Rangsit Music Journal

42 Years Trajectory of Program Music in Thailand, as Crafted by Thai Composers

Kittikhun Sodprasert — 2026-01-28

This article is part of a doctoral dissertation in the Doctor of Philosophy program in Musical Arts at the Graduate School of the Bunditpatanasilpa Institute, titled “The Artistic Creation of Phra Aphai Mani Symphonic Poem: The Musical Theme of Nang Phisuea Samut (Sea Ogress).” The researcher’s creative work is a symphonic poem based on the Thai literary epic Phra Aphai Mani, focusing particularly on the episode of Nang Phisuea Samut. The composition adopts Western musical idioms and is structured into five movements that follow the narrative progression of the story. The melodic content of the piece draws from three traditional Thai melodies—Sang Khara (also known as Hoon Krabok), Phat Cha Songchan in the Pi Nai and Ranad Ek traditions, and Phram Kep Hua Waen. These melodies are employed both in their original forms and through various adaptations to form the thematic material of each movement. Through this approach, the music effectively communicates the narrative and vividly portrays the characters in the chosen episode. Furthermore, the research seeks to distinguish between absolute music and program music while tracing the origins and development of program music by Thai composers from 1983 to the present day (2024).

This research employs a qualitative methodology, collecting data from documents, concert programs, observations—both participatory and non-participatory—and semi-structured interviews. The focus of this article is to identify the emergence of program music composed by Thai composers from 1983 to the present. A section of the dissertation is referenced to describe the researcher’s own composition of program music and to include interpretations of absolute music, a concept advocated by Eduard Hanslick (1825–1904), a German writer and philosopher best known for his treatise Vom Musikalisch-Schönen (On the Beautiful in Music). The ideas of August Halm (1869–1929) and Ernst Kurth (1886–1946), both German composers and theorists who shared Hanslick’s views on absolute music, are also discussed to enrich the theoretical framework and provide further clarity in the comparison between absolute and program music within the scope of this study. The notion of program music is traced back to 19th-century Europe, where Franz Liszt (1811–1886), a Hungarian pianist and composer, played a pivotal role in formalizing the genre. Liszt’s interpretation of program music was heavily influenced by earlier programmatic works such as Antonio Vivaldi’s Violin Concerto Op. 8 Nos. 1–4 (The Four Seasons) from the 17th century and Ludwig van Beethoven’s Symphony No. 6 in F Major, Op. 68 (Pastoral) from the late 18th century. Inspired by these precedents, Liszt created numerous works categorized as program music, and many composers from his time onward followed in this tradition. In the Thai context, program music began with the composition Tassana (Views) in 1983 by His Excellency Privy Councillor Admiral Mom Luang Usni Pramoj, who was later named a National Artist in Performing Arts (Western Classical Music Composition) in 1994. This work premiered at the Bangkok Symphony Orchestra’s second season opening concert in November 1983, held at the AUA Auditorium and conducted by the composer himself, with the researcher participating in the performance. This composition marked a significant milestone in Thai music history and served as inspiration for subsequent generations of Thai composers to explore and develop works within the program music genre more extensively.

This article also references program music composed by three other prominent Thai composers, whose works premiered or were first recorded between 1983 and 2025. The first is Narongrit Dhamabutra, National Artist in Performing Arts (Western Classical Music) for the year 2021, whose inaugural program music composition, Night and Morning in the Spheres,” premiered in 1989 by the Bangkok Symphony Orchestra under the baton of Tim Tzchaschel, with the researcher participating in the performance. The second composer is Prasit Silpabanleng, named National Artist in Performing Arts (Music Composition) in 1998, whose symphonic poem “Siang Thian” was first recorded by the Bangkok Symphony Orchestra in 1996, conducted by John Georgiadis and recorded by Christ Craker. The third is Danu Huntrakul, a Silpathorn Artist in 2004, whose composition “Krung Kao” (Ancient City) premiered at the Chaiwattanaram Temple Festival in 1998, performed by the Mai Thai Orchestra and conducted by the composer himself, with the researcher again participating in the performance. These three works reflect the evolution and increasing presence of program music in Thailand, demonstrating how Thai composers have engaged with Western orchestral traditions while drawing upon local historical, cultural, and musical themes.

The research findings indicate that Western classical music was introduced to Siam as early as 1836 during the reign of King Rama IV, when Western music instructors arrived to teach military band instruments. The presence of Western music flourished during the later years of King Rama V’s reign and continued into the reign of King Rama VI. Notably, Western band instructors such as Michele Fusco, Jacob Veit, and Alberto Nazari played significant roles during this period. The advancement of music theory and instrumental performance in Thailand was significantly shaped by two key figures. His Royal Highness Prince Paribatra Sukhumphan, the Prince of Nakhon Sawan Worapinit, was instrumental in developing the military bands and wind ensembles of the Royal Thai Navy. He also composed and arranged Thai melodies using Western harmonic techniques. Equally influential was Phra Chenduriyang (Piti Vadyakara), the son of Jacob Veit, who developed the Royal String Ensemble, which later evolved into the present-day Fine Arts Department Orchestra. Phra Chenduriyang played a pivotal role in the formalization of Western classical music education in Thailand. He systematically taught music theory, translated and arranged Western works, and authored several textbooks, establishing himself as the first Thai music scholar to create structured educational materials and exercises for Western music. In addition to his educational contributions, he also composed and arranged Thai melodies using Western harmonic language. The works of both Prince Paribatra and Phra Chenduriyang can be categorized as absolute music, as they were not intended to convey extra-musical narratives. It was not until 1983 that program music first appeared in Thailand, marked by the composition Tassana (Views) by His Excellency Privy Councillor Admiral Mom Luang Usni Pramoj, who was later honored as a National Artist in Performing Arts (Western Classical Music Composition) in 1994. This composition is thus considered the first example of program music by a Thai composer.

Thus, it is evident that program music has played a significant role in shaping Western classical music culture and education in Thailand for over four decades, from 1983 to 2025. The four Thai composers referenced in this study have passed on their knowledge and inspiration to subsequent generations of Thai composers. Many of their compositions have gained increasing popularity among contemporary composers, performing musicians, and audiences alike. Over the course of 42 years, program music has gradually achieved recognition and acceptance within the Thai classical music community and has become a favored genre for new works by contemporary Thai composers. The researcher’s own creative work, The Artistic Creation of Phra Aphai Mani Symphonic Poem: The Musical Theme of Nang Phisuea Samut (Sea Ogress), is itself a composition in the program music genre and constitutes an integral component of the present dissertation.

Creative Research “Kheun Sai Bunleng for Electric Guitar”

Jetnipith Sungwijit — 2026-01-28

The creative research “Kheun Sai Bunleng for Electric Guitar” was supported by the National Research Council of Thailand (NRCT) in the 2023 fiscal year. The objective of this research is to develop an educational media set designed to enhance improvisational skills for electric guitar performance. The project features ten original compositions intended for learners from the basic to intermediate levels. Each piece is instrumental, emphasizing the development of electric guitar performance techniques through five popular music styles: (1) Blues, (2) Jazz, (3) Funk, (4) Fusion Jazz, and (5) Rock—two compositions for each style. All pieces are arranged for a small ensemble consisting of electric guitar, piano (or electric piano/keyboard in some pieces), bass (electric or double bass), and drum set. The saxophone was featured exclusively in the fusion jazz compositions.

The research methodology was based on establishing conceptual and technical frameworks suitable for each musical style, serving as the foundation for guiding the composition process in accordance with artistic objectives and ensuring stylistic unity across all works. The composer created the pieces by focusing on musical characteristics consistent with the research goals, drafting original compositions, and preparing musical scores for the performers. The selection of musicians emphasized their stylistic expertise, as this directly affected the expressive and interpretative quality of each performance. After selecting appropriate musicians, the process continued with rehearsals of the original compositions, followed by studio recording sessions to produce both the master tracks and backing tracks for electric guitar practice. These recordings were compiled and produced as a CD for listening and educational purposes.

In addition, a complete score book with analytical commentary was prepared for academic dissemination. For public presentation, the composer organized a live performance to convey the compositions in a concrete artistic form, which was documented and published as a DVD to reach both professional and general audiences. A seminar was also held to present the concepts, creative processes, and outcomes of the project comprehensively. The creative research concluded with a final report summarizing the overall process, content, and artistic results.

The results of this research consist of ten original compositions, each with a supporting backing track in which the main electric guitar part is removed to facilitate use as educational material. All compositions share unity through a contemporary music concept emphasizing the expressive and technical role of the electric guitar. The total duration of the ten pieces is approximately forty-eight minutes. Each composition is instrumental, focusing on developing electric guitar performance skills across five contemporary styles. In the blues style, Akhara Blues features Mixolydian mode improvisation, and Khuu Salue Ramphan applies the Dorian mode. In the jazz style, Wan Tawa uses the Mixolydian mode, while Bang Hern combines Mixolydian and Phrygian modes. For the funk style, Krasae Samut explores the Dorian mode, and Sabad Cho combines Dorian and Ionian modes. In the fusion jazz style, Mad Ruam applies the Mixolydian mode, and Boek Fa introduces the Locrian mode. Finally, in the rock style, Kho. Lat Krabang employs the Aeolian mode, and Sai Rit Yok Kamlang features the Phrygian mode. Overall, these ten compositions form a unified creative work that demonstrates the practical use of modal improvisation in electric guitar performance. The study contributes to music education by providing effective materials for developing technical and expressive skills in contemporary electric guitar playing.

The compositional approach for the blues style is based on the standard 12-bar blues chord progression. Jazz pieces are characterized by swing rhythms and modal jazz concepts, with improvisation adding variety through alternating four-bar exchanges between electric guitar and drum set. In funk, the composer employs double-stopped notes on the electric guitar combined with muted notes to drive the rhythmic and stylistic patterns of the music. Fusion jazz distinguishes itself by featuring the electric guitar and saxophone performing in unison, using similar rhythmic patterns with different pitches. In rock, the primary concept centers on the use of power chords to support and generate the main melodic lines of the compositions.

Transmission Process in Saw Duang of Assistant Professor Dr. Suwannee Choosen

Nantenee Veanghong — 2026-01-28

The transmission of knowledge in Thai music, particularly in the performance of the Saw Duang a traditional string instrument with a distinctive melodic role in ensembles requires not only theoretical knowledge and practical skills but also an understanding of the learners’ individual characteristics. This study aims to examine the process of transmitting Saw Duang performance by Assistant Professor Dr. Suwannee Choosen, who is widely recognized for her significant contributions to Thai music education and the development of students’ potential across various contexts.

Assistant Professor Dr. Suwannee Choosen, Associate Dean of the Faculty of Fine and Applied Arts at Bunditpatanasilpa Institute under the Ministry of Culture, is an expert in performing all three traditional Thai string instruments: Saw Duang, Saw U, and Saw Sam Sai. She has earned the title of “Queen of the Three Saws” due to her outstanding achievements, including winning top national awards in solo competitions across all three instruments over the past 25 years. Her contributions extend beyond performance, encompassing teaching, lec-turing, serving as a judge in competitions, and promoting Thai music through online media platforms such as Facebook and YouTube, thereby expanding access to Thai music learning to the general public.

This research was conducted during February–March 2025, focusing on the teaching and learning process of Saw Duang performance under the instruction of Asst. Prof. Dr. Suwannee Choosen. The study adopted a qualitative research methodology (Qualitative Research) to explore and analyze the methods and components involved in her transmission process.

The researcher conducted the study using the following procedures: 1) Reviewing concepts, theories, and related studies, particularly the learning theory of Elizabeth Steiner (1988), which identifies four key elements of learning: the teacher, the learner, the content, and the teaching–learning context. This theory served as the main analytical framework for this study. 2) Identifying key informants: The participants were divided into two groups. The primary informant was Assistant Professor Dr. Suwannee Choosen, and the secondary informants were two Saw Duang major students from the Thai Music program, Faculty of Fine and Applied Arts, Bunditpatanasilpa Institute, who were enrolled in Thai String Instrument Skills 2 and 6 courses. 3) Data collection: Data were gathered from documents, articles, electronic media, interviews, and non-participant observations. The collected data were then organized, categorized, and synthesized to draw conclusions. 4) Data analysis: An inductive interpretive approach was used based on Steiner’s theoretical model to interpret the data and summarize the findings.

The research findings highlighted four main aspects of the transmission process: 1) Teacher: Assistant Professor Dr. Suwannee Choosen possesses extensive experience and expertise in Saw Duang performance. She began learning the instrument at the elementary level and studied under several expert teachers. Her teaching, training, and competitive achievements have been consistently outstanding, and her students have demonstrated exceptional talent, gaining national recognition in music competitions. 2) Learners: Students are carefully selected by the teacher based on multiple criteria, including musical skill, personality, aptitude, and individual learning goals. The current participants had prior experience in Saw Duang performance and demonstrated ongoing skill development under the instructor’s guidance. 3) Content: Instruction follows the Faculty’s curriculum. Thai String Instrument Skills 2 focuses on foundational pieces such as Ching Phra Chan and Mahachai, while Skills 6 emphasizes solo repertoire, including Nok Kamin and Phaya Khruan. The assessment method is authentic, conducted in three stages: before, during, and after instruction, allowing both formative and summative evaluation of learners’ progress. 4) Context: Instruction occurs in a personal studio setting. The teacher employs the “17–tone system” technique developed by Master Vorayot Suksayachon to train pitch accuracy. The transmission method follows the oral tradition, delivered through one-on-one lessons, supplemented by cognitive training techniques, video clips, and musical scores to enhance students’ understanding and retention.

Overall, the findings indicate that the transmission process of Saw Duang performance by Assistant Professor Dr. Suwannee Choosen effectively integrates the four components of Steiner’s learning theory. Her teaching emphasizes personalized guidance, practical musicianship, and a deep understanding of Thai musical aesthetics.

The study demonstrates that the transmission of Saw Duang performance by Assistant Professor Dr. Suwannee Choosen is notable not only for its content but also for its systematic and structured methodology. The findings offer valuable insights for Thai music education, especially in teaching Saw Duang, applicable to both primary and higher education contexts. Furthermore, this study provides a reference for instructors seeking effective teaching strategies to cultivate students’ musical potential, preserve traditional Thai music, and promote its appreciation among broader audiences.

In conclusion, the research highlights the importance of combining theoretical knowledge, practical skills, and learner–centered approaches in the transmission of traditional Thai music. The systematic methods employed by Assistant Professor Dr. Suwannee Choosen, alongside her extensive experience and expertise, ensure that learners not only acquire technical proficiency but also develop a deep appreciation for Thai music culture. The study period, research framework, and analytical approach firmly demonstrate the direct application of Elizabeth Steiner’s learning theory, reaffirming its relevance to Thai traditional music pedagogy. This study contributes to the understanding of effective music pedagogy and serves as a guideline for both educators and researchers interested in the preservation and dissemination of Thai musical heritage.

The Creative Research of Tanyong Music Arrangement for Contemporary Bands

Akkarawat Singchoo — 2026-01-28

The Tanyong song is a traditional folk song of Thai Muslim communities, characterized by its distinctive melody, lyrics, and rhythm, reflecting the cultural and social identity of local communities. Historically, the Tanyong song evolved from Rong-Ngaeng music, which originally used Malay poetry as its lyrics. However, musicians on the Andaman coast, unfamiliar with the Malay language, adapted the lyrics into the Southern Thai dialect to facilitate communication and allow deeper emotional expression by both performers and listeners. Krabi Province once served as a cultural hub for Rong-Ngaeng Tanyong ensembles and a source of income for local musicians. Today, however, only three ensembles remain, as many of the elder folk artists have passed away and there has been a lack of generational transmission. Interest among the younger generation has declined, placing the Tanyong song at risk of disappearing. In response to this issue, the researcher aims to develop and rearrange the Tanyong song to suit contemporary music ensembles. This approach seeks to attract modern audiences and international tourists, thereby providing a means to preserve, promote, and add cultural and economic value to local folk music traditions.

This creative research aims to study the Tanyong songs of the Rong Gaeng Tanyong Dok Thung Fah band from Krabi Province, as well as to arrange these Tanyong songs into contemporary music arrangements. The study focuses on the Tanyong songs performed by the Rong Gaeng Tanyong Dok Thung Fah band from Krabi, selecting five songs to adapt into contemporary arrangements. The selected songs are: 1) Sayang La, 2) Pahree Koah Phan Yee, 3) Lagu Mai, 4) Le Hang Kongkong, and 5) Pahree Koah Phra Thong. The instruments used in the contemporary arrangements include: 1) Piano, 2) Violin, 3) Ranad Ek, 4) Klui, 5) Bass, 6) Small Ramana drum, 7) Large Ramana drum, and 8) Gong.

The research employs various data collection methods, including the study of documents, literature, and related research, as well as fieldwork data collection through interviews, observations, note-taking, and audio recordings. The sample group consists of musicians from the Rong Gaeng Dok Thung Fah band in Krabi Province. The sampling method involved selecting both traditional Thai and Western musicians who are recognized and accepted by the local community. Subsequently, the song data were reviewed and carefully selected to identify suitable pieces for adaptation. The arrangement concepts for harmonizing the songs in a contemporary band format were analyzed and then verified by experts for accuracy. The pieces were rehearsed and refined to ensure completeness and quality. Finally, the arranged songs were performed and presented to the public. The research was conducted over the period from February 2024 to January 2025.

Research findings reveal that the original Tanyong song consists of a single melodic line, utilizing melodic repetition with only the lyrics being altered. In live performances, the lyrics may be improvised or modified depending on the singer’s emotions or the specific situation, and do not necessarily remain the same each time. Some parts of the lyrics incorporate Southern Thai dialect. The song often begins with phrases such as “Bunga Tanyong, Tanyong Tanyong” or “Bunga Rak Oei Tanyong”, followed by the names of trees or flowers. Flowers are used as symbolic representations of women. The lyrical content typically centers on romantic themes between young men and women and reflects local culture. The rhythm follows the Hat Yao pattern. The musical arrangement is guided by a conceptual framework of Southern Thai musical identity. This includes the creation of harmonies, the composition of new melodies in the introduction, solo, and ending sections, the allocation of roles and functions for each instrument to achieve balance, and the selection of harmonies that blend naturally with the Southern Thai language.

The harmonic arrangement in the Tanyong song represents a creative musical endeavor that challenges the reinterpretation of traditional musical identity within a contemporary framework. While modern elements are introduced, the essence of folk music is preserved through its lyrics, melody, rhythm, and the use of the Southern Thai dialect. This research serves as a bridge between Eastern and Western musical traditions, offering younger generations—who may be unfamiliar with folk music—an opportunity to experience its unique and valuable beauty. Moreover, it contributes to the preservation of cultural heritage while generating income and added value for local folk musicians within the community.

The Development of a Vocal Teaching Model Based on Verdi Art Songs for Undergraduate Level in The People’s Republic of China

Guo Long — 2026-01-28

This research aimed to develop a comprehensive vocal teaching model grounded in Giuseppe Verdi’s art music, tailored specifically for undergraduate music students in the People’s Republic of China. Recognizing the increasing emphasis on culturally diverse and pedagogically sound vocal instruction, the study addressed a growing need for more effective and contextually relevant teaching methodologies in classical singing education. It responded to the limited exploration of Verdi’s lesser known yet pedagogically rich repertoire of art songs, which offered significant value in technical and expressive development for young vocalists.

The primary objectives of this study were threefold: 1) to construct a vocal teaching model centered around Giuseppe Verdi’s art music, 2) to critically examine the validity and pedagogical appropriateness of this model through expert input and practical feedback, and 3) to implement and assess the model within undergraduate vocal instruction settings. Through these objectives, the study sought to bridge the gap between historical vocal literature and modern educational practices, enriching students’ learning experiences with repertoire that is both artistically substantial and pedagogically effective.

The research followed a qualitative methodology, employing semi-structured field interviews, expert evaluations, and practical trials. A total of 15 vocal instructors from five distinguished music universities across China were interviewed. These instructors, selected based on their professional experience and familiarity with classical vocal repertoire, provided insights into current practices, challenges, and opportunities in undergraduate vocal education. Their feedback contributed to shaping the content and structure of the proposed model. Additionally, five vocal music experts with backgrounds in vocal pedagogy and performance were invited to evaluate the initial version of the model. Their critical assessments were instrumental in refining its design, particularly in instructional clarity, repertoire selection, and student engagement. Then, ten vocal teachers participated in the trial implementation phase, testing the model in their respective institutions and offering further evaluation based on their classroom experiences.

The outcome of this comprehensive developmental process was the “APPE” vocal teaching model, which comprises four interrelated phases: Analysis, Practice, Performance, and Evaluation. Each component guided students through a systematic and holistic learning journey.

In the analysis phase, students engaged in an in-depth study of the selected Verdi art songs. This included textual interpretation, historical and stylistic contextualization, and structural analysis. This phase aimed to build foundational knowledge and deepen the student’s interpretive understanding of the repertoire. The practice phase emphasized technical vocal training aligned with Verdi’s music demands. Exercises focused on breath control, phrasing, diction, dynamic variation, and stylistic authenticity. Here, the selected repertoire served as a vehicle for targeted skill development. The performance phase encouraged students to apply their analytical and technical knowledge in live or recorded performances. This component enhanced stage presence, interpretive confidence, and communicative effectiveness, preparing students for public performance and professional settings. The evaluation phase incorporated both formative and summative assessments. These assessments included peer reviews, instructor feedback, and self-evaluation methods. Evaluation criteria were developed in consultation with expert vocalists to ensure they aligned with educational standards and professional expectations.

The findings from the expert evaluation and classroom trials revealed that the APPE model was both pedagogically valid and practically effective. Expert reviewers commended the model’s clear structure, relevance to student needs, and innovative incorporation of lesser-known Verdi art songs, providing technical diversity and expressive richness. Teachers involved in the implementation phase noted observable improvements in students’ vocal technique, interpretive insight, and overall musicality. Moreover, they reported that the model offered a fresh and engaging approach to vocal training that encouraged deeper student involvement and critical reflection.

The results of evaluation by 5 authoritative experts and classroom practice by 10 teachers show that the APPE teaching model has received high praise in five aspects: teaching design, teaching methods, curriculum setting, teaching media, and teaching evaluation. It has a clear structure, closely follows student needs, and innovatively incorporates little-known Verdi art songs, which not only maintains technical diversity but also enhances musical expressiveness. Through teaching students, it is found that students' vocal skills, depth of interpretation, and overall musical literacy have all been significantly improved. This novel teaching method not only makes vocal training interesting, but also inspires students to participate deeply and think critically.

By integrating Verdi’s underutilized art songs into a structured teaching framework, the APPE model enriched the existing vocal curriculum and offered a unique cultural and pedagogical perspective. It promoted a more comprehensive understanding of Italian vocal tradition while remaining adaptable to the educational context of Chinese undergraduate institutions. This balance between tradition and innovation was essential for cultivating technically skilled, artistically aware, and culturally sensitive vocal performers.

In conclusion, the study contributed to the field of vocal pedagogy by presenting a model grounded in both scholarly research and practical application. The APPE model demonstrated that vocal education could be more effective, dynamic, and inspiring with thoughtful integration of historical repertoire and contemporary teaching strategies. Future research may explore the application of this model across different musical styles and educational contexts, further expanding its relevance and utility in global vocal training.

The Fusion of Brazilian National Identity and Contemporary Musical Language in Marlos Nobre’s “Homenagem a Arthur Rubinstein,” Op. 40 (1973)

Paulo Ricardo Soares Zereu — 2026-01-28

This investigation examines the compositional strategies employed by Brazilian composer Marlos Nobre (1939-2024) in synthesizing elements of Brazilian national identity within a contemporary musical framework, with particular focus on his solo piano work Homenagem a Arthur Rubinstein, Op. 40 (1973). Commissioned for the inaugural Arthur Rubinstein International Piano Competition, this composition exemplifies Nobre's distinctive approach to cultural integration, demonstrating his capacity to merge regional musical elements with modernist compositional techniques. Through comprehensive analysis encompassing stylistic, rhythmic, melodic, and harmonic parameters, this study elucidates the mechanisms by which Nobre embeds Brazilian cultural heritage within contemporary artistic expression, thereby contributing to both national musical identity and the global contemporary music discourse.

The historical contextualization of Marlos Nobre's compositional aesthetic emerged from the cultural confluence of his formative years in Recife, capital of Pernambuco state in Northeast Brazil, a region distinguished by its rich tapestry of Afro-Brazilian folk traditions, and Portuguese colonial influences. Born into this culturally heterogeneous environment, Nobre's artistic development was profoundly shaped by the rhythmic complexity and modal characteristics inherent in regional musical forms, including frevo, maracatu, and baião. However, Nobre's approach to cultural appropriation diverges significantly from that of his predecessors, most notably Heitor Villa-Lobos (1887-1959), whose compositional methodology frequently incorporated direct quotations of folk melodies and explicit programmatic references to Brazilian cultural imagery.

The commissioning of Homenagem a Arthur Rubinstein for the 1973 Arthur Rubinstein International Piano Competition positioned Nobre within an international artistic context, necessitating a compositional approach that would simultaneously communicate Brazilian musical identity to a global audience while meeting the technical and aesthetic expectations of contemporary concert repertoire. This dual imperative, cultural specificity and international accessibility, defines the fundamental tension that characterizes Nobre's mature compositional style and provides the analytical framework for this investigation.

The stylistic analysis of Nobre's compositional style in Homenagem a Arthur Rubinstein represents a sophisticated synthesis of nationalist and internationalist aesthetic principles. Rather than employing the overtly pictorial or programmatic approaches characteristic of earlier Brazilian composers, Nobre demonstrates a preference for abstracted cultural references that manifest through structural and parametric means. His stylistic language exhibits a careful balance between accessibility and complexity, incorporating elements of serialism, polytonality, and extended harmonic structures while maintaining connections to Brazilian musical traditions through modal organization and rhythmic patterning.

The work's stylistic coherence emerges from Nobre's consistent application of intervallic relationships derived from Brazilian folk music, particularly the prevalence of perfect fourths and fifths that characterize many Northeast Brazilian musical forms. These intervals function not merely as melodic or harmonic content but as structural organizing principles that unify the composition's disparate technical elements. This approach enables Nobre to maintain cultural specificity while engaging with contemporary compositional discourse, thereby avoiding the potential superficiality of mere folkloric quotation.

The rhythmic analysis dimension of Homenagem a Arthur Rubinstein constitutes perhaps the most direct manifestation of Nobre's Brazilian musical heritage. The composition employs complex polyrhythmic structures that reflect the sophisticated metric organization characteristic of Northeast Brazilian folk music, particularly the asymmetrical groupings and cross-rhythmic patterns found in frevo and maracatu. Nobre's treatment of rhythm extends beyond surface-level syncopation to encompass structural principles of metric organization that create large-scale temporal coherence.

Analysis reveals the pervasive use of ostinato patterns that function as rhythmic foundation while simultaneously serving melodic and harmonic functions. These ostinatos demonstrate clear relationships to documented folk rhythmic patterns from Northeast Brazil. However, Nobre's treatment transforms these source materials through processes of fragmentation, augmentation, and motivic development that integrate them into the work's contemporary musical language.

The composer's manipulation of accent patterns creates irregular stress groupings that challenge conventional metric expectations while maintaining underlying structural coherence. Cross-rhythmic relationships between different textural layers generate metric ambiguity, reflecting the polyrhythmic complexity of Brazilian percussion ensembles, which is translated into a pianistic idiom through careful attention to register, dynamics, and articulation.

Melodic and Harmonic Analysis

Nobre's melodic construction in Homenagem a Arthur Rubinstein demonstrates a sophisticated integration of modal and pentatonic scales characteristic of Brazilian folk music with contemporary harmonic language. The composer's melodic lines frequently employ modal scales, particularly Dorian and Mixolydian modes, which provide tonal centers while avoiding the functional harmonic implications of major-minor tonality. Pentatonic sequences appear consistently throughout the work, often serving as melodic kernels that undergo developmental processes of expansion, contraction, and intervallic manipulation.

The harmonic language of the composition reflects Nobre's commitment to synthesizing tonal and atonal elements within a coherent structural framework. Polytonal passages create harmonic tension while maintaining melodic clarity, often through the superimposition of diatonic melodies over chromatic harmonic progressions. This technique enables Nobre to achieve harmonic sophistication while preserving the melodic accessibility that characterizes Brazilian folk traditions.

Analysis of the work's motivic development reveals Nobre's systematic use of perfect fourths and fifths as structural intervals that generate both melodic and harmonic content. These intervals, derived from Brazilian folk music practices, undergo processes of inversion, augmentation, and chromatic inflection that create developmental continuity while maintaining cultural specificity. The composer's treatment of chromaticism demonstrates particular sophistication, employing chromatic passages as transitional material that connects diatonic sections rather than as autonomous harmonic content.

In conclusion, Homenagem a Arthur Rubinstein, Op. 40 stands as a testament to Marlos Nobre’s innovative approach to composition, bridging the rich traditions of Northeast Brazil with the avant-garde movements of his time. Its analysis not only highlights the composer’s technical mastery and cultural sensitivity but also reaffirms the enduring relevance of his work within the global canon of contemporary music.

The Development of Thai School Marching Band During the Reign of King Rama IX

Phatravee Tienchaianan — 2026-01-28

This article is part of the research on Musicology: Development of School Marching Band 1947-2016. The objective is to study the development of Thai school marching bands during the reign of King Rama IX (1947-2016), using qualitative research methodologies based on the concepts of musicology and utilized historical and ethnohistorical approaches by conducting studies through documentary research and personal interviews with informants. The scope of the study is as follows: 1) The temporal scope is divided into three periods based on significant events: Period 1, from 1947 to 1975; Period 2, from 1976 to 1995; and Period 3, from 1996 to 2016. 2) The content scope focuses on examining the emergence, developments, and trends of school marching bands, as well as the popular songs used in competitions and performances.

Before the political revolution changed (1932), Thailand had brass bands owned by the military, which were used only for military purposes. Student brass bands were started by the Boy Scout group in some secondary schools. Later, they were used in student sports events. Student brass bands began with brass instruments and percussions. It took several years to become an absolute marching band. This thesis intends to study the developing phenomenon of school marching bands by the musicological methodology. It was evident to this research that the school marching band has been developing not only by the number but also in musicological progression, band activities as well as band competition, which brought the marching band up to the success of music and prompted activities of the marching band. Thus, this research will conclude the development of school bands between 1947-2016, which was in the range of King Rama IX. Results will be described in 3 periods as follows.

The 1^st period was early school marching band development (1947-1975). It began with the conduct of the Ministry of Education. In 1957, ten school marching bands were found. They used only the brass instruments and percussion. To encourage a further number of brass bands. The organizer brought up the idea of a band competition. This idea started in 1958, all bands must show their activities by marching, display, and concert. Later 1959, the Bangkok Boy Scouts Club was founded at the Santiratbamrung School. They were responsible for organizing the official Boy Scout band competition. From the original brass band, it appears that there has been a lot of improvement in the number of musicians and the size of the band, and the most significant change was the use of several woodwinds in the band. These changes made the school marching band growing up.

The 2^nd period (1976-1995) was quite interesting since the Ministry of Education had added a music course in the middle school. Later, the number of school marching bands increased, and some of them were able to travel out of the country for band competitions. In 1980, Wat Sutthiwararam's marching band won a marching band competition in Indonesia, and later, in 1981, they joined the competition in the Netherlands with great successful results. Later, the academic progress and skills of the musicians increased when a private company brought Danish experts for training in Thailand, and later, they sent a Thai instructor for more training in Japan. These two private assistantships resulted in better music band qualities in later years.

The 3^rd period (1996-2016) was a more diverse and pronounced development than the past. There came the private sector, the Siam Music Yamaha Ltd., which organized a marching band competition for the first time. Therefore, competitions are organized by the government and private sectors, and both indoor and outdoor competitions are increasing with better results. So, participation in national and international competitions has increased. There was an unusual battle of musical instruments. More competition categories were organized than before. Several bands were sent from many schools all over the country to compete domestically and internationally.

Of the 3 developmental periods mentioned, it was found that the school marching band had more successfully developed. Most people with talent in Western musical instruments have emerged from the school marching bands. It made more rising to the number of music teachers and artists. These people returned to develop school marching bands. Music skills in the marching band were increased in many schools. Students' knowledge and skills in music and song numbers were enlarged to play. There are many more songs for marching bands. Many band students later continued their music studies in the College of Music for a higher degree in music.

The Role of Educational Administrators in Supporting Thai Musical Art and Culture for Children and Youth

Tarathip Wongkeaw — 2026-01-28

This article aims to examine and analyze the roles of school administrators in supporting and promoting Thai musical arts and culture for children and youth. Thai music is regarded as an important cultural heritage that reflects the national identity and cultural uniqueness of the Thai people. Promoting Thai music in educational institutions plays a vital role in fostering cultural values, a sense of national pride, as well as enhancing creativity, musical skills, and desirable characteristics among learners. The scope of this study focuses on the roles of school administrators in policy formulation, educational management, and support for Thai music–related activities in accordance with the context of educational institutions and community needs, in order to ensure that the preservation and transmission of Thai music are carried out systematically and sustainably.

This academic article employs a document-based study approach, drawing on relevant literature and research related to school administration, the preservation and promotion of Thai arts and culture, as well as concepts of Thai music instruction in educational institutions. The study involves the collection, analysis, and synthesis of data from books, academic documents, research reports, and scholarly articles from both domestic and international sources. The data are analyzed using comparative and content analysis methods. The research process emphasizes the selection of credible sources that are consistent with the objectives of the article, followed by the systematic categorization of key concepts concerning the roles, responsibilities, and operational approaches of school administrators in supporting Thai music learning and activities for children and youth. In addition, the findings are contextualized within Thailand’s contemporary social, cultural, and educational settings in order to derive comprehensive conclusions that reflect an integrated overview of Thai music management in educational institutions. The results can serve as practical guidelines for enhancing instructional management and promoting Thai musical arts and culture effectively and sustainably.

The findings indicate that the roles of school administrators in supporting and promoting Thai musical arts and culture for children and youth can be categorized into six key aspects. First, policy support plays a crucial role, as school administrators are responsible for formulating policies and strategic plans to promote the establishment and development of learning resources within schools that focus on the preservation of Thai music. This includes allocating budgets to support Thai music–related projects, integrating Thai music into the school curriculum within music and arts subject areas or as elective courses, and encouraging schools to implement programs aimed at preserving and transmitting Thai music. Second, resource allocation is essential, as administrators should provide adequate budgets, Thai musical instruments, instructional materials, and qualified personnel to support effective Thai music instruction. The procurement of Thai musical instruments and the recruitment of teachers with expertise in Thai music significantly enhance the quality of teaching and learning. Third, the promotion of Thai music activities within schools is vital, including organizing Thai music competitions at the school, provincial, and national levels to foster students’ musical skills, encouraging Thai music performances during important school events, and supporting the documentation and dissemination of students’ Thai music performances through online media platforms such as YouTube and Facebook. Fourth, building collaborative networks is an important responsibility of school administrators, who can establish partnerships among schools, local communities, and external organizations, including Thai music institutions, universities, and public and private agencies, to organize Thai music–related activities. Such collaboration contributes to the sustainability and broader impact of Thai music promotion. Fifth, the use of technology to promote Thai music in the digital era is increasingly important, as administrators can support the application of digital technologies for teaching and disseminating Thai music through the development of online instructional media and digital platforms related to Thai music. Finally, the development of teachers and personnel in Thai music is a key factor, as administrators should encourage professional development through training programs or further education in Thai music to ensure that teachers are well prepared and capable of delivering instruction effectively.

In conclusion, the role of school administrators is a key factor in driving the preservation and promotion of Thai musical arts and culture in a sustainable manner. Visionary management, policy support, efficient allocation of resources, and collaboration with various stakeholders contribute to effective Thai music learning management with tangible outcomes. The promotion of Thai music in educational institutions not only serves to preserve the nation’s cultural heritage but also plays a significant role in fostering learners’ balanced development in academic achievement, moral values, and aesthetic appreciation. This enables learners to sustain Thai cultural values while effectively adapting to contemporary society.

The Difference Between Change of Key and Modulation

Wiboon Trakulhun — 2026-01-28

Presently, higher music education in Thailand faces numerous challenges. These include the development and implementation of teaching methods, the availability and use of instructional media, the provision of adequate teaching equipment, and access to reliable and accurate knowledge. Among these, a particularly significant issue is the translation of specialized musical terminology from English into Thai. Such terminology is widely used in courses on music theory that follow the concepts of the tonal era or traditional harmony. Difficulties arise when these specialized terms are translated in ways that lead to misunderstanding, confusion, or misinterpretation of the original concepts, potentially affecting both teaching and learning outcomes. This problem remains one of the most overlooked yet crucial aspects of music pedagogy in Thailand. Therefore, this academic article aims to provide a renewed understanding and clarification, supported by relevant examples and explanations, of the true meanings of the terms “change of key” and “modulation.”

Based on textbooks and teaching materials used in music education in Thailand, the term “modulation” has consistently been translated as “change of key.” This translation, however, is inaccurate and does not reflect the true meaning of the term. As a result, it has led to misunderstandings, even in compositions that employ parallel key relationships between major and minor modes, which are sometimes mistakenly considered part of modulation techniques due to the differing key signatures of the two modes. In reality, the correct meaning of modulation refers to a shift of the tonal center—that is, a change of the key center or tonic that establishes a new tonal area.

Therefore, it is important to clarify the concept of “modulation.” For example, in the keys of CM and Cm, although these two keys have different key signatures, they share the same tonal center or tonic on the note C, without moving to a different tonic. This relationship is referred to as “parallel keys,” which involves only a “change of mode” or “modal mixture.” In contrast, CM and Am share the same set of notes and key signature but have different tonics. This represents a shift of the tonal center between “relative keys,” whether moving from major to relative minor or vice versa. Similarly, consider the tonic between BM and CbM. In these cases, the tonic is spelled differently and the keys have different key signatures. These are referred to as “enharmonically equivalent keys,” which do not constitute a shift of the tonal center, since the listener still perceives the same mode on the same tonal center, only spelled with notes from a different key.

There are three principal types of shifts of the tonal center or tonic: 1) relative keys, 2) closely related keys, and 3) distantly related keys. Parallel keys and enharmonically equivalent keys, however, do not constitute shifts of the tonal center under the definition of “modulation.” The pivot chord that occurs during a tonic shift—a triad that exists in both the original and the new key but functions differently in each—is specifically referred to as a “diatonic pivot chord.” Furthermore, shifts of the tonal center can occur only to major or minor triads. Diminished and augmented triads cannot support a shift of the tonal center due to the absence of a key based on these triads.

When determining whether a composition involves a key shift, one should rely on listening to the piece, as perception may differ. Some listeners may perceive the new tonal center long enough to assert that a modulation has occurred, while others may experience it only briefly and consider it a “tonicization.” The identification of the “point of modulation” and the number of pivot chords may also vary. Such differences in analysis are not critical, as they depend on the individual’s informed judgment and interpretation. Many compositions do not change the key signature even when a tonal center shift occurs. However, key signature changes can occasionally be observed between phrases or sections. Furthermore, in a musical movement where a new key is indicated, this represents merely a change of key to establish a new tonal center, rather than a shift of the tonal center in the sense of “modulation.” Clarifying this distinction ensures greater precision in both teaching and analytical practice.

When Jazz Reconnected with the Masses: Louis Armstrong’s “Hello, Dolly!”

Sopon Suwannakit — 2026-01-28

By the early 1960s, jazz’s long-standing dominance in American popular culture had eroded. The genre had become increasingly associated with sophisticated innovation, often prioritizing complexity over accessibility. While such developments solidified jazz’s reputation as a modern art form, they also distanced the music from audiences seeking familiarity and singable melodies. Meanwhile, British rock and roll, led by the Beatles, rapidly gained ground as the new soundtrack of youth culture. In this climate, Louis Armstrong’s unexpected rise to the top of the Billboard Hot 100 with “Hello, Dolly!” in 1964 stands out as an extraordinary episode. At sixty-three years old, Armstrong displaced the Beatles from the number-one position they had held for fourteen consecutive weeks. The event was remarkable not simply because of its chart performance but because it revealed that jazz still had the capacity to capture public imagination when certain conditions aligned.

The present study explores this moment as a case study in jazz’s ability to reconnect with mass audiences during periods of diminished mainstream visibility. It does so by analyzing Armstrong’s “Hello, Dolly!” across three dimensions: the musical attributes of the composition and arrangement, the role of Armstrong’s persona and performance style, and the cultural and historical environment that facilitated the song’s reception. Taken together, these perspectives demonstrate how accessibility, humanity, and circumstance converged to produce one of the most notable commercial successes in jazz history.

The first dimension, musical familiarity, centers on Jerry Herman’s melody and the orchestration used in the recording. Unlike the dense harmonies and abstract lines that defined much of contemporary jazz in the 1960s, “Hello, Dolly!” relied on a diatonic framework and a phrase structure rooted in repetition. This clarity made the melody instantly memorable, bridging the gap between Broadway and earlier popular traditions. The orchestration reinforced this sense of continuity. Armstrong’s All Stars featured the classic three-horn frontline with banjo—an ensemble design long associated with New Orleans jazz. For listeners, the sound was at once new in its Broadway context and familiar through Armstrong’s historical associations. By combining recognizable traits with fresh material, the recording created an experience that invited immediate audience connection.

The second dimension, humanity, highlights Armstrong’s interpretive role and public personas. His gravelly voice, relaxed timing, and conversational delivery transformed Herman’s straightforward tune into something deeply personal. The now-famous interjection “This is Louis, Dolly” went beyond a casual aside; it functioned as an assertion of presence, drawing listeners into a direct encounter with Armstrong himself. Audiences did not experience the record as a polished Broadway excerpt but as an intimate communication from a beloved figure. Armstrong’s warmth, humor, and charisma—qualities that had defined his career for decades—were inseparable from how the song was received. Unlike many contemporaries whose artistry leaned toward cerebral abstraction, Armstrong’s approach foregrounded emotional connection. In doing so, he reaffirmed the idea that jazz could thrive not only as a sophisticated art but also as an accessible human expression.

The third dimension, circumstance, considers the broader environment in which the recording circulated. The mid-1960s music industry was shaped by radio programming, Broadway crossovers, and the cultural dominance of rock. Against this backdrop, “Hello, Dolly!” gained early momentum from insider advocacy: Armstrong’s manager, Joe Glaser, and members of the Broadway cast immediately recognized its mass potential when they heard preliminary recordings. Once released, the single benefited from extensive radio airplay and was quickly incorporated into Armstrong’s live act, where it drew enthusiastic responses and multiple curtain calls. Word-of-mouth promotion amplified this effect, enabling the track to rise rapidly on the charts. In overtaking the Beatles, Armstrong demonstrated that jazz could still generate large-scale enthusiasm under the right cultural conditions, even at a time when rock music seemed unassailable.

Viewed together, these three perspectives reveal why “Hello, Dolly!” resonated so strongly in 1964. The composition, with its melodic simplicity and echoes of familiar popular songs, offered listeners a sound rooted in collective memory while remaining sufficiently distinct to feel current. Armstrong’s persona infused the recording with humor, intimacy, and humanity, qualities that contrasted with the detached coolness of some other jazz figures of the period. The surrounding cultural landscape—dominated by the Beatles yet also energized by the runaway success of the Hello, Dolly! Broadway production—created the conditions for the song to capture broad public attention.

This case study also sheds light on broader patterns in jazz history. By the 1960s, bebop and post-bop developments had made the music less approachable to casual audiences. Extended improvisations, harmonic density, and abstract rhythmic structures increasingly positioned jazz as art music rather than popular entertainment. While innovators like Miles Davis and Dizzy Gillespie retained devoted followings and significant influence, their reach did not extend to the mass cultural level that Armstrong momentarily achieved. Davis, for instance, drew attention through his enigmatic personality and cultural commentary, which kept him visible but not necessarily accessible to the general public. Armstrong’s success with “Hello, Dolly!” thus represents a rare counterpoint: an instance when jazz temporarily bridged the divide between art and mass culture.

For today’s jazz musicians and institutions, this episode carries enduring lessons. First, accessibility need not be equated with compromise. Familiarity of form, clear melodic design, and connections to tradition can provide an entry point without diminishing artistic value. Second, human qualities—charisma, storytelling, and emotional transparency—remain as powerful as technical mastery in building audience engagement. Finally, success often depends on circumstance: aligning artistry with favorable cultural and industry conditions. Armstrong’s 1964 triumph underscores that mainstream breakthroughs in jazz are less about formula than about the convergence of artistry, persona, and environment.

In conclusion, Armstrong’s “Hello, Dolly!” illustrates how jazz can, under specific conditions, reassert itself within popular culture. More than a chart statistic, the event represents a dialogue between history, personality, and circumstance that briefly placed jazz at the center of mass attention. Recognizing these dynamics not only clarifies a pivotal moment in Armstrong’s career but also offers contemporary relevance for those seeking to sustain and expand jazz’s connection with audiences today.