https://so03.tci-thaijo.org/index.php/JournalofMUSPAKKU/issue/feed Journal of Music and Performing Arts, Khon Kaen University 2024-04-30T22:37:31+07:00 ศาสตราจารย์ ดร. เฉลิมศักดิ์ พิกุลศรี บรรณาธิการวารสาร [email protected] Open Journal Systems <p>Music and Performing Arts Journal (MUSPAJ) is a specialist journal that aim to promote a dynamic exchange between students, academics and independent scholars in the field of music and performing arts. Its emphasis is on knowledge, practices and theories in music and performing arts as well as interdisciplinary approach and vision in expanding field of performance. MUSPAJ is peer-reviewed journal published by Department of Music and Performing Arts, Khon Kaen University.</p> https://so03.tci-thaijo.org/index.php/JournalofMUSPAKKU/article/view/270548 Contexts related to the construction of Thad drums by Suwan Photipin 2023-07-24T14:29:45+07:00 Wittaya Sriphong [email protected] <p style="font-weight: 400;">The research article related contexts to the creating Thad Drums of Suwan Photipin had objective to study related contexts of process in creating Thad Drums of Suwan Photipin by taking descriptive research methodology to study from academic documents and interviewing in field study. Finding found that Villagers in community at Akaraj Sub-district, Pamok District, Angthong Province by in the past be agricultures, farmers, and gardeners that have the leisure time career of drums creating but nowadays some of them change to create and make the drum as his main career and this community be accepted to be the famous place in the best quality of drum creating in Thailand. Hence Suwan Photipin be the most expert with full of experiences and be the most famous in Drum creating that be accepted from many Thai musicians. The process in creating Drums will use the modern technology of musical instruments starting from cutting the leather as the size as in front of drum later on to soak the leather in lye water in the big sink about 24 hours then pull the leather taut in front of drum for 3-4 days by using a hammer to break the front of drum every day for getting the soft leather and after accelerate it until is taut hence using an awl to make holes of puppet round and then hammered through the drilled holes to attach the leather to the drum puppet after this changing to the other side of the drum and make as the same processing. Creating 1 pair of Thad Drums will take time about 15 days besides Suwan Photipin will create and take the tautening drums by himself, he still create the musical instrument in making Thad Drums such as trestle drum, Thad drumstick, cooked rice loses sound, drum pillow and sleeper stand. If there is the public relation of how to create and make Thad Drums by Suwan Photipin as widely would help the interested people and in the other way can bring to be their other careers.</p> 2024-04-30T00:00:00+07:00 Copyright (c) 2024 Journal of Music and Performing Arts, Khon Kaen University https://so03.tci-thaijo.org/index.php/JournalofMUSPAKKU/article/view/271021 The Composition of Khongwonglek Solo in Thepbuntom Sam chan Song 2023-09-24T10:27:11+07:00 Thanathip Paopan [email protected] Chaomanat Prapakdee [email protected] <p style="font-weight: 400;">The objective of composition of Thepbuntom Sam Chan song in Kongwonglek solo is for creation of such song. This went through a qualitative research which came out that the structure of Thepbuntom Sam Chan song in Kongwonglek solo comprises 2 parts that were played 4 times, meaning that 2 times for each part were played in an ordinary and different times. The song was played by use of Kayee coupled with Sabud, Cheow and coming back to a normal rhythm in Natub section 2 whereas the first times in parts 1 and 2 were played based on the particular nature of Kongwonglek. Besides, there was also mixture of Laotian and Chinese melodies in part 2 of the first time while in the second time of each part there was use of various techniques. Moreover, a technical style in playing of Kongwonglek for Thepbuntom Sam Chan song was found which comprises techniques in Sabud, Cheow, Soi Tum Nong, Kwai Mue, Tee Krad, Tee Krod, Sabud Kao Sam Nuen, and Tee Yak Mue.</p> 2024-04-30T00:00:00+07:00 Copyright (c) 2024 Journal of Music and Performing Arts, Khon Kaen University https://so03.tci-thaijo.org/index.php/JournalofMUSPAKKU/article/view/270564 Ragtime, Influence of Early Jazz 2024-01-11T14:33:02+07:00 Rapeepol Lawongsa [email protected] <p style="font-weight: 400;">This article aimed: 1) to study the history and background of the Ragtime in various aspects of the scholars from various hypotheses; 2) to study the Scott Joplin’s biography; and 3) to analyze the playing techniques and characteristics of the Ragtime from the Mapla Leaf Rag song. The results were found that: 1.) the Ragtime is the traditional local music of the color-skinned American. The dominant characteristic shows the dissonance of the rhythm on the March rhythm basic played together with the piano amid 1895-1918; 2.) Scott Joplin was renowned as the king of the Ragtime and influencer for the Early Jazz. The first success was The Great Crush Collision composed in remembrance of the Crush at Crush. The reputed successes are the Mapla Leaf Rag, the Entertainer and the Pineapple Rag; and 3.) the Ragtime is based on the Stride Piano, the origin of the word, Rag. As a result of the characteristic analysis of the Mapla Leaf Rag song, it showed the form of AA' B B' A'' C C' D D' which is the fixed form similar to the Classical music prevalently found in general Ragtime songs. Keywords: Ragtime, Music History, Jazz music.</p> 2024-04-30T00:00:00+07:00 Copyright (c) 2024 Journal of Music and Performing Arts, Khon Kaen University https://so03.tci-thaijo.org/index.php/JournalofMUSPAKKU/article/view/271155 Cherdchan In Thai Music Culture 2023-12-29T15:49:23+07:00 Santi Udomsri [email protected] <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; This article examines the origins, significance, and characteristics of the melodic structure of Cherdchan. Examining the performance of Cherdchan by the Piphat ensemble in various contexts of traditional Thai music culture, including the Royal Ploughing Ceremony, the Khon (Thai masked dance drama) in the episode where Rama pursues the deer, and the Homrongklangwan repertoire, was the focus of this study. In-depth interviews and melodic analysis indicate that Cherdchan has a significant relationship with Cherd regarding the expansion of some of the melodic structure of the Cherd Chan Diao to become the melody of Cherdchan, while the drum rhythmic pattern of Cherdchan has a distinctive form that is distinct from other repertoires.</p> 2024-04-30T00:00:00+07:00 Copyright (c) 2024 Journal of Music and Performing Arts, Khon Kaen University https://so03.tci-thaijo.org/index.php/JournalofMUSPAKKU/article/view/271934 Somatic Acting Process practice by Christina Kapadocha: Reflecting on Training Experiences and Performance Practices in British drama schools 2024-01-11T14:36:21+07:00 Pitchachan Iamsaard [email protected] <p style="font-weight: 400;">Christina Kapadocha, a Greek lecturer, scholar, and theatre practitioner, pioneered the Somatic Acting Process. This practice was initially implemented in actor training at British drama schools. She utilized body movement patterns, combining it with her ten years of studying and practicing performance in both Greece and England. Eventually, she developed her own movement-based acting practice. As a Thai actor, I had the chance of training with her for two years as a postgraduate student in England. Her praxis, integral to movement for actors, differed from my training in Thailand, where movement was not emphasized. Through gradual training with Christina, I now comprehend it systematically, exploring our movement and the translation of movement. These aspects lead to application in the acting process, helping to decrease hesitation in creating characters for actors. This academic article aims to present the Somatic Acting Process by Christina Kapadocha for actor training from my perspective.</p> 2024-05-02T00:00:00+07:00 Copyright (c) 2024 Journal of Music and Performing Arts, Khon Kaen University