrangement showcase a high degree of adaptability, emphasizing its potential as a creative medium that can resonate with diverse performance environments and audiences.