Rangsit Music Journal

The Analysis on “From The Start” of Laufey Lín Bing Jónsdóttir

2025-03-21T16:21:40+07:00

The objective of this academic paper is to present a brief biography of Laufey Lín Bing Jónsdóttir (Laufey) and a musical analysis of From The Start. The contents focus on the musical analysis of From The Start, a single chosen from the “Bewitched” Album, published in 2023. In the musical analysis, the contents include 1) Form and Structures 2) Chord Progressions 3) The examples of Rhythmic Patterns within the vocal, guitar, piano, double bass, and drums parts.

The process of gathering information for this academic paper involved multiple stages. Initially, the author examined lead sheets containing the melody, lyrics, and chord notations for the song. These lead sheets were officially published on Laufey’s website, providing a reliable foundation for the study. To deepen the analysis, the author transcribed additional musical details from audio recordings available on online platforms such as Spotify and Laufey’s official Youtube channel. These transcriptions served as a supplementary source to verify and contextualize the musical elements. While minor inaccuracies in transcription are acknowledged, they do not impact the overall findings or the key arguments presented in this paper. Beyond these primary resources, the author also consulted books, textbooks, and academic articles to incorporate established theories and principles that support the analysis and discussion. This comprehensive approach ensured a thorough exploration of the song’s musical structure and its broader significance within contemporary music.

The results of the musical analysis found that the Form of this song is an AAB form, which includes the Intro section of 2 bars in 4/4 meters and the Ending section in 4 bars as 4/4 meters. The chord progressions are mostly moving on the Pre-Dominant-Dominant-Tonic function in Db major key with the tension notes on the fundamental diatonic chords. The rhythmic pattern in all parts demonstrates some complexity based on the 4/4 meter. Overall, the chord progressions and rhythmic patterns are combined to make more dimensions of sound. In the broader context, the analysis of From The Start underscores the evolving nature of contemporary popular music. The author observes that modern popular music is increasingly characterized by the fusion of diverse musical traditions and influences. This blending of styles allows for the creation of songs with distinctive identities, where intricate musical details play a central role in expressing the artist’s individuality. Laufey’s work, including From The Start, serves as a prime example of how such fusion can result in music that feels both fresh and deeply rooted in tradition.

One of the most notable influences on contemporary popular music, as reflected in From The Start, is the pervasive impact of American musical culture. This influence is evident in the song’s use of jazz-inspired harmonic language, particularly the incorporation of extended chords with added tension notes. These harmonic choices imbue the song with a sense of sophistication and depth, reminiscent of classic jazz standards. At the same time, the song’s harmonic organization reflects principles derived from classical music. The careful alignment of melodic lines with chord progressions ensures a smooth and cohesive flow, highlighting Laufey’s skillful integration of diverse musical traditions. This blending of jazz and classical elements not only enhances the song’s appeal but also positions it as a work that bridges genres and eras.

Beyond its harmonic and structural elements, From The Start also stands out for its rhythmic intricacies. The interplay of rhythms across the vocal, guitar, piano, double bass, and drums parts adds layers of complexity to the song. These rhythmic patterns, while grounded in the 4/4 meter, introduce subtle variations and syncopations that keeps listeners engaged. This combination of rhythmic precision and creative spontaneity exemplifies the meticulous craftsmanship that characterizes Laufey’s music.

Discussion from the Author's Perspective, the fusion of diverse musical cultures evidently influences most compositions in contemporary popular music. This integration has become increasingly prominent, contributing to the unique characteristics of each piece. Modern compositions stand out due to the intricate musical details that artists deliberately incorporate through arrangement, design, and synthesis, allowing them to express their individuality within the framework of popular music.

It is undeniable that American musical culture has significantly influenced global popular music, both directly and indirectly. The song From The Start is a wonderful example of this because it uses extended chords, which add more tension notes to the basic harmonic structure, to show how jazz has affected the harmony. Classical music principles also guide the piece's harmonic organization, ensuring smooth chord transitions through careful voice leading. Furthermore, the interplay of complex melodic and rhythmic elements within the fundamental structure enhances the song’s depth.

As a result, From The Start stands as a composition that exemplifies a distinctive musical identity. While the piece may appear simple upon first listen, it is meticulously crafted with intricate musical details, achieving a harmonious balance between sophistication and accessibility. The Conclusion on the Creation of Quality Popular Music, the creation of high-quality popular music in the modern era requires a diverse body of musical knowledge, encompassing both performance skills and theoretical understanding. These two aspects are essential in shaping the direction and overall quality of a musical composition. The intricate details of each piece serve as a reflection of its uniqueness, quality, and distinctiveness.

The ability to manage and refine these details, ensuring that their work authentically represents their artistic identity, largely defines an artist's individuality. Musical details are not solely defined by technical complexity but rather by the overall aesthetic and artistic outcome of the composition. It is this balance between skill, creativity, and artistic intent that ultimately determines the uniqueness and impact of a musical work.

A Practice Routine for Adding Harmonic Interest to Single Note Melodies for Improvisation

2025-03-21T16:21:46+07:00

This article presents and examines a set of short exercises designed to improve improvisation skills and develop harmonic interest in single-line melodies. For aspiring improvisers, the preparation, practice and spontaneous performance required to effectively improvise on a jazz standard can appear daunting. The basic elements include mastering the appropriate scales, guide tones, arpeggios (with or without extensions such as 9ths, 11ths, 13ths), ear training and developing rhythmic proficiency. Jazz improvisation, despite its inherent spontaneity, often involves significant advance preparation. This contrasts with the literal meaning of the 16^th century Italian word "improvisare" which means to perform on the spot without preparation. Playing over chord changes demands a solid understanding of harmony, along with the ability to apply this knowledge in real time.

In the initial stages of learning, students focus on mastering the correct scales. As they progress, they explore how to navigate chord progressions effectively, enabling them to create melodies that resonate harmonically with the underlying chord. Common techniques such as targeting chord notes, guide tones, tensions, and chromatic approaches, create emotional impact and harmonic expectation. Developing these competencies is a gradual process that requires significant time and harmonic knowledge and is often deferred to later stages in the learning journey, with initial focus on playing scale patterns. In essence, when a student is unable to outline the chord(s) they typically resort to playing scale patterns as an alternative. How can we integrate harmonic interest into our improvisational practice without requiring extensive knowledge of music theory? Is it possible to cultivate harmonic interest in improvisation at an early stage without playing over predefined chord progressions such as IV-V-I or II-V-I?

The objective of this approach is to design a practice routine with simple exercises that plant the seeds for harmonic interest in melodic ideas for improvisation through the use of leaps. The proposed exercises take a slightly different approach by emphasizing the use of jumps or leaps at an earlier learning stage. They are based on my own teaching experience and the teachings that were passed down to me over the years. These exercises are applicable to both beginners and more experienced improvisers and focus on a single key center. Over time, these drills become second nature, enabling us to apply them seamlessly in our improvisation. Furthermore, these routines will enhance our harmonic ear.

When we jump or leap from one note to another, thus creating an interval of a third or greater, our brain engages in a fascinating process. A virtual note or virtual resonance is created. It is a note that appears to be present although it is not explicitly played. Our brain retains the memory of the first note at the time the second note is played, creating the auditory impression of an interval, thereby generating harmonic interest. It can even imply a chord. In the exercises presented each note that jumps is resolved to the underlying chord triad through correct voice leading. A rhythm track and drone of the underlying triad is used to help us hear the resolutions and make the exercises more enjoyable to practice.

The first exercise introduces this principle by utilizing only diatonic notes with immediate resolution to the triad. It involves single leaps from a chord tone to a non-chord tone that is then resolved back using proper voice leading. This drill is meant to make voice leading a natural skill, so it becomes second nature. We memorize the resolution paths to the target notes, and this might take some time for an aspiring improviser, but it will become easier when scale fragments are added later. The second exercise consists of two consecutive leaps. Both leaps are resolved to the chord note but the resolution of the first note is delayed, resulting in immediate and delayed resolution of non-chord tones. Again, only diatonic notes are used here. This is more complex as we need to memorize the two notes that need to resolve. In the third exercise scale passages are added to exercises one and two. When playing scales in steps no resolution is needed, which will make it a bit easier to apply in improvisations. The fourth exercise adds rhythm displacement to the above. Lastly the fifth exercise uses all chromatic notes and applies them to the previous exercises.

The result is an improvisational device that uses leaps, scale fragments, or both that are resolved using voice leading principles of Western tonal music. Over time and with good practice these techniques will blend into your improvisational language, promoting your harmonic interest and developing your ear. After all, an improviser sounds how he practices at home. Once one gets used to using leaps and delayed resolution, adding non-diatonic notes will result in interesting melodic ideas All chromatic notes are used here, and none of the examples use complex scales such as altered scales or diminished scales. These 10-minute exercises provide a melodic framework for improvisation that remains harmonically suggestive and harmonically balanced. Because of their strong gravitational pull toward the underlying key, they can serve as possible alternative ideas for improvisation on a dominant-tonic or subdominant-dominant-tonic progression. Incorporating these skills at an early stage of musical development helps to cultivate the harmonic ear and prehearing skills which are key components of musical improvisation.

A Study of Parent’s Experiences of Participating in Music Therapy to Promote Social Skills and Communication Skills in Children with Autism Spectrum Disorder

2025-03-21T16:21:36+07:00

Autism Spectrum Disorder (ASD) is a neurodevelopmental condition characterized by impairments in three main areas: 1) social interaction, 2) communication and interpretation, and 3) emotional and behavioral. Over the years, music therapy has been widely recognized as an effective therapeutic approach for addressing the needs of individuals with ASD. Music therapy integrates music into treatment to enhance social, communication, and emotional skills. It also emphasizes the inclusion of parents or families in the therapeutic process to maximize its benefits. However, in Thailand, music therapy is a relatively new profession. As such, the practice of involving parents in music therapy is not yet common, and there is limited research in these areas. Given this gap, it remains unclear how parents perceive their involvement in music therapy and how it impacts their children with ASD. Recognizing this gap, the researcher conducted a study to explore the in-depth experiences of parents participating in music therapy for children with ASD to promote social and communication skills of children with ASD. The objectives of this research were to 1) Study parents’ experiences of participating in music therapy with children with ASD and 2) Study the experiences of parents of children with ASD towards the affects of social development, interaction, communication, and interpretation of children with ASD.

The study employed a case study research design, selecting participants using purposive sampling. The inclusion criteria were as follows 1) Parents aged between 25-70 years, without any physical or vocal impairments, who expressed an interest in music therapy and volunteered to participate. 2) Children aged 4-12 years diagnosed with mild to moderate ASD by a medical professional, who showed an interest in music. The study involved 6 dyads of parent-child, all of whom participated at a special education center located in northeastern Thailand. The participants underwent dyadic music therapy over a period of 6 weeks. Each week included two sessions lasting 45-60 minutes, resulting in a total of 12 sessions. These were structured as follows 1) 2 assessment sessions. 2) 9 Music therapy sessions, and 3) 1 concluding evaluation session. The tools used for data collection included: 1) The researcher as a primary instrument, 2) Behavioral observation forms to monitor parents during the activities, 3) Interview guides comprising basic demographic questions and questions regarding parents’ experiences, 4) Field notes documenting music therapy services, 5) Music therapy activities and 6) Video recording equipment. The researcher collected and triangulated four data resources: parent’s behavior observation form, individual interview transcripts, field note, and videotaped sessions. The data were analyzed using the thematic synthesis method to identify key themes and categories.

The findings revealed 2 core themes and 6 categories that illustrated the experiences of parents and their perceptions of participating in music therapy: 1) Perceived Changes and Mechanisms of Music Therapy in Children (Categories: From isolation to interaction; evolving use of vocalization; Joy as a catalyst for expression). Parents observed noticeable changes in their children’s social skills from being withdrawn to actively engaging with others, children began using their voices more frequently and develop mouth shapes to produce different sounds, and the enjoyable nature of music therapy motivated children to participate, communicate, and express themselves more freely, and 2) Being Part of the Music Therapy Process (Categories: Participation in music therapy; The benefits of music therapy for oneself; Using one's own music in music therapy activities). Parents described their involvement in the therapy process as meaningful and beneficial, both for their children and for themselves. Parents commented that their participation in music therapy contributing to the child’s engagement in activities, providing opportunities for parents to play, communicate and strengthen their relationship with their children. In addition, parents reported experiencing reduced stress. Parents perceive that playing or using music themselves is important, as it helps boost the child’s confidence by observing and participating in musical activities together with their parents.

To conclude, Parents highlighted the positive effects of participating in music therapy on their relationship with their child. Participating in sessions allowed them to see another side of their child, fostering a deeper understanding and positive interaction. This involvement also helped to create an environment where the child felt encouraged to participate, ultimately boosting the parents’ sense of satisfaction and reducing their stress. The study underscores the importance of parental involvement in music therapy for children with ASD. Music therapy not only helps children develop critical social and communication skills but also provides parents with an opportunity to engage with their child in a meaningful way. By being part of the process, parents gain a new perspective on their child’s abilities and challenges, which can strengthen their bond and improve the family dynamic. Given the promising outcomes, the integration of parental involvement into music therapy should be further encouraged and researched, particularly in contexts where music therapy is still an emerging field. Expanding this approach in Thailand could pave the way for more comprehensive support systems for children with ASD and their families.

Creating Fingerstyle Guitar from Four Regional Thai Folk Tunes in Duet

2025-03-21T16:21:20+07:00

Guitars, including steel-string acoustic guitars, nylon-string acoustic guitars, and electric guitars, have long been central to entertainment and have maintained widespread popularity across Thai society. Among these, steel-string acoustic guitars—commonly referred to as folk guitars—have developed a distinctive style, particularly through the use of fingerstyle techniques. In contemporary times, the significance of the fingerstyle guitar has grown, as renowned guitarists such as Micheal Hedges, Thomas Leeb, or Ralph Towner all have composed pieces in this style, leading to its commonplace performance and admiration among acoustic guitar enthusiasts.

Fingerstyle guitar is recognized for producing a highly resonant sound, primarily through the utilization of harmonics, tapping on the guitar's body or frets with both the left and right hands. This approach results in a polyphonic texture that enhances the musical performance. The practice frequently involves the use of special tunings, which facilitate harmonic resonance and allow the guitarist to generate rich overtones, thereby serving both practical and artistic purposes. The arrangement of fingerstyle guitar pieces entrusts the process of compositon and improvisation in equal measure, structured around three fundamental components: melody, harmony, and bassline. These elements may occur simultaneously or in succession, depending on the arranger's artistic choices. Notably, the arrangement method for fingerstyle guitar tends to emphasize repetitive rhythmic patterns, with relatively less focus on melodic renditions.

This article is part of the research project Album Guitar Duet: Four Regional Folk Music Repertories for Classical, Fingerstyle, and Electric Guitars, which is funded by the National Research Council of Thailand (NRCT) for the fiscal year 2023. Specifically, the article examines the conceptual framework and arrangement of guitar duets with a focus on the fingerstyle guitar. The research process was divided into three stages: first, data collection through interviews with experts in guitar arrangement; second, the selection of melodies from the four regions of Thailand, primarily sourced from Youtube; and third, the arrangement for guitar duets.

Fieldwork was conducted through interviews with experts in guitar arrangement: Boonchob Tanomwongtana (17 September 2023), Khong Mongkon (24 September 2023), Pijak Weerathai (1 October 2023), and Grid Banthaisong (8 October 2023). Structured interview questions were developed to address key themes in line with the research objectives, while allowing for spontaneous follow-up questions to capture additional insights. The interviews were transcribed verbatim using VB-CABLE Virtual Audio Device software, which facilitated the conversion of spoken content into text within Microsoft Word. The researcher then reviewed the transcripts, paying particular attention to musical terminology and ensuring clarity in the representation of the interviewees’ responses. These transcriptions proved invaluable for the development of fingerstyle guitar duets based on folk melodies from Thailand's four regions. This article discusses the arrangements of these duets though the analysis of four selected pieces from a complete set of sixteen: Longmaeping, Pojohpisung, Pleangyeiy, and Noksaibin-khamthung.

The arrangement of Longmaeping involved a straightforward harmonisation of the fingerstyle guitar, with the second guitar complementing the melody in the lower register. In Section B, the fingerstyle guitar shifted to chordal playing, incorporating harmonics and string tapping with the right hand to create distinctive sonic textures. The second guitar harmonised with the melody, enriching the overall duet. For the southern folk song Pojohpisung, the arrangement utilised the boom-chick technique to highlight a key element in the creation of harmonic structure. Chromatic chord movements were employed to add colour and depth to the piece, while the electric guitar played a melodic counterpoint to support the fingerstyle guitar.

The arrangement of Pleangyeiy was influenced by Impressionistic musical techniques, particularly in the treatment of rhythm. The guitar duet was designed to emulate the sound of traditional central Thai folk drums, incorporating harmonics and tapping on the guitar body to evoke the percussive elements of drumming. The melody itself was crafted to evoke a sense of memoirs, aligning with the atmospheric qualities derived from Impressionist harmony. Noksaibin-khamthung, an Isan folk song with a lively rhythmic character, was arranged to emphasise fingerstyle techniques that create vibrant sonic textures through tapping and slurring. The fingerstyle guitar was used to imitate the rhythm of drums by tapping on the edges and top of the guitar, demonstrating the adaptability of arrangement techniques for diverse cultural styles.

In conclusion, the findings of this study provide a foundation for further development in the creation and arrangement of guitar music, particularly within the context of folk melodies from Thailand’s four regions. The techniques explored in this study contribute to the broader discourse on the intersection of traditional folk music and contemporary guitar arrangements.

Kudi Chin Suite

2025-03-21T16:21:30+07:00

The creation research project on the academic works of arts, “Kudi Chin Suite” is a set of musical compositions consisting of 3 suites: 1^st Kudi Chin Suite for flexible ensembles, 2^nd Kudi Chin Suite 2 for brass quintet, and 3^rd Kudi Chin Suite for saxophone quartet. The objectives are 1) to study the history and background of the community’s way of life and to study the techniques of composing music for wind ensembles, brass quintet, and saxophone quartet; 2) to create musical compositions in the formats of wind ensembles, brass quintet, and saxophone quartet; and 3) to disseminate creative musical compositions by educational institutions with greater participation in the community.

The research methodology consisted of 1) studying the history, beliefs, culture, traditions, ethnicity, way of life, and sounds of the Kudi Chin community by taking the concepts gained from the study and creating them into melodies. 2) studying the methods of composing and arranging music for flexible wind ensemble, brass quintet, and saxophone quartet. 3) determining the structure of the suite and the concept for creating melodies and designing the overall musical characteristics from of the music and determining the proportion of the numbers of music. The Kudi Chin Suite music set has a total of 17 songs. 4) creating the parts of sound, melody, and rhythm, and considering the suitability of each musical instrument. 5) adjusting and editing the composition and considering various details of the composition as appropriate. 6) broadcasting the live performance at Kasetsart University, and 7) broadcasting by printing music in books with a master audio flash drive.

The research results found that the composition of the song “Kudi Chin Suite” has a composition structure as a musical composition in the form of a set song, consisting of 17 movements, approximately 80 minutes. This composition is a creation of a new melody, consisting of concepts of the location, the Chao Phraya River, the atmosphere of the community, local desserts, the way of life of the people in the community from the past to the present, beliefs, rituals, and religious multiculturalism that are the identity of the Kudi Chin community to design of the music allows people in the community to access music and allows youth in the area to participate in the performance harmoniously. The use of the community’s location as a space for music performances, the composition of the Kudi Chin Suite uses Western music composition techniques, including melodies, tone colors, various rhythms, techniques of music instruments, and the development of motif.

The Kudi Chin Suite is another option, which is the performers can choose to use the music in each set to play properly and for every occasion. Because the suite is diverse in culture, there are many ethnicities, traditions, and beliefs of the people in the community. Therefore, the music in the Kudi Chin Suite is with unique characteristics, which are different and are suitable for use in playing in the community conveniently, especially small ensemble such as a brass quintet and a saxophone quartet for 4 voices that can be played anywhere. Even in a small community can be played appropriately.

From the creation of the Kudi Chin Suite, each section in the set reflects the diversity of multiculturalism in the community. In addition, the type of ensemble can choose the music to play according to as per requirement and facilitates the skills of the performers. For example, the 1^st Kudi Chin Suite for the Flexible Ensemble is suitable for performers, who are in beginner level. It is necessary to use the technique of selecting the right voicing line for the musical instruments to make the music beautiful, consistent with the meaning of the Flexible Ensemble music by Joseph F. Glaeser, who explained that the Flexible Ensemble music is a form of music that relies on a small number of performers and an ensemble with a few percussion instruments. Normally, the Flexible Ensemble has 4-6 voicing lines. Each voicing responds to the playing of a non-fixed musical instrument or other musical instruments can play any voicing line. The 2^nd & 3^rd Kudi Chin Suite are suitable for performers who want to use specific playing techniques and musical instruments. The characteristics of the movements in the suites there are a different color from the music for the Flexible Ensemble. More Challenging the abilities of the performers. However, the 3 sets of Kudi Chin Suite are beneficial for use in small to large ensemble. They can be used in communities with limited space, and accommodate the limitations of the types of musical instruments that each band has, allowing these sets of songs to be used in a wider variety of bands.

“Nakhon Chum” for String Quartet

2025-03-21T16:21:53+07:00

"Nakhon Chum" for String Quartet is a creative research project that creates traditional folk songs through western music theory in the process of arrangement and harmonization. This approach reimages folk melodies while maintaining their intrinsic character. Integrating compositional techniques aims to preserve and revitalize these cultural treasures, ensuring their relevance and continuity in modern musical contexts. These three objectives of this creative research are: 1) to compose music based on the melody of Nakhon Chum's folk song, 2) to examine the technique and concepts behind this creation, and 3) to preserve and inherit Nakhon Chum folk songs for use in contemporary musical idioms. The primary concepts are derived from two traditional Nakhon Chum folk songs: Rabum Klong Chang and Sai Nam Mae Ping, which serve as the main melodies for the two different movements. These melodies are integrated with compositional techniques based on western music theory, specifically tonal harmony, and this composition is composed for a string quartet which has two movements. The total duration of the two movements is approximately 8.05 minutes.

The process of composing this composition with the following seven steps: 1) conducting research and study to select two traditional folk songs from Nakhon Chum as the foundation for the creative composition. 2) defining the musical characteristics of the composition, which consists of a two-section structure. The two sections differ in tempo: Andante and Adagio. 3) creating a main theme and motives derived from the folk songs. These elements are developed based on the appropriateness of each section to ensure thematic coherence and interrelation. 4) composing and arranging the elements of each section to achieve consistency and unity. The melodies are developed from the main theme and motives to create an integrated musical piece. 5) composing the instrumental parts by considering the main theme, motives, harmonic lines, and the suitability of the instruments for each passage. 6) revising the composition based on feedback from three experts with professional expertise in critiquing musical works. The piece, titled “Nakhon Chum”, is composed for a string quartet. 7) recording the composition for dissemination to the public through various formats, including distribution to government and private organizations, as well as online platforms such as Youtube.

In conclusion, this composition consists of two distinct movements, titled Amusement and Raming, with an approximate duration of 8.05 minutes. The conceptual framework for the creative process of composing “Nakhon Chum” for String Quartet is based on the following five steps: 1) Selection of melodies from Nakhon Chum folk songs. Rabum Khlong Chang was selected as the primary thematic material for the first movement, while Sai Nam Mae Ping served as the foundational musical idea for the second movement. 2) Structuring the composition's overall framework. The first movement was composed in fantasia, characterized by freedom in form and inspiration, and it was modulated from C major to E major in the section B and changed the time signature in the middle section from 2/4 to 3/4 before going back to 2/4 in the last section. for the second movement, it was in the binary form, AB form, and modulated from B minor in section A to A major in section B, with vibrant rhythms and melodic lines. 3) Developing the main melodies. Since the folk melodies are characterized by simple melodic movements, the melodic line from both movements are developed using compositional techniques that enhance the simplicity of the folk melodies, such as augmentation and ornamentation, allowing the melodies to stand independently. 4) Establishing chord progression. Nakhon Chum for string quartet is composed with reference to western tonal music theory principles. The composer employs diatonic chords to align appropriately with the main melodies of the piece. To enhance the harmonic texture and create greater musical interest, chromatic chords are incorporated to complement the melodic and harmonic lines. Five types of chromatic chords are utilized in the composition: (1) Secondary Dominant, (2) Secondary Leading-tone, (3) Augmented Sixth, (4) Neapolitan, and (5) Chromatic Mediant. These chromatic chords are applied strategically to enrich the harmonic framework while maintaining coherence with the overall musical structure. 5) Orchestration and harmonization of the piece. The composition is structured to ensure that each instrument performs the main melody and harmonic lines in a balanced and cohesive manner. Selected compositional techniques, including imitation, stretto, melodic sequence, ostinato, and fragmentation, are applied strategically to enhance the harmonic texture and musical interest to expand the expressive and technical dimensions of the composition.

Eventually, this composition, lasting approximately 8.05 minutes, is divided into two distinct sections. It is written for a string quartet comprising two violins, one viola, and one cello. The piece integrates melodies from the traditional folk songs of Nakhon Chum with Western music theory techniques, creating a modernized interpretation of folk music. Each section is uniquely crafted with its own musical concept and character, offering listeners a rich and diverse musical experience. This work aims to preserve and promote traditional folk music through a contemporary composition. It has been shared with organizations both within and beyond Kamphaeng Phet province and made accessible through online platforms such as Youtube.

Interpretation and Performance Practice on October from The Seasons by Tchaikovsky

2023-06-07T13:38:37+07:00

This research article focuses on the interpretation and performance style of the piece October from The Seasons suite for piano, composed by Pyotr Ilyich Tchaikovsky (1840-1893) from the Romantic period. The main objectives of the study are: 1) to study the biography of Tchaikovsky and the background of the piece; 2) to analyze the musical composition; and 3) to interpret the piece and apply appropriate performance techniques to achieve an accurate and complete rendition. This research aims to provide a guide for future analysis and performance of the piano work for those interested in studying it. The research process includes selecting a suitable piece for performance, reviewing related literature, studying interpretation techniques, practicing the piece, performing a solo piano rendition, and presenting a complete thesis along with publishing relevant articles.

The research findings include an overview of the composer’s biography, the history of the piece, and its interpretation. Tchaikovsky, a renowned composer and pianist from Russia, was proficient in piano and music notation. However, his family initially urged him to pursue a career in law rather than music. Despite this, Tchaikovsky continued to devote his free time to music composition, eventually enrolling at the Conservatory of Music in St. Petersburg. There, he studied orchestration with Anton Rubinstein and piano with Nikolai Rubinstein. His travels across Europe further inspired him, leading to the creation of many famous works, including overtures, symphonies, concertos, piano pieces, and ballets. His music, characterized by rich harmonies, expressive melodies, and profound emotional depth, remains widely celebrated in concert halls and music academies worldwide. Notably, his ballets such as Swan Lake, The Nutcracker, and Sleeping Beauty have become some of the most frequently performed works in the classical repertoire. Tchaikovsky is widely regarded as one of the greatest composers in the world, and his compositions remain widely performed.

Tchaikovsky composed The Seasons in 1875, a suite consisting of 12 short pieces that depict the changing seasons throughout the year in Russia. Each piece has distinct musical characteristics that reflect the atmosphere of its respective month. Tchaikovsky was commissioned by Nikolay Bernard (1844–1905), the editor of a magazine, to compose these short pieces, with Bernard himself writing the accompanying poetic epigraphs for each piece. The 12 pieces in the suite are as follows: December, January, February, and March portray scenes of winter; April and May depict spring; June, July, and August capture the essence of summer; while September, October, and November evoke the imagery of autumn. October, for instance, is written in D minor, in two parts with a 4/4 time signature. The primary theme evokes the cold, quiet ambiance of autumn, symbolizing the passing of the season with a sense of melancholy, loneliness, emptiness, and sorrow. In the performance of this piece, the researcher emphasizes expressing these emotions through soft, continuous sounds, with the melody standing out while the accompaniment and chords remain subdued. Techniques such as free tempo and precise control of dynamics with fingertip articulation are crucial. Practicing slowly and gradually increasing the tempo, along with using the sustain pedal, is essential for conveying the emotional depth and atmosphere of the piece.

The first section of October features a lyrical melody, which should be played with a singing tone and a fluid, expressive touch. The left-hand accompaniment consists of broken chords that should remain delicate and unobtrusive, allowing the right-hand melody to shine. The use of rubato is recommended to enhance the expressiveness of the piece, particularly in phrases that convey longing and nostalgia. Another critical aspect of performing October is pedaling. The sustain pedal should be used sparingly to avoid blurring the harmonies while maintaining a smooth legato. Half-pedaling techniques may be employed to enhance the resonance of sustained notes without over-saturating the sound. Interpretation of October requires an understanding of Tchaikovsky’s compositional style and his ability to evoke vivid imagery through music. His use of chromaticism, subtle harmonic shifts, and expressive phrasing contributes to the nostalgic and contemplative nature of the piece. Comparing different recorded interpretations can provide valuable insights into various performance approaches, helping the performer refine their expressive choices.

In conclusion, the performance of October, with its beautiful yet melancholic melody and free-flowing, imaginative mood, requires a deep understanding of the music. Proper interpretation, combined with technical skill, is necessary to create the correct atmosphere and faithfully present the piece, especially by highlighting the melody clearly and beautifully. An effective performance should balance emotional expressiveness with technical precision, ensuring that the nuances of phrasing, articulation, and dynamic contrast are carefully executed. Ultimately, the ability to capture the essence of October lies in the performer’s sensitivity to the music’s poetic qualities, transforming it from a mere sequence of notes into a deeply moving artistic expression.

Doctoral Music Composition: Singapore Symphonic Rhapsody for Wind Orchestra

2025-03-21T16:21:24+07:00

This creative article explores the history, styles and diversity of folk songs of the four ethnic groups living harmonizely in Singapore. Each of these racial groups brought with them their own racial identities, including songs folklore of each racial group. Therefore, it has been inspired to create a composition for wind orchestra to being represented Singapore to be more widely known.

Musical compositions in the style of wind orchestras are very popular in Singapore. This is because it is government policy that wants Singaporean youth to have access to aesthetics and the value of music at both the primary and secondary levels. and developed continuously until the present. There's a wind orchestra at every level of every educational agency Including association groups in various districts as well, to being aware of the importance and benefits that will be received from this activity. For example, using free time after studying to your advantage, developing the quality of the wind orchestra's abilities, and creating discipline for both the audience and the players. The researcher sees that the composition of wind orchestras is a creative research project that has paramount and there are also songs written that can convey the identity of Singapore in There are few standard forms of wind orchestra. Therefore, saw the benefit of using this topic to write a creative academic article.

The interesting thing is that the researcher would like to present it in the form “Combining the diversity of cultures that Different into one” in the form of wind music. It is the creation of literary works that Bringing the original folk songs to reinterpret and develop while still maintaining the identity of the folk songs of each racial group. It is about creating academic research in art that can reflect the image. and cultural identity Society and racial concepts in the art of music. This composition consisting of 6 movements,

Introduction: Introduces all the four folk main melodies of four groups briefly
Movement 1: Rasa Sayang, It is a piece created from the folk melody of Rasa Sayang song, which is a Malay folk melody.
Movement 2: Munnaeru Vaalibaa, It is a piece created from a melodic line. The folk song Munnaeru Vaalibaa is a folk melody of the Tamil Indians in Singapore.
Movement 3: Jinkli Nona, It is a piece created from the folk melody of Jinkli Nona, a Eurasian folk melody
Movement 4: Dayung Sampan, It is a piece created from a folk melody of the song Dayung Sampan, which is another Malay folk melody but is very popular a lot among Chinese people The lyrics are written in Chinese and have become very popular in general. It can also be considered a folk song of the Chinese people in Singapore.
Ending: It is the last part of the composition that takes some of the parts in the introduction part returns again to show the unity of the composition. including folk melodies all that has been presented in various parts. It will be included in this final piece for perfection.

This piece is 30 minutes duration, incorporates significant Singaporean folk songs. The creative process revealed that composing music for wind orchestras requires a blend of theoretical musical knowledge and sound orchestration. It involves utilizing the rhythmic structure of folk songs to assign roles to each instrument in the wind orchestra. Additionally, composers must understand sound ranges, chords, rhythmic patterns, composition styles, and expertise in orchestrating harmonies.

Techniques used in this work Various compositional techniques were used, including musical form, which was used in a free form, making this composition able to be played both as a whole from beginning to end. or can be played separately into different songs in each movement. The composition techniques include the following examples:

Repetition is the repetition of the main rhythm back and forth, emphasizing the progression of the musical style of the composition that has been created. It occurs in many parts in every line in the composition. Some verses will be repeated throughout the entire verse. Some parts will be repeated only in parts. In the repetition of some parts, even though the main melody is the same, there will be differences in other aspects such as dynamics and sound articulation
Unison is playing the same melody of the same group of instruments or different groups of instruments. Including in the direction of the impact machine as well. It is a technique used to emphasize the melodic line of a composition. Make the melody have a strong tone more powerful and important. Also using the same note playing technique. It also adds another kind of dynamics to the composition.
Polyrhythm is the playing of more than two rhythmic styles at the same time. It may be rhythms from the same meter but with different proportions, or it may be rhythm patterns from different meters but occurring at the same time. It is a creative technique that will create a syncopation that proceeds together
Sequence is a repetition technique that is repeated immediately but at a different pitch. It is the repetition of a motif or melodic line, which repeats the melodic features in a higher or lower pitch but still maintains the octave pattern of the melodic line go up or down in order according to your creativity. Using this technique lengthens the lines of the melody and moves the song forward without needing new material make the composition connected and can develop the creativity of the composition's melodic and harmonious lines to be more complex. This technique of using sequences is a technique commonly used in classical music composition.
Polyphony is the playing of more than two melodies simultaneously. It might be the main melody from two songs playing together. Or there is one main melody and another melody is used as a counter Melody, or different melodies can be mixed and played together. It is a creative technique that creates interesting harmonies and a variety of melodic combinations.
Improvisation In music, no matter what type Improvisation is an immediate demonstration of the instrument's solo ability. It shows the knowledge and abilities of the performer. It also communicates the feelings, emotions, and thoughts of the performer at that time to the audience. Each improvised performance will be different according to the mood and creativity of the performer at that time too

The results of this creative work were found to be innovative composing technique written for wind orchestra. Moreover the knowledge in both intergrated music theory and harmony were applied. Whereby the sound classification bringing the rhythms of folk songs to play an impressive role on each instrument in a wind orchestra. Understanding the tone, chords, rhythms, and composing style and harmonies are needed for appreciation.

ABRSM Versus Trinity College London Flute Examination Pieces: A Comparative Study of Musical Elements and Playing Techniques

2025-03-21T16:21:33+07:00

Music examinations offered by internationally recognized institutions such as the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London provide individuals of all ages and backgrounds with the opportunity to assess their musical abilities against a standardized benchmark. These British-based institutions have a long history of conducting music examinations and serve more than 600,000 candidates worldwide each year across a wide range of Western instruments.

The flute is a woodwind instrument widely popular among students and the general public. However, previous research on standardized music examinations in Thailand has primarily focused on the piano. Studies specifically examining flute examinations have been relatively scarce. Furthermore, the researcher, with extensive experience teaching flute at various educational levels, has observed that the pieces used in Grades 1-8 examinations at both institutions can not only serve as assessment tools but also be valuable resources for teaching from elementary to tertiary levels. Therefore, this research aims to disseminate information and knowledge about the musical elements and flute techniques encountered in these examination pieces for Grades 1-8 at both institutions.

This research has two objectives: 1) To study, analyze, and compare the musical elements used in flute examination pieces from ABRSM and Trinity College London. 2) To study, analyze, and compare the flute techniques employed in flute examination pieces from ABRSM and Trinity College London.

The scope of this research, in terms of content, is focused on the study and analysis of musical elements and flute techniques related to classical music pieces which Sample Selection are 1) ABRSM: Flute examination pieces from Grades 1 to 8, implemented from 2022 onwards, were selected from all three groups (A, B, and C). Three pieces were chosen from each group for each grade, totaling 72 pieces. 2) Trinity College London: Flute examination pieces from Grades 1 to 8, implemented from 2023 onwards, were selected from both groups (A and B). Each grade contains 12 pieces, divided equally between groups A and B. A total of 96 pieces were analyzed.

This qualitative study examined relevant documents, including flute examination syllabuses and music examination books from both the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London. Additionally, the study incorporated information from books, textbooks, research articles, and electronic media related to flute performance, music examinations, and music theory. Data analysis was conducted using knowledge of music theory and flute performance. Musical elements were categorized into two groups: 1) Musical elements related to piece details, including tempo, time signature, dynamics, articulation, key signature, and piece length; and 2) Musical elements related to flute technique, such as the pitch range used in each examination grade and the length of breath marks.

The research process involved the following steps: 1) Collecting data from examination syllabuses and music examination books, as well as other relevant sources. 2) Analyzing examination pieces at each grade level. Both institutions divided the 8 grades into three levels: elementary (Grades 1-3), intermediate (Grades 4-5), and advanced (Grades 6-8). The results were presented descriptively, incorporating relevant literature on music examinations. Musical elements were presented in tables, while flute techniques were explained briefly.

Overall, the study found that the examination pieces from both institutions presented a wide range of musical elements and flute techniques. In terms of musical elements, a variety of tempos (from very fast to very slow), time signatures (simple, compound, and complex), and articulations (staccato, legato, accents, tenuto, etc.) were observed. Regarding flute techniques, the pieces included various techniques such as playing in different registers, tonguing, dynamics, vibrato, and advanced techniques like flutter tonguing. While there were similarities and differences across the grade levels, Trinity College London examination pieces exhibited a slightly wider range of techniques compared to ABRSM pieces, including pitch bending and glissando, which were not found in ABRSM pieces.

Additionally, it was found that both institutions' examination pieces followed a progression of musical elements that aligned with the flute repertoire database created by the National Flute Association in 2009. The technical difficulty also increased with each grade level, consistent with Harrow's Instructional Model and Pestalozzi's approach to music education. Comparing the 10-level (A-H) difficulty rating in the NFA database, ABRSM and Trinity College London Grades 1-8 corresponded to levels A-K. The findings of this research can be used as a reference for creating teaching materials for flute, from elementary to advanced levels, as well as in research, textbooks, and further flute-related compilations.

Music Composition for Hands Exercise “Tantipat”

2025-03-21T16:21:43+07:00

This research aims to study hand exercise compositions for Thai percussion instruments and to compose the hand exercise "Tantipat" for Thai percussion instruments. The scope of the study focuses exclusively on hand exercise compositions for Thai percussion instruments, specifically: Pleng Saa-tu gaan, Pleng Chêrt, Pleng Chìng mú lông chán diieow, and Pleng Rêuuang tá-yae. This led to the composition of "Tantipat," utilizing principles of musicology and traditional Thai music composition techniques. The structure of the composition is defined in the format of Pleng chìng, adhering to the traditional framework and stylistic conventions of Thai classical music. The rhythm is structured with a Song chán comprising 3 part and a Chán diieow comprising 1 part.

This study employs a qualitative research methodology, with the research methods including data collection and analysis, which ultimately led to the creation of academic work. The researcher conducted an in-depth review of academic literature related to music theory, the principles of Thai music composition, the analysis of musical characteristics, and the principles of adapting Thai musical ensembles. The data collected was organized according to the research objectives, following the steps outlined below: 1) Inspiration for melody composition: The researcher explored the relevant context by studying the melodies of the Gong wong yai ensemble in the Pleng Saa-tu gaan, Pleng Chêrt, Pleng Chìng mú lông chán diieow, and Pleng Rêuuang tá-yae compositions. The goal was to compose music in the same direction as the original piece, referencing the use of gong hand techniques according to the professional standards of Thai classical music, particularly in relation to the playing of the Gong wong yai ensemble. The composition must take into account the melody of the Gong wong yai ensemble for beginners, while allowing for further development into more advanced melodies that require higher skill levels. 2) Defining the elements of music as follows: Melodic characteristics, Form, scale, Special techniques in performance and Distinctive features of the melody. This led to the composition of a Tuntipat song, with the researcher composing the melody according to the principles of Thai musicology and the theory of Thai music composition. 3) Defining the performance format: The performance format is based on the melody of the Gong wong yai ensemble as the primary focus. Other percussion instruments interpret the melody according to their own performance skills. The instruments used are the Ranad Ek, Ranad Thum, Gong wong yai, and Gong wong lek. The performance can be conducted both as solo practice and as an ensemble performance (For ensemble performances, use the Khui Piang Or for the Piphat Mai Nuam ensemble and the Pii for the Piphat Mai Khaeng ensemble.). Various rhythmic instruments can be incorporated as appropriate to help enhance the texture and color of the melody.

The results of the study were as follows: 1) The hand exercise compositions consist of four songs, namely: 1) Pleng Saa-tu gaan, which consists of 37 sentences of music notation in Thai classical music. The study found three scales: Sol la Ti x Ra Mi x (The Nai scale), Ra Mi Fa x La Ti x (The Glaang Hàep scale), and Do Re Mi x Sol La x (The Nook scale). This piece follows the ABBC / form, where the B section features a very long melody, consisting of 32 sentences (Sentences 2 – 33) 2) Pleng Chêrt song chán and chán diieow, which consists of 91 sentences. The study found three scales: Sol la Ti x Ra Mi x (The Nai scale), Ra Mi Fa x La Ti x (The Glaang Hàep scale), and Do Re Mi x Sol La x (The Nook scale). This piece follows the AB / CB / DB / EB / FB / Gb / Hb / Ib / Jb / Kb / Lb / Mb / form. It features a repeated melody at the end of section B (The melody at the end of The Song chán section.) and section b (The melody at the end of The chán diieow section). 3) Chìng mú lông chán diieow, which consists of 25 sentences. The study found three scales: Do Re Mi x Sol La x (The Nook scale), Fa Sol La x Do Re x (The Low Piang Or scale) and Ti Do re x Fa Sol x (The High Piang scale). This piece follows the A / B / CDDEEFGHIIJ / form. In part 1 and part 2, the melody is short, while section 3 features the longest melody. And 4) Pleng Rêuuang tá-yae song chán which consists of 74 sentences. It has a total length of 7 sections. The piece is divided into 7 part, consisting of 2 songs: Tá-yae with 5 part and Long Ruea with 2 part. The study found two scales: Sol la Ti x Ra Mi x (The Nai scale) and and Do Re Mi x Sol La x (The Nook scale). This piece follows the ABBC / FG / HHIG / JJIG / KKLG / MN / OPQN / form. It features repeated melodies in several sections and includes the " Ot phan" (This method is character by both instrumentation being delivered once in a low register for repeat performance.).

The study found that all four songs focus on enhancing practical skills, namely: movement, memory, improvise, Sa-bud, Sa-dor, division of hands and various tandems. The hand exercises in the compositions are as follows: The hand exercises in 1) Pleng Saa-tu gaan and 2) Pleng Chêrt require the performer to focus closely and maintain precision in playing the music, as the melody is repeated in several sections. These two songs still require practice in interpreting the melodies of various percussion instruments to achieve fluency and proficiency. The hand exercises in 3) Pleng Chìng mú lông chán diieow as it is a Pleng Ching song without a rhythmic of drum. It is suitable for hand exercises to practice agility and is performed using a fast-paced melody for training purposes. The melody in part 1 and 2 is relatively short, but in part 3, it is the longest part of the piece. This may cause those who have not practiced hand exercises thoroughly to struggle, as they may not have enough stamina to complete part 3. The hand exercises in 4) Pleng Rêuuang tá-yae, which requires musicians to exert significantly more force than in the Pleng Chìng mú lông due to its length of 7 part. It requires endurance and techniques for interpreting the melody with as little repetition as possible, or ideally no repetition at all, in order to achieve fluency in melody interpretation.

The composition of the hand exercise "Tantipat" is based on the melody of the original song and is composed in an automatic style. The hand division for the Gong wong yai follows the standard hand division guidelines in Thai music and the evaluation criteria. Creative in Pleng chìng style. The song isseparate for song chán 3 part and chán diieow 1 part. Uses 4 scales: Low Piang O, Nai, Nook and Glaang Hàep. To increase skills: movement, memory, improvise, Sa-bud, Sa-dor, division of hands and various tandems. The composition of the melody is in accordance with the principles of Montri Tramoth, Pichit Chaisaree and Busakorn Samrongthong. The method of composing Thai music emphasizes creativity and originality in the process. The researcher used the findings from the four songs as inspiration for composing the melody. In the composition, the researcher incorporated the identity of the original four songs to create the structure of the "Tantipat" song. The structure of the song follows the format of a Ching song with a song chán rhythm, divided into 3 part, and a chán diieow rhythm, divided into 1 part. There are a total of 52 sentences of music notation in Thai classical music. The structure of the three sections of the song was inspired by Pleng Chìng mú long. The melody with a Song chán rhythm in part 1 was inspired by Pleng Saa-tu gaan. part 2 was inspired by Pleng Chìng mú lông chán diieow and Pleng Rêuuang tá-yae. part 3 was inspired by Pleng Rêuuang tá-yae, and the melody with a Chán diieow rhythm was inspired by the use of the gong hand technique from the original four songs, which are: Sa-bud, Sa-dor, division of hands and various tandems.

Culture and Music of The Lahu Ethnic Group in Mae Na Sub-District, Chiang Dao District, Chiang Mai Province

2025-03-21T16:21:50+07:00

This study was a qualitative research with the purposes of: 1) studying the social life and music culture of the Lahu ethnic group in Mae Na Sub-district, Chiang Dao District, Chiang Mai Province, and 2) transcribing traditional music into music notation for the publication of the ethnic group’s music.

The research methodology involved various data collection techniques, including interviews, observations, note-taking, and audio recordings. The study focused on the Lahu ethnic group residing in Mae Na Sub-district, Chiang Dao District, Chiang Mai Province. The sample population consisted of local figures such as the village headmen, local scholars, and Lahu music experts from the area. The primary informants were divided into three main groups: 1) Local community leaders, including village headmen and Lahu scholars from the Mae Na Sub-district; 2) Lahu musicians from the Mae Na Sub-district; and 3) Academics with expertise in folk music, including three lecturers from the Department of Western Music, Chiang Mai Rajabhat University. The research was conducted over the period from October 2020 to September 2021.

The study's findings revealed that the Lahu Yi, also known as the Red Lahu, ethnic group primarily resides in "Ban Pa Lo," which is a part of Mae-Mae Village. Most of the Lahu people in this region practice Buddhism, and ghost worship is not a part of their religious practices. It is also uncommon for the Lahu people to wear traditional tribal costumes. The primary occupation of the Lahu community is agriculture, with many residents cultivating tea and coffee. In addition, many households operate homestays, providing accommodation services to visitors. Regarding traditional customs, only two major ceremonies are still actively practiced among the Lahu people in this area. The first is the "Kin Wor" ceremony, a New Year celebration that lasts seven days. The specific dates for the ceremony depend on the readiness of the community to carry out the preparations. The festivities include the Ja Kue dance, which takes place in the early evening and reflects the diversity of the community's livelihoods. This dance serves as a form of entertainment and a celebration of the village’s agricultural successes. The second important tradition is the new rice-eating ceremony, which is held annually between September and October. This ceremony is a way for the Lahu people to worship the gods and ask for permission to consume the remaining rice and other agricultural products. Additionally, it marks the preparation of the land for planting the next rice crop.

One of the key musical instruments in Lahu culture is the "Nor," a traditional woodwind instrument made from a gourd shaped like a tusk, with five bamboo pipes attached. The “Nor” produces five notes, corresponding to the musical pitches C, D, E, F, and G. The instrument uses free reeds, which generate sound when air is either blown or sucked through them. Each of the five pipes is equipped with a reed, and the thickness of the reeds varies across the pipes. Playing the 'Nor' requires mastering two key techniques. First, proper grip and finger placement are crucial for producing the correct sound. The left hand controls the pipe's holes with the thumb, index, and ring fingers, while the middle and little fingers help support the pipe. The right hand supports the instrument and controls the pipe with similar precision, with the thumb and middle fingers working together, while the index, ring, and little fingers support the gourd. To enhance the melody, the right thumb flicks or slaps the end of the pipe to create a subtle vibrato. Second, wind control is vital for maintaining a continuous melody. The performer must skillfully blow and suck air through the reeds, adjusting both the duration and intensity of the airflow to produce varying musical effects. In the village of Ban Pa Lo, there is currently only one individual capable of playing the "Nor." The primary melodies performed on the "Nor" are the Nee Ma Ha Wae and the Ja Kue. The Ja Kue is typically played after the "Kin Wor" ritual as part of the New Year celebrations. An analysis of the Nee Ma Ha Wae melody reveals that it follows a monologue format, with one central theme repeated throughout the piece.

Culture, traditions, rituals, and beliefs are dynamic, and constantly evolving in response to environmental and external factors. In the past, the Lahu people primarily relied on nature for their livelihood, engaging in agriculture and using natural materials to build their homes. Over time, they transitioned to other occupations, such as operating homestays, and made their houses more stable. Additionally, their clothing has evolved to resemble that of lowland people, which can be seen as borrowing or adapting elements from neighboring cultures. Introducing technological advancements and modernity into the area has further influenced this adaptation to the changing environment. To adjust to this "contemporary culture," it is important to balance preserving the original culture and incorporating external cultural influences. Despite regional differences in culture and tradition, the Lahu people continue to maintain their core rituals. Furthermore, the songs performed in various ceremonies remain similar, reflecting the beliefs that have been passed down through generations. Therefore, transcribing Lahu folk songs into international musical notation serves as a way to keep these traditions from disappearing and to connect the cultures and traditions of the Lahu people across different regions.