Rangsit Music Journal

Clarinet Reed Adjustment Techniques to Enhance Playing Efficiency

Nattapon Banjatammanon — Fri, 14 Aug 2026 00:00:00 +0700

The clarinet is a principal member of the woodwind family, distinguished by its warm, resonant timbre and its capacity to convey a broad spectrum of musical expression. At the core of these acoustic characteristics lies the clarinet reed, which functions as the primary vibratory mechanism that transforms the performer’s airflow into sound. The reed governs essential acoustic parameters—including tone color, brightness, response, projection, and overall stability. Despite its deceptively simple appearance, the clarinet reed is crafted from Arundo Donax, a natural material known for its inherent variability in fiber density, structural alignment, and moisture retention. Such natural inconsistencies result in significant differences in reed quality, even among reeds packaged within the same box. These variations frequently manifest as excessive softness, stiffness, or asymmetrical vibration, which can generate tonal instability, irregular resistance, and inconsistent articulation. Consequently, reed adjustment constitutes a critical process that mitigates factory imperfections and enables clarinetists to achieve optimal performance outcomes.

This article proposes a systematic framework for clarinet reed adjustment, drawing upon both established literature in woodwind performance and the author’s practical experience. The discussion begins with an anatomical examination of the reed, comprising five principal regions: the Stock (Bark), the thick basal segment that retains the natural bark and anchors the reed to the mouthpiece; the Heel, the lower end of the reed serving as its foundation; the Vamp, the inclined area where initial vibration is generated; the Heart, the thickest and most structurally influential region responsible for tonal stability and core resonance; and the Tip, the thinnest and most responsive portion that initiates vibration. A clear understanding of the functional significance of each region enables performers to diagnose tonal or mechanical issues analytically and to apply targeted adjustments with precision.

Prior to undertaking any modifications, the article underscores the importance of the reed break-in process. This preparatory stage allows the cane fibers to acclimate gradually to moisture fluctuations and vibratory stress. A recommended procedure includes light daily playing in the Chalumeau and Clarion Registers, followed by careful drying and storage in a humidity-controlled case. This process reduces the likelihood of warping, promotes structural stabilization, and facilitates more accurate assessment of the reed’s performance characteristics before further refinement. Reed evaluation involves a multifaceted assessment of resistance, openness, tonal clarity, dynamic flexibility, and response uniformity across registers. Additional diagnostic procedures include left–right vibration testing through both straight and angled mouthpiece positioning, as well as surface-flatness inspection using a glass plate to identify warping or twisting. Based on these diagnostics, reeds can be categorized into three types: Light reeds, which exhibit insufficient resistance; Hard reeds, which require significant reduction; and Workable reeds, which are close to performance-ready but benefit from fine adjustment. This classification informs the subsequent selection of appropriate adjustment strategies.

The adjustment techniques outlined in this study employ standard tools such as sandpaper, glass surfaces, reed knives, and reed clippers. Reeds that are excessively soft can be strengthened through controlled trimming of the tip, whereas overly resistant reeds require strategic scraping or sanding in specific regions. Modifying the tip can enhance upper-register clarity; adjusting the heart can open the tonal center and improve resonance, particularly in the Clarion Register; and refining the lower vamp can improve articulation and response in the lower register. Techniques for balancing the left and right sides of the reed are also discussed, as symmetrical vibration is critical for tonal stability, clarity, and ease of control. The article further addresses post-adjustment maintenance, emphasizing practices such as maintaining a relative humidity of 45–60%, storing reeds individually to prevent abrasion, avoiding extreme temperatures or moisture levels, and rotating reeds during practice and performance. Such measures prolong reed lifespan and preserve consistent tonal quality over time.

The author presents these adjustment techniques not merely as theoretical guidelines but as empirically tested procedures grounded in both professional performance practice and accumulated experiential knowledge. The methods discussed—such as correcting warped reeds, balancing vibration, and conducting systematic preliminary testing—are practical and accessible, requiring only basic tools commonly available to clarinetists. These techniques facilitate improved ease of playing, enhanced tonal quality, and greater control, thereby contributing to heightened performer confidence. As such, the approaches detailed in this study serve as valuable resources for clarinetists of all proficiency levels, from beginning students to advanced professionals seeking to refine their sound production and optimize their artistic performance.

An Analysis of the Compositional Concept of Concert March No. 1 ‘Playground’ Composed by Jinnawat Munsap

Natsarun Tissadikun, Nipat Kanchanahud — Fri, 14 Aug 2026 00:00:00 +0700

This article aims to present an analytical study of the compositional concepts in Concert March No. 1 “Playground”, a wind band composition by Jinnawat Munsap. The analysis focuses on two key aspects: (1) an examination of the composer’s conceptual approach to the work, and (2) an analysis of the compositional ideas embodied within each rehearsal section to understand how musical ideas are communicated to performers. Jinnawat Munsap is a highly regarded Thai composer, particularly well-known among wind ensembles and marching‐band communities. Concert March No. 1 “Playground” was created as part of a project on arranging and producing musical scores aimed at preserving and promoting Thai melodies, under the auspices of the Thai Youth Wind Ensemble, Department of Cultural Promotion, Ministry of Culture. Subsequently, the piece has been performed and disseminated by the Thai Youth Wind Ensemble, the Million Wind Philharmonic, and various wind bands across Thailand. Additionally, it has been rearranged for flexible wind ensembles and brass bands to increase accessibility for Thai youth musicians, allowing the piece to be performed widely and used in various music competitions and events, such as the Arts and Crafts Competitions, the Northeastern Winds International Festival, and international wind band contests. Consequently, concert march No. 1, “Playground,” exemplifies a contemporary Thai melody blended seamlessly with Western march rhythms, representing a fusion of cultural elements. Moreover, the piece serves as a medium for promoting Thai art and culture through musical performance. Both performers and audiences gain insight into Thai melodic characteristics while studying the march form, which is foundational for wind and military bands in Thailand.

“Playground” reflects the composer's respect for John Philip Sousa, often referred to as the “March King,” through inspiration drawn from Sousa's famous march, “The Thunderer,” which serves as an archetype of traditional march music. The composer aimed to create a contemporary Thai piece with a traditional march flavor, yet infused with the unique characteristics of Thai melodies. The composition evokes the childhood atmosphere of an evening in a city, where children play outside with friends in a community playground, symbolizing universal childhood moments. The piece blends traditional march rhythms with Thai melodic elements, primarily based on the pentatonic scale, using various note groupings and the repetition of the main melody throughout different sections of the composition. The piece also features the development of the main theme, alternating instrumental roles, and blending different instrumental timbres, which adds color and emotional variety to each passage. Specific techniques, such as the use of the “Straight Mute” for trumpet and ornamentation in the woodwind section, are distinctive features of the piece.

The analytical breakdown of the piece can be divided into six sections: the introduction A section establishes the main theme and sets the scene of the playground and parade, while B section presents the main theme to familiarize the listener. C section introduces a contrasting section with a new melody and softer dynamics. In D section, the main theme returns, played by the tenor section. E and F sections present a trio section without key modulation. G section showcases a variation of the main theme, and section J concludes with a reappearance of the trio theme, followed by the return of the modified main theme, culminating in a final, exciting ending. The piece employs various compositional techniques, including contrary motion, repetition, and variation.

In summary, Concert March No. 1, “Playground,” features a distinctive contemporary Thai melody constructed on the pentatonic scale, integrated with the rhythmic and structural framework of Western march music, as exemplified by John Philip Sousa, the renowned “March King.” The Thai pentatonic melody is performed alongside characteristic note groupings that evoke imagery of Thai children playing in a playground. The melodic character is playful and lively, highlighted by concise phrasing and the expressive role of the woodwind section, symbolizing the children’s energy. The composition is notable for its thoughtful use of instrumental techniques and timbral colors, such as trumpet fanfares, the application of the Straight Mute technique on trumpets to add tonal variety, ornamentation in the woodwind parts, and the rhythmic use of the wood block to evoke a sense of playfulness and humor aligned with the composer's imaginative intent. Although the main theme recurs throughout the piece, its varied presentations convey different emotions and tonal colors, akin to a playground filled with diverse equipment and children running and playing energetically. This dynamic interplay of melody and texture embodies both cultural symbolism and compositional sophistication in the work.

Saint-Saëns’s Early Experiment with Exoticism in La Princesse Jaune

Athita Kuankachorn — Fri, 14 Aug 2026 00:00:00 +0700

La Princesse Jaune, a one-act opéra-comique by Camille Saint-Saëns with a libretto by Louis Gallet, was composed amid the growing fascination with Japanese art and objects in Paris in 1872. The work represents an early adoption of Japanese-related themes and musical exoticism within French operatic scene, reflecting the broader nineteenth-century Orientalist interests shaped by imperialism.

This article examines how Saint-Saëns sought to evoke a sense of the Far East through a range of musical devices—particularly those associated with Japanese imagery—while acknowledging that his access to authentic Japanese music was limited. In addition, it provides an overview of the cultural and social contexts that informed the opera’s narrative inspiration, as well as a brief discussion of audience reception over time, to observe shifting perspectives on exoticism as reflected in this work.

Through theoretical analysis of the score, this study compares Saint-Saëns’s compositional techniques with commonly used exotic devices employed by nineteenth-century composers. The use of the pentatonic scale as a signifier of the East is also explored as a European interpretation of the music of another culture. In addition, the social and cultural contexts surrounding the opera are considered through the available literature.

Japan’s first official participation in the Exposition Universelle in Paris in 1867 introduced European audiences to Japanese visual arts, woodblock prints, and other cultural objects. This encounter influenced European visual arts, literature, and theater, giving rise to the movement known as japonisme. Around the same time, in 1871, Camille Saint-Saëns was commissioned by the Opéra-Comique to compose a light, accessible work, as Paris was beginning to recover from the trauma of the Siege of Paris. Louis Gallet, the librettist, selected a Japanese theme for the opera, reflecting the growing fascination with Japanese art and culture in Paris.

The opera’s plot centers on Kornélis, a Dutch scholar obsessed with Japan and captivated by a woman depicted in a Japanese print, named Ming, and his cousin Léna, who is in love with him. After consuming a potent drink, Kornélis hallucinates and is transported to an exoticized vision of Japan with the Japanese princess. The climactic moment occurs when Léna breaks his delusion by presenting herself in place of the Japanese image, prompting Kornélis to recognize the value of real affection over his Orientalist fantasy. This narrative structure is significant: La Princesse Jaune does not aim for a realistic portrayal of Japan but instead employs Japanese motifs as a vehicle for Western psychological exploration and comic contrast.

In the Japanese-related context of the opera, Saint-Saëns employed several exotic devices typical of nineteenth-century composers. These include modal inflections in the melodic lines that produce augmented seconds, creating a sense of ambiguity, unfamiliarity, or otherworldliness. He further destabilized traditional Western harmonic progressions through the use of lowered leading tones, pedal points, bass ostinatos, avoidance of clear cadences, and static or simplified rhythmic patterns. Saint-Saëns also incorporated pentatonic writing—possibly inspired by descriptions of Chinese music circulated in Europe at the time. These elements were interpreted through a distinctly Western compositional lens.

The opera received largely negative criticism regarding its music after the premiere, yet productions in the subsequent decades were met with more favorable responses, reflecting a shift in European audiences’ tastes and attitudes over time. However, the Orientalist narrative and the racially suggestive title—La Princesse Jaune (“The Yellow Princess”)—may raise concerns for contemporary non-European audiences.

Saint-Saëns’s La Princesse Jaune reflects both Orientalist ideas in music and an effort to expand the Western soundscape in response to shifts in the French operatic landscape. Saint-Saëns employed common exotic compositional techniques and made extended use of the pentatonic scale. Although these devices were not intended to portray specifically Japanese musical idioms, they functioned as Western interpretations of non-Western and “Oriental” music, effectively creating a sense of unfamiliarity for European audiences. His use of the pentatonic scale demonstrates not only a Western perspective on the music of the East but also the limitations of relying on this scale as a representation of Eastern musical cultures.

In considering La Princesse Jaune, it is important to recognize that the work was shaped by the conventions of the opéra-comique genre and by the circumstances of its commission during Paris’s postwar recovery. As an early experiment with exoticism, La Princesse Jaune may not fully represent Saint-Saëns’s later, more nuanced engagement with non-Western musical cultures. Nevertheless, despite the problematic racial stereotypes embedded in the work, the opera remains a valuable cultural artifact: it reflects the attitudes of its era and marks an important moment in the development of French operatic tradition.

“From the Legend of Phra That Doi Suthep to the Eternal Faith,” Contemporary Sets of Music for a Mixed Classical Ensemble Combining Western and Lanna Instruments

Krerkpong Jaikum, Ohm Chanteyoon — Fri, 14 Aug 2026 00:00:00 +0700

This article is part of the research project entitled “From the Legend of Phra That Doi Suthep to the Eternal Faith,” Contemporary Sets of Music for a Mixed Classical Ensemble Combining Western and Lanna Instruments, funded by the Contemporary Art Development and Promotion Grant, Office of Contemporary Art and Culture, Ministry of Culture, fiscal year 2565. The purpose of the research was to compose a contemporary creative musical work inspired by Phra That Doi Suthep and to convey its narrative through the roles of performers and instruments within the ensemble. The ensemble is organized into three main parts. First, the narrator communicates the text to the audience, with the spoken narration conceived as a form of storytelling. Second, the Western instruments, violin, viola, cello, double bass, and piano, to create musical atmosphere and emotional character in relation to each situation. Third, the Lanna instruments, including sueng, salor, khlui, Lanna drums, swa or Lanna cymbals, and other percussion instruments, serve as imaginative sound support whenever the music refers specifically to the Lanna region.

The research process was divided into eleven stages: (1) studying information and contemporary creative musical works used as sources of inspiration; (2) examining, in brief, the potential and performance techniques of the selected musical instruments; (3) composing the creative musical work; (4) testing the performance of the composition and refining it toward completion; (5) preparing the musical notation; (6) developing performance and conducting guidelines; (7) preparing an academic program booklet; (8) rehearsing the mixed classical ensemble combining Western and Lanna instruments; (9) recording audio and moving images; (10) organizing an academic seminar; and (11) presenting the musical work to the public.

The research outcome is a newly composed piece of programmatic music, shaped by the composer’s intention to narrate the Buddhist faith of the Lanna people through musical imagination. It was created for audiences in Thailand and abroad, allowing listeners to follow the story through sound, atmosphere, and expressive musical description. At the same time, the composition presents Thailand’s cultural strengths through an artistic medium and reinforces the cultural identity embedded in the selected Lanna narrative materials without separating artistic interpretation from cultural meaning. This focus enables the musical narrative to connect historical memory, religious belief, and local identity within a contemporary mode of artistic expression. The work consists of five movements: (1) The Legend of Phra That Doi Suthep, (2) Kruba Chao Srivichai, the Saint of Lanna, (3) The Unity of Buddhists in Nopburi Si Nakhon Ping Chiang Mai, (4) The Enchanting Sacredness of Wat Phra That Doi Suthep, and (5) Eternal Faith.

“From the Legend of Phra That Doi Suthep to the Eternal Faith,” Contemporary Sets of Music for a Mixed Classical Ensemble Combining Western and Lanna Instruments was first presented to the public on 29 August 2023 at the CRK Recital Hall, College of Music, Payap University, Mueang District, Chiang Mai Province. An academic program booklet was distributed to the audience, and their feedback on the performance event was collected through a questionnaire. The results showed that the audience’s overall satisfaction with the performance was at the highest level (Mean = 4.78, S.D. = 0.43). Among the individual items, the highest mean score was for the knowledge gained from the musical performance activity and the program booklet (Mean = 4.84). This was followed by willingness to attend similar musical performances whenever opportunities arise (Mean = 4.83), satisfaction with the organization of the performance event (Mean = 4.79), the overall organization of the event (Mean = 4.74), and willingness to recommend or invite others to attend similar performances (Mean = 4.71), respectively.

Beyond presenting the musical work produced through this research, the researchers also aimed to convey the interaction between existing local cultural elements and influences received from outside the region. Through this interaction, the piece reflects a contemporary creative musical culture informed by the concept of cross-cultural music. This idea rests on the belief that musical art brings aesthetic experience into human life through the cultural dimensions of society. The researchers therefore expect the creative work to contribute to cultural capital that may be developed further in economic terms and promoted as a form of cultural influence. In this regard, the composition seeks to support wider recognition of Thai musical art at both national and international levels.

Transmission of Khong Wong Yai Solo Performance in Nok Khamin Sam Chan A Case Study of Namwa Romphothong

Thongtawat Srithong, Pimonmas Promsukkul, Supatra Vilailuck — Fri, 14 Aug 2026 00:00:00 +0700

In the study and practice of traditional Thai music, the Khong Wong Yai (a large circle of gongs) is the principal instrument that all musicians must first master. It is responsible for carrying the main melody in various musical forms, including the phleng homrong (overture), phleng na phat (ritual music), phleng thao (a suite of melodies in varying tempos), phleng tap (a suite of related songs), and phleng diao (solo pieces). Among these, the solo piece is considered a display of the highest level of performance skill, showcasing the musician's virtuosity. This research, therefore, focuses on studying the transmission of the Khong Wong Yai solo piece Nok Khamin Sam Chan (The Canary in the Third-Level Tempo), as taught by the late master Kru Namwa Romphothong. His interpretation of this piece is renowned for its exquisite beauty and unique characteristic: it is performed without the cross-hand striking technique, a method commonly found in nearly all other Khong Wong Yai solos. Kru Namwa Romphothong was a celebrated Thai music master, highly revered for his profound knowledge and skill, particularly with the Khong Wong Yai, earning him the honorific title “Master of the Khong of the Rattanakosin Era.” He inherited his musical knowledge through traditional oral methods (mukhapatha) from esteemed masters such as Luang Praditphairoh (Sorn Silapabanleng), Kru Term Thongto, and many others.

This study employed a qualitative research methodology with the objective of examining the transmission of the Khong Wong Yai solo piece Nok Khamin Sam Chan through a case study of Kru Namwa Romphothong. The research scope was twofold: 1) To investigate the biography and musical works of Kru Namwa Romphothong through documentary research, related literature, and in-depth interviews with individuals connected to him. As Kru Namwa has passed away, the researcher selected key informants through purposive sampling, including family members, professional colleagues, and close disciples. 2) To analyze the transmission process of the solo piece using Elizabeth Steiner's theory of education, which outlines four core components of learning: the teacher, the learner, the content, and the context of teaching and learning.

The research was conducted through the following steps: 1) A review of relevant concepts, theories, and existing research to establish a conceptual framework for analysis. 2) The identification of two groups of key informants: the first group provided information on Kru Namwa's biography, works, and context, and included close family members and senior Thai music masters or National Artists who were his professional peers. The second group consisted of three of his direct disciples who had received the complete transmission of the Nok Khamin Sam Chan solo from him. 3) Data collection, followed by a process of categorization and synthesis to form conclusions. 4) Data analysis, utilizing inductive interpretation and rigorous cross-verification of information from multiple sources to ensure comprehensive understanding, which was then presented as a descriptive narrative.

The research findings revealed the following 1) Teacher Kru Namwa Romphothong was an expert master of the Khong Wong Yai who learned through traditional oral methods from numerous masters, including Kru Term Thongto, Luang Praditphairoh (Sorn Silapabanleng), Kru Somphop Khamprasoet, Kru Sorn Wongkhong, Kru Chamrat Unwong, Kru Bang Luangsunthorn, and Khunying Chin Silapabanleng. He taught his students with great kindness and compassion, serving as an exemplary role model in life, diligence, and gratitude. 2) Learner To be accepted as a student, a prospective learner had to formally request tutelage in a traditional ceremony, presenting the master with offerings. Kru Namwa cultivated three key qualities in his students: proficiency as a performer, respect for the musical instrument, and a deep understanding of the music itself. 3) Content Kru Namwa Romphothong's pedagogical approach can be categorized into four methods: teaching according to the student's individual ability; employing the traditional one-on-one, imitative “tor mue” method; using metaphors and analogies to explain complex concepts; and emphasizing practical, hands-on skill development. 4) Context of Teaching and Learning The transmission process for the Nok Khamin Sam Chan solo was systematic and involved four distinct stages: assessing the learner's readiness; transmitting the core melody of the piece; teaching the specific techniques and melodic embellishments required for the solo; and conducting evaluations (before, during, and after the learning process).

In conclusion, Kru Namwa Romphothong's pedagogical approach was distinguished by its systematic content and transmission process. This research can serve as a valuable guideline for the development of contemporary Thai music education, particularly for the Khong Wong Yai at all levels, from foundational skills to advanced solo performance, thereby helping to ensure that the knowledge of Thai music is transmitted with continued excellence.

The Fusion of Musical Traditions and Technology: A Systematic Literature Review of Artificial Intelligence in Music Education within Non-Western Contexts and Its Implications for Thai Music

Prayoch Meesakul — Fri, 14 Aug 2026 00:00:00 +0700

The application of artificial intelligence (AI) in music education has expanded rapidly over the past decade, particularly through the adoption of machine learning, deep learning, and generative artificial intelligence technologies for music creation, audio analysis, and the development of intelligent learning systems. Despite this growth, most existing studies have been conducted within Western musical contexts, where formal theoretical structures and standardized notation systems facilitate technological development and computational processing. In contrast, non-Western musical traditions, including Thai music, are characterized by oral transmission, experiential learning, master–disciple relationships, and strong cultural embeddedness. These distinctive characteristics create both opportunities and challenges for the integration of AI into music education. Consequently, there remains a significant need to synthesize existing knowledge regarding AI applications in non-Western music education and to explore their implications for preserving cultural identity and supporting meaningful learning processes. This study aimed to (1) synthesize existing knowledge on the application of artificial intelligence in non-Western music education, (2) examine the impacts of AI on musical identity and learning processes, and (3) develop a conceptual model for integrating artificial intelligence with Thai musical traditions within contemporary educational contexts.

This research employed a systematic literature review and knowledge synthesis approach following the PRISMA 2020 guidelines. The review process consisted of four major stages: identification, screening, eligibility assessment, and inclusion. These procedures were designed to ensure methodological transparency, systematic data collection, and replicability of findings. Literature searches were conducted through both international and national academic databases, including Scopus, Web of Science, Google Scholar, ThaiJO, and Thai Digital Collection. Boolean search operators such as AND, OR, and NOT were used to combine keywords related to artificial intelligence, music education, ethnomusicology, cultural heritage, non-Western music, and Thai music. The initial search yielded 360 documents. After removing duplicates, screening titles and abstracts, and evaluating full-text quality according to predetermined criteria, 60 documents were retained for final analysis. These consisted of 50 international studies and 10 studies specifically related to Thai contexts. All selected documents had undergone academic peer review and were further assessed using critical appraisal procedures and mixed-method quality assessment tools to ensure reliability, relevance, and methodological rigor before inclusion in the synthesis process.

Data were analyzed using thematic synthesis. The selected literature was categorized according to four research questions: (1) types of artificial intelligence technologies used in non-Western music education, (2) best practices for integrating AI into music education, (3) the impact of AI on musical identity, and (4) the influence of AI on learning processes. The analysis focused on identifying recurring themes, patterns, relationships, and emerging trends across the literature in order to construct a comprehensive understanding of the current state of knowledge.

The research findings revealed that artificial intelligence has been applied in music education through five major categories. First, AI is increasingly utilized for music creation and composition, particularly through generative systems capable of producing melodies, harmonies, rhythmic structures, and musical arrangements. Second, AI technologies are employed for audio analysis and signal processing, enabling automated transcription, pattern recognition, performance assessment, and music information retrieval. Third, intelligent tutoring systems and adaptive learning platforms provide personalized learning experiences, immediate feedback, and learner-centered instructional support. Fourth, AI contributes significantly to cultural heritage preservation through digital archiving, documentation, classification, and restoration of musical materials. Fifth, human–technology interaction systems facilitate collaborative engagement between learners, teachers, communities, and intelligent technologies in musical learning environments.

The findings further indicate that AI offers considerable potential for supporting personalized learning, expanding access to musical knowledge, providing real-time feedback, and enhancing educational efficiency. However, successful integration of AI into traditional music education requires careful consideration of cultural contexts, social learning processes, and indigenous knowledge systems. In the case of Thai music, the master–disciple tradition remains a fundamental mechanism for transmitting musical knowledge, values, performance practices, and cultural meanings. Although AI can support information delivery and skill development, it cannot fully replace the social interaction, cultural immersion, and human relationships that characterize traditional learning environments. Therefore, the implement-tation of AI in Thai music education should emphasize augmentation rather than replacement.

Based on the synthesis of all reviewed documents, this study developed the T-AIM Model, a conceptual framework designed to explain the integration of Thai musical traditions and artificial intelligence in contemporary learning environments. The model consists of four interrelated components: Tradition (T), Artificial Intelligence (A), Interaction (I), and Mediation (M). Tradition represents the cultural foundations, values, knowledge systems, and musical practices embedded within Thai music. Artificial Intelligence refers to technological tools and systems that support analysis, creativity, instruction, and knowledge management. Interaction emphasizes the social relationships among learners, teachers, communities, and technologies that facilitate collaborative learning and knowledge construction. Mediation highlights the role of AI as a cognitive and educational intermediary that connects traditional knowledge with emerging technological possibilities. The model proposes that AI should function as a supportive and enabling mechanism that strengthens learning opportunities while preserving cultural authenticity and social engagement.

The study contributes to the growing body of knowledge concerning culturally responsive applications of artificial intelligence in music education. It demonstrates that the integration of AI into non-Western musical traditions must be guided by principles of cultural sustainability, ethical responsibility, and respect for indigenous knowledge systems. The findings suggest that future technological development should balance innovation with cultural preservation to ensure that digital transformation does not undermine musical identity or disconnect music from its cultural context. Future research should focus on experimental studies that evaluate the effectiveness of the T-AIM Model in authentic educational settings, the development of AI technologies tailored specifically to Thai musical characteristics, and the establishment of ethical frameworks for managing musical data, particularly the preservation and use of recordings from master musicians. Such efforts will help ensure that the integration of artificial intelligence and traditional music can proceed in a balanced, culturally sensitive, and sustainable manner.

Concerto for 2 Pianos and Orchestra in D minor by Francis Poulenc: Performance and Analytical Notes

Pawalai Tanchanpong — Fri, 14 Aug 2026 00:00:00 +0700

This study undertakes a comprehensive investigation into the performance practices and specialized solo practice methodologies required for Francis Poulenc’s Concerto for Two Pianos in D minor. The research was professionally contextualized through a collaboration with the Thailand Youth Orchestra. This engagement provided an authentic orchestral environment where theoretical practice strategies and interpretative decisions could be exercised, observed, and refined. The Salabert (1999) edition was utilized as the authoritative analytical reference. The scope of this investigation focuses on the solo piano parts performed by the researcher—specifically Piano I in Movements I and II, and Piano II in Movement III—thereby allowing for a direct comparative analysis of the different roles and textures inherent in both parts of the duo.

Methodologically, the study integrates analytical score study with practice-led experimentation, collaborative rehearsal with conductor and orchestra. This approach allowed technical, interpretative, and ensemble decisions to be tested and refined within an authentic orchestral context.

The results of the study highlight that Poulenc’s compositional language in this concerto is a sophisticated blend of Parisian, Neoclassical clarity, and a distinct fluidity of mood. Unlike the dense, pedal-heavy textures of German Romantic concerti, Poulenc demands a dryer and more articulated touch, reminiscent of the French tradition but reimagined for the modern concert grand. The study found that achieving the characteristic Poulenc sound requires a balance between rhythmic propulsion and lyrical transparency.

In Movement I (Allegro ma non troppo), the research identified the modified fast–slow–fast ternary structure as a source of significant pacing challenges. The opening’s percussive energy requires a shared pulse between the two soloists that must remain unyielding despite the rapid shifts in register. A significant portion of the coda, which famously references the sounds of the Balinese Gamelan music. The study concluded that executing this section requires a specific “non-expressive” yet resonant touch and precise, shallow pedaling to mimic the decay of gongs and metallophones without blurring the intricate rhythmic hockets.

Movement II (Larghetto) presents an entirely different set of challenges, rooted in a Mozartean aesthetic characterized by deceptive simplicity. The research focused on the cantabile aspect of the phrasing, where the soloists must maintain a melodic line that often passes between the two pianos. Silent cueing and breath-synchronized entry were essential techniques for maintaining the intimacy of the movement. The delicate balance in the middle section requires the soloists to adjust their projection dynamically to ensure that the inner voices of the orchestra are not obscured.

Movement III (Allegro molto) is a tour-de-force of virtuosic interplay. The research analyzed the Rondo form not just as a structural device but as a competitive dialogue. The movement’s frequent hand-crossings and parallel octave passages necessitate a high degree of physical choreography between the two performers. One of the key findings in this movement was the soloists must develop a system of peripheral visual cues to ensure synchronized attacks in rapid-fire figurations where auditory feedback may be delayed by the hall’s acoustics.

The three overarching elements are Soloistic Co-equality, Proactive Interpretative Alignment, and Acoustic Adaptability. This research contributes a structured, practice-based model for preparing complex duo concerto repertoire. By integrating formal analysis with reflective performance practice, it provides a roadmap for navigating the collaborative triangle of Soloist I, Soloist II, and the Conductor. The findings have significant implications for higher education music curricula, advocating for a shift toward more experiential, collaborative performance projects that mirror the realities of the professional music world. Furthermore, by documenting the preparation of Poulenc’s concerto in the context of a Thai youth orchestra, the study encourages the expansion of the “two pianos” repertoire in the region, promoting higher standards of ensemble playing and artistic communication.

Ultimately, this study reinforces the idea that a successful performance of Poulenc’s Concerto for Two Pianos is not merely the sum of two individual technical achievements, but rather the result of a unified, researched-informed dialogue. The methodology presented here serves as a template for future artistic research into other under-explored works for multiple pianos, ensuring that the legacy of 20th-century French music continues to be interpreted with both intellectual depth and technical precision.

Wind Symphony of Thai Sonorities

Yos Vaneesorn — Fri, 14 Aug 2026 00:00:00 +0700

The creative research project “Siam Wind Symphony of Thai Sonorities” aims to compose eight new works for a contemporary wind symphony, drawing its primary concepts from the melodies and rhythmic patterns of folk play songs from Central Thailand and structuring them through modern Western compositional techniques. The project seeks to articulate Thai musical identity and heritage within a globally legible framework, while simultaneously expanding the concert-ready repertoire for wind ensembles in Thailand. In doing so, it responds to the demand for contemporary compositions that reflect Thai culture and serve as vital vehicles for the dissemination of Thai arts and culture in the present context.

The fundamental concept underlying this research is “creative conservation,” an approach that emphasizes connecting musical roots from the past with innovative presentations through the integration of traditional contexts with compositional innovation. Therefore, this endeavor not only aims to preserve Thai folk music but also to create new artistic works of significant value that can remain relevant in contemporary times. Furthermore, it fosters awareness and pride in Thai musical heritage among youth and musicians while offering new alternatives that align with international musical platforms.

The research methodology consists of three interconnected phases. The first phase includes thorough data collection and analysis through an extensive literature review covering various aspects, such as the history and musical features of central Thai traditional music and children's playing songs, the study of children's playing songs within community and social settings, and a comparative analysis of international children's playing songs to understand different concepts and types of children's playing songs. This phase also involves reviewing ideas about Thai children's playing music and modern approaches to folk music preservation, examining existing folk music compositions for wind orchestras, and studying wind orchestra pieces that include singing and clapping as guidelines for creating compositions with engaging musical presentation formats. Additionally, it includes reviewing research related to musical skill development and contemporary compositional theories relevant to practical application. The study was supplemented by in-depth interviews with Thai music experts, folk music conservation scholars, and body percussion specialists to obtain comprehensive information encompassing both theoretical and practical dimensions, including policy perspectives and development approaches suitable for contemporary Thai social contexts. This information provides a crucial foundation for understanding the structure, format, and core concepts of Thai game songs, as well as their potential for application in contemporary musical composition. It also facilitates an understanding of the challenges and opportunities in integrating folk music with Western compositional techniques while maintaining a balance of cultural identity in compositions.

The second phase constitutes the creative composition process, beginning with the selection and analysis of eight representative Central Thai game songs, including Mon Sron Pha, Ree Ree Khao Saan, Jamjee Makheua Proa, Ngu Gin Haang, Ngu Gin Haang, Ai Khao Ai Khong, Maengmum Khayum Langkha, Nang Ngueak Noi-Pao Ying Chub, and Lamalila to extract and analyze core melodic and rhythmic components. These elements were subsequently developed and transformed into new compositions through the application of modern Western compositional techniques, such as thematic recontextualization, contemporary harmonic creation, texture development, and composition design suitable for musicians of various skill levels. Furthermore, participatory elements, including singing and clapping accompaniment, were integrated into the compositions to enhance engagement and interest.

The final phase involves practical implementation and evaluation through workshops for youth and musicians, emphasizing the development of wind orchestra instrumental performance skills alongside cultural understanding. These activities culminated in a concert performance at the Thailand Cultural Center by the Siam Wind Symphony, accompanied by high-quality audio and video recordings made using advanced technology for widespread dissemination.

The implementation results demonstrate success across multiple dimensions, showcasing the application of modern compositional techniques such as rhythmic modulation, borrowed chords, and various musical characteristics that creatively connect melodies and musical materials with traditional children’s playing songs. Evaluation of practical activities and various project components revealed that the majority of participants showed clear technical improvement and significantly increased cultural awareness and appreciation. All musical scores and audio recordings have been disseminated through various online social media platforms, including YouTube and Facebook, creating opportunities for accessing and promoting Thai music both nationally and internationally.

This research project serves as a significant model for creative conservation that successfully adapts Thai musical heritage for contemporary musical composition in innovative ways, while providing a foundation for extending Thai music research and developing Thai traditional songs from various regions of the country toward global recognition. This will contribute to the sustainable preservation and development of Thai musical cultural heritage in the future, demonstrating the viability of bridging traditional cultural expressions with contemporary artistic practices through systematic research methodologies and community engagement strategies.

The Composition of Dhamma Music for Instructional Media

Akkarawat Singchoo — Fri, 14 Aug 2026 00:00:00 +0700

Buddhism, as the national religion of Thailand, has played a significant role in shaping the Thai way of life and moral values for centuries. The inclusion of Buddhist studies within the Social Studies, Religion, and Culture curriculum in Thai educational institutions aims to instill ethical values, moral principles, and life guidance based on the teachings of the Buddha. However, based on the researcher’s observations, current teaching practices still rely heavily on rote memorization, and the theoretical content remains relatively unengaging. This has led to boredom and disinterest among some students. Therefore, it is essential to develop and integrate diverse instructional media, particularly those that connect Dhamma content with activities that interest students, such as music and songs. Music, as a form of creative media, has the potential to reach learners on an emotional level and promote a deeper understanding of Buddhist teachings. Composing Dhamma-based songs for educational purposes is thus a promising and valuable approach that deserves further development.

This study employed a mixed-methods research design with the objectives of (1) analyzing Dhamma content on the topic of the Four Noble Truths for the purpose of composing instructional songs, (2) examining the conceptual framework underlying the composition of Dhamma songs as teaching media, and (3) comparing students’ academic achievement before and after instruction using Dhamma songs as learning tools. The researcher was motivated to explore the development of Dhamma song compositions as instructional media for use in Buddhist studies, with the intent of producing work that can be practically applied in educational settings. The overarching goal is to offer an innovative and effective approach to enhancing interest and learning outcomes in Buddhist education. The study involved composing four original songs, each corresponding to one of the Four Noble Truths: Thuk, Samutthai, Nirot, and Mak, each song included lyrics, melody, and musical harmonization. The arrangement emphasized balanced instrumental roles and interaction among instruments. The harmonization was designed for a contemporary music ensemble consisting of seven instruments: (1) flute, (2) Thai xylophone (ranad-ek), (3) violin, (4) trumpet, (5) piano, (6) bass, and (7) drums.

The research methodology employed a variety of data collection techniques, including document and literature review, analysis of relevant textbooks and previous studies, and field data collection through interviews with teachers at the Demonstration School of Phuket Rajabhat University. The sample consisted of 23 Grade 7 students, selected through purposive sampling from the social studies course. The research involved analyzing the meaning and detailed content of each aspect of the Four Noble Truths, summarizing key points, and composing lyrics and melodies based on these concepts. Musical harmonization was arranged in a contemporary band style. The resulting Dhamma songs were evaluated for accuracy by experts, followed by rehearsals and revisions to ensure quality. The finalized songs were recorded and published online. The instructional materials were then implemented in the classroom to compare students’ academic achievement before and after the lessons. Additionally, the composed songs were performed and disseminated to the public.

The findings revealed that composing songs based on the Four Noble Truths effectively promotes moral and ethical learning among secondary school students. The researcher developed four Dhamma songs Thuk, Samutthai, Nirot, and Mak. The lyrical content was developed through analysis of the core teachings of each truth, while the melodies were composed to align with the emotional tone and message of the lyrics. Particular attention was paid to the syllabic structure to match the rhythm of the melody, avoiding forced or excessive word placement. This approach ensured the songs flowed naturally, resulting in musical pieces that balanced lyrical content, melody, and harmony. Interviews with teachers and a pilot study involving 23 Grade 7 students (Matthayom 1) showed a statistically significant improvement in students' understanding of the Four Noble Truths (p < .05) when comparing pre-test and post-test scores, with post-test scores being higher. Students demonstrated greater comprehension of the Dhamma teachings compared to traditional textbook-based learning. Additionally, the songs were found to be engaging and effective learning tools that encouraged student participation and facilitated deeper understanding. Expert evaluations by specialists in both music and Buddhism confirmed that the songs were accurate and appropriate in terms of both doctrinal content and musical composition. The songs can thus be effectively adapted for use as educational media in moral and religious studies.

The “Chaohu Folk Songs” for Choir: A Creative Research in Music Arranging

Du Shanshan, Supachai Suriyut — Fri, 14 Aug 2026 00:00:00 +0700

After finishing my undergraduate studies, I started working in music education in Chaohu, where I engaged in collecting and studying local folk songs through various academic events. This work allowed me to meet important figures in the folk music community and deepened my passion for traditional music. Inspired by my experiences and China's national efforts to protect cultural heritage, I chose to focus my research on Chaohu folk songs, making them the main topic of my thesis by aiming to preserve the Chinese folk song.

Since China's reform and opening, its economy and society have experienced rapid development. However, with the advancements in science and technology, economic development, the influx of Western culture, and the rise of Internet technology, the traditional way of life is disappearing at an accelerating rate. As a result, the development of Chaohu folk songs has encountered increasing challenges and now faces the risk of extinction. The study of the artistic characteristics of Chaohu folk songs and the creation of the traditional Chaohu folk songs are of great significance for the rescue and protection of Chaohu folk songs, which is a key motivation for my research on this cultural tradition.

Chaohu folk songs are a regional musical tradition originating in Chaohu City, Anhui Province, China, and have been officially recognized as part of the nation’s intangible cultural heritage. These songs are deeply rooted in the everyday lives, emotions, and customs of local communities, reflecting both the natural environment and the cultural identity of the region.

To preserve the Chaohu folk songs by compose and arrange the song to choir with Western classic music setting effectively, it is essential to gain a thorough understanding of their melodic structures, rhythmic patterns, core lyrical themes, and performance practices. When this knowledge is integrated with appropriate theories and methods of choral composition, the songs can be shaped into artistic expressions that communicate with a contemporary audience while preserving their authenticity. In my work, I have selected and arranged three representative Chaohu folk songs for choir, blending traditional elements with contemporary harmonic textures. This creative process not only enhances the artistic form of the songs but also advances their preservation, revitalization, and continued development within today’s musical landscape. This research aims to arrange three traditional Chaohu folk songs for choir performance. This initiative seeks to foster the inheritance and development of Chaohu folk music, thereby contributing to its contemporary music landscape. The research procedure involves a brief exploration of the historical context and musical attributes of Chaohu folk songs as well as an analysis of the adapted choral arrangements, with the objective of both conserving and innovating traditional cultural practices.

Emerging from the Western ecclesiastical liturgy, choral music has undergone significant evolution, becoming a musical form widely esteemed for its intricate setting and textures. Considering the rapid expansion of the Chinese economy and its music sector, choral art, particularly the folk song chorus, has emerged as a potent vehicle for the transmission of cultural heritage. In contrast to solo vocal performances, choral singing facilitates broader engagement and more profound emotional articulation. By incorporating Western choral compositional methods, this study seeks to arrange traditional Chaohu folk melodies into novel choral compositions, thereby amplifying their artistic resonance while ensuring the Preservation and dissemination of the folk songs as well as the folk culture.

This research process begins with establishing a comprehensive research methodology, encompassing objective setting, identification of key issues, and target group selection, with a focus on an in-depth investigation into the development and current status of Chaohu folk songs. The researcher analyzed the musical characteristics of three rearranged songs to reflect the connection between traditional roots and modern musical innovation (continuity and innovation). The final stage involves synthesizing knowledge from both the research findings and the creative process to compile a complete academic article and present the full research project to the academic community.

The three adapted choral works are inspired by the beautiful scenery of Chaohu and people's love and praise for their hometown. The purpose of this study is to sort out the development process and evolution rules of Chaohu folk songs, understand the musical characteristics of traditional Chaohu folk songs, and combine Western music creation methods to create three traditional Chaohu folk songs in chorus to inherit and innovate Chaohu folk songs. The choral composition the Chaohu Folk Song demonstrates a more sophisticated music architecture, enhanced harmonic richness, and a broader spectrum of melodic variation, thereby contributing significant referential value to the study and future development of the song composition.

A Vietnamese Language Teaching Program for Foreigners via Vietnamese Traditional Music

Nguyen Dinh Lam, Bui Duy Duong, Tran Thi Thu, Tran Duc Nguyen — Fri, 14 Aug 2026 00:00:00 +0700

Traditional music has an important function in the process of second language teaching. In the case of Vietnamese, traditional Vietnamese music and language share an intrinsic relationship. Traditional Vietnamese music has developed over millennia, becoming inseparably intertwined with the evolution of the spoken language. In simpler terms, the entire corpus of Vietnamese folk songs, proverbs, and musical compositions is crafted and practiced using Vietnamese phonetics. The creation of folk songs and the development of musical expressions occur in tandem, fostering richness and cohesion within the diverse tapestry of Vietnamese voices and musical culture.

The history of teaching Vietnamese to foreigners in Vietnam dates back centuries. Notably, since the establishment of the Vietnamese Department at Hanoi University in 1968, incorporating cultural and artistic aspects into the curriculum has been imperative. This aligns with global educational practices in foreign language instruction, where traditional arts are integrated to introduce culture and enrich vocabulary.

The objective of this study is to design a Vietnamese language teaching program for foreigners through lectures on traditional Vietnamese music, based on the Vietnamese language competency framework issued by the Ministry of Education and Training in 2015. The program shall focus on levels 5 and 6, with the following specific objectives: i) to identify content, vocabulary systems, and supplementary exercises on traditional music in the Vietnamese curriculum; ii) to develop Vietnamese language skills through listening and writing activities; and iii) to provide practical knowledge and supplementary exercises to enable students to explore traditional music performance venues in Hanoi and its surrounding areas.

Drawing on experience in teaching Vietnamese to foreigners and studying Vietnamese folk and traditional music, this research designs the essential components that should be included in building core content and vocabulary in a Vietnamese curriculum for foreign learners, aiming to enhance proficiency in the Vietnamese language and promote the dissemination of Vietnamese culture among learners.

This study uses Stephen Krashen’s “Monitor Theory” of adult second language acquisition. Monitor Theory hypothesizes that adults have two independent systems for developing second language ability: subconscious language acquisition and conscious language learning. These systems are interrelated in a definite way, with subconscious acquisition being far more important.

Additionally, drawing on the 6-level competency framework issued by the Ministry of Education and Training, this research incorporates the Vietnamese teaching expertise of the Faculty of Vietnamese Studies and Vietnamese Language at the University of Social Sciences and Humanities, Vietnam National University, Hanoi. Within this six-level competency framework, this study will apply traditional music content to teaching at levels 5 and 6.

The aim is to identify the most essential and representative vocabulary system rooted in Vietnamese musical culture to enhance learners’ proficiency in the Vietnamese language. We also incorporate traditional language teaching methods, including lessons on the four skills: reading, listening, speaking, and writing. This study introduces a method for selecting vocabulary directly related to the field of ethnomusicology. This includes field research in various locales to provide comprehensive information – such as names, spatial context, and performance environments – for each genre of Vietnamese folk music. This approach helps learners gain a more profound understanding of both the Vietnamese language and the Vietnamese music performing arts culture.

The research results and findings will be analyzed through detailed content designed to achieve optimal results when designing traditional music content in teaching Vietnamese to foreigners. This study specifically focuses on three key aspects: i) clarifying the theoretical framework and context of Vietnamese traditional music; ii) selecting a representative vocabulary system of Vietnamese traditional music to incorporate into teaching materials, encompassing the names of folk song genres, traditional musical instruments, singing techniques, and performance forms of Vietnamese traditional music; and iii) integrating knowledge of Vietnamese traditional music into the process of teaching Vietnamese to foreign learners.

Instructors responsible for teaching Vietnamese to foreigners must possess a comprehensive knowledge base of traditional Vietnamese culture, including folk music. Throughout the teaching process—whether working with beginners or advanced students—the interrelationship between the Vietnamese language and traditional Vietnamese art and culture must not be ignored.

Traditional music serves as a fundamental identifier of a particular culture. Intricately woven into the cultural fabric of every individual, traditional folk music accompanies people from birth until they depart this world. It plays pivotal roles in religious ceremonies and traditional beliefs in Vietnam. Therefore, teaching Vietnamese to foreigners through the lens of traditional Vietnamese music performance not only equips learners with essential vocabulary and terminology related to Vietnamese musical culture but also serves the important purpose of introducing and promoting Vietnamese culture to a global audience.

Music Learning Among Digital Native Learners in Thai Higher Education

Wathit Suwansomboon, Ampai Buranaprapuk — Fri, 14 Aug 2026 00:00:00 +0700

Higher music education worldwide is experiencing a profound digital transformation, redefining how students learn, access, and engage with musical knowledge. This shift has intensified with the rise of Generation Z—often termed “digital natives.” Having grown up immersed in technology, these students demonstrate fluency in digital tools, expect immediacy, and navigate multiple information sources with ease. Their behavior differs from earlier previous generations, creating both challenges and opportunities for higher education music programs. In Thailand, music curricula remain grounded in Western classical and Thai traditional practice, typically delivered through hierarchical, instructor-centered models. However, today’s students interact with music through globalized and digitally mediated environments, revealing a gap between traditional pedagogy and contemporary learning. While previous research explored specific tools such as online tutorials or mobile applications, no comprehensive framework explains how Thai digital natives’ approach music learning in higher education.

This study aimed to construct a grounded theory explaining how digital-native music students in Thai universities learn. Its objectives were to identify causal conditions, contextual factors, strategies, and consequences shaping their learning process, providing a framework to inform curriculum design, pedagogy, and policy.

A grounded-theory approach was used to inductively build theory from participants’ experiences. Data came from five focus-group discussions with undergraduate music students born in the late 1990s–early 2000s, represented true digital natives across Thailand’s five regions and four interviews with veteran instructors. Participants, Purposive and snowball sampling ensured regional and institutional diversity. Discussions explored formal and informal, technology-mediated learning, while interviews examined pedagogical perspectives. All sessions were ethically approved, recorded, transcribed, and systematically analyzed.

Following Strauss and Corbin’s coding procedures, open coding generated over 150 initial codes. Axial coding organized them through causal–context–strategy–consequence linkages, and selective coding integrated categories into a coherent theoretical framework. Constant comparison and triangulation across student and instructor data enhanced validity, and expert peer review ensured credibility.

The core phenomenon was blended self-directed music learning, in which students combined formal instruction with informal digital learning. They demonstrated strong agency through YouTube, mobile apps, and digital audio tools to extend or substitute traditional methods. Strategies included slowing playback, looping passages, recording and reviewing practice sessions, and sharing materials with peers. Learning extended beyond classrooms, allowing pursuit of personal interests. Three major causal conditions supported this process: early digital exposure, personal musical interests diverging from approved programs, and technological affordances such as smartphones and internet access. The COVID-19 pandemic further normalized digital music-learning practices.

Institutional curricula and cultures shaped whether students sought resources beyond coursework. Teachers’ attitudes influenced whether digital learning was validated or marginalized. Infrastructure—including internet quality, device access, and software availability —either facilitated or constrained engagement. Peer networks enhanced collaboration, creating interactive learning communities.

Blended self-directed learning produced improved technical skills, creativity, autonomy, and motivation through interest-driven engagement. Many students exceeded instructors’ expectations by mastering advanced repertoire or developing innovative cross-genre projects, such as merging Thai traditional instruments with electronic production. However, risks included shallow learning, distraction, and neglect of fundamental skills. Consequently, teachers’ roles evolved from authoritative transmitters to facilitators, curators, and mentors who help students evaluate online resources, structure practice, and connect informal exploration with formal study.

The conclusion, digital-native music students in Thai higher education represent a new paradigm of proactive, technology-mediated, self-directed learning. The grounded theory positions blended self-directed music learning as the central process through which students integrate digital exploration with formal instruction, guided by personal interests and enabled by technology within institutional and peer contexts. Curricula should become flexible and student-centered, incorporating digital creativity, popular genres, and cross-genre innovation alongside Western and Thai classical foundations. Pedagogically, instructors should adopt blended approaches, curate reliable online resources, and explicitly teach digital literacy and critical evaluation. Institutions must enhance technological infrastructure and create assessment systems that value informal and digitally mediated outcomes.

At the policy level, national strategies for digital integration in arts education should be established, including the creation of Thai-language digital resources to enhance accessibility and equity. Collectively, these initiatives will help Thai music education remain relevant, inclusive, and innovative—preparing students for creative and connected musical futures in the digital era.

Ram Wong Ban Mon (Wat Pradittharam): Integrating Cultural Capital into Contemporary Thai-Mon Composition

Pavinee Teeravut — Fri, 14 Aug 2026 00:00:00 +0700

This creative work article is the creation of the Ram Wong Ban Mon (Wat Pradittharam) song. Its aim is to promote cultural tourism based on cultural capital. This creative work employs a creative music process. The creative process begins with the collection of preliminary data and related literature to establish a conceptual framework. Data on the Mon community at Wat Pradittharam were gathered through document research and interviews with community members and key informants. In addition, theoretical concepts in song composition—including melody writing for voice, Thai song composition, and lyric writing—were studied to guide the creative process. The inspiration for this creative work originates from the community’s use of cultural capital to express the unique identity of Mon culture in the area surrounding Wat Pradittharam. The Mon community has preserved its cultural heritage through long-standing beliefs, traditions, and ritual practices that are continuously observed and passed down across generations. These cultural expressions demonstrate a strong connection between people, place, and spiritual belief systems, forming a core element of the community’s identity. Recognizing the richness and cultural significance of these traditions, the composer sought to reinterpret and communicate them through music. This approach not only enhances awareness within the local community but also supports the promotion of cultural tourism in a way that is both sustainable and culturally respectful.

The composition, titled the Ram Wong Ban Mon (Wat Pradittharam), was developed as a traditional Ram Wong song while incorporating modern musical elements to increase its appeal to contemporary audiences. The lyrical content was carefully designed to reflect important aspects of Mon cultural capital. These include references to traditional cuisine such as Khao Chae, local recreational activities like Mon-style Saba games, and deeply rooted religious beliefs and ritual practices that shape everyday life within the community. Rather than merely describing these elements, the lyrics integrate them into a cohesive narrative, allowing listeners to experience and understand the cultural identity of the Mon people in a meaningful and engaging way. Following the composition and refinement process, the song was disseminated through multiple channels, including online media platforms and live community events. It was also incorporated into cultural tourism promotion activities, serving as a medium for storytelling and cultural communication. The use of music in this context allows for a more immersive and emotionally engaging experience for audiences, helping to bridge the gap between cultural knowledge and public perception.

The music is created using the pentatonic scale for the main melody and Thai instruments, namely Khluy (Thai Bamboo Flute), Ranat-Ek (Thai Xylophone), and Cha-Khe (Thai Zither), as the primary instruments for the melodic accompaniment. Various techniques and nuances are employed to create a clear Thai and Mon sound, which can be played well with Western instruments. Furthermore, the composition is structured in an A-B-A-B-A-B-C pattern, similar to the rondo form in classical music. Section A acts as the recurring theme (the refrain), which defines the Rondo-like quality. The composition utilizes a 2/4 time signature at a tempo of 65 BPM, providing a moderate, danceable rhythm characteristic of Ram Wong music. This rhythmic structure supports group dancing and social interaction, which are essential elements of traditional Ram Wong performance. The melodic framework is built upon a pentatonic minor scale, ensuring a comfortable vocal range for both male and female performers.

The findings of this creative work demonstrate its multifaceted benefits across several dimensions. From a cultural perspective, the project contributes to the preservation, revitalization, and dissemination of Mon heritage. It presents traditions, beliefs, language, and ways of life in a format that is accessible, engaging, and suitable for audiences of all ages. Socially, the project fosters a sense of pride in local identity, encourages active participation in cultural preservation, and strengthens unity within the community. In terms of cultural tourism, the song serves as an effective promotional tool, helping to attract visitors, increase awareness of local cultural knowledge, and enhance the image of the Mon community at Wat Pradittharam as a distinctive and meaningful destination. From an educational standpoint, the composition can be utilized as a learning resource in both formal and informal educational settings. It supports the study of music, culture, and local wisdom, offering an interdisciplinary approach to learning. Economically, the project contributes to income generation by supporting tourism-related activities, including cultural performances and the sale of locally produced goods. Finally, this creative work provides a valuable model for integrating music with cultural heritage. It demonstrates how creative arts can play a crucial role in sustaining and promoting community identity while also offering a foundation for future developments in music and cultural expression.