Journal of Music and Performing Arts, Khon Kaen University

The Study of Ja-Khe Solo on Lao Khaen of Khru Suthan Buatang

Prachya Boonmasoongsong — 2023-12-31

This research article aims to examine the melodic structure and playing strategies employed in the Chakhe solo rendition of Lao Kan song by Khru Suthan Buatang. This composition amalgamates elements from both Thai music and Isaan folk music. Results found that for this solo rendition, Khru Suthan Buatang employs a diverse range of techniques particularly emphasizing harmonious plucking of multiple strings, reminiscent of the Isaan Phin.

The melodic structure is segmented into three parts. The first part, serving as the introduction, derives its melody from the Isaan Phin solo in the Pu Pa Lan song. It places emphasis on strumming multiple strings in harmony, utilizing the same sound group as the original Lao Pan song. The second part, titled Nuea Lao Pan Ork Soom Lao Pan, incorporates elements from Khru Sawang Aphaiwong’s Lao Pan song. Khru Suthan Buatang composes a new Soom Lao Pan melody, building upon the original Soom Lao Pan. The third part delves into Isaan folk songs, where Khru Suthan Buatang integrates the Isaan melody of Nok Sai Bin Kaam Toong, rearranging it and appending the Soom Lao Pan melody, concluding with the melody of a Chirp Chirp song which is popular in Southern Isaan. This solo is composed for listening rather than dancing. The technique of plucking the two and three strings of the Chakhe connects to the thinking system and traditional wisdom inherent in Isaan music. The Pu Pa Lan pattern, featured in the introduction, contributes to the complexity and challenge of the song, showcasing advanced skills in traditional Isaan musical instruments. The Klong Ramwong (drums), designated as the accompaniment, introduces a novel element that enhances the clarity of Isaan music for the listeners.

The Making of Video Performance “Feeling”: Learning Feeling of Fragility through Meditation, Body and Sites

Rathakorn Pawaree — 2024-01-01

Feeling is a performance thesis for an undergraduate degree in performing arts. It is represented in the form of Video performance. As an artist-creator, I want to learn about my personal feelings of vulnerability and fragility in the creative process which are inspired by grandmother’s incident. The performance concept “Learning your own vulnerability”. The creative process consists of 5 steps: (1) concept study and data collection; (2) experimentation on presentation and style search; (3) story board planning; (4) filming and editing, and (5) public display. It takes a total of 7 months to work. The creative process involves the skills and techniques of body movement, art compositions and video editing. The work aims to reflect and convey the state of feeling connected with the vulnerability of the creator. There are 3 episodes released: (1) Fragile – feelings of vulnerability due to changes in grandmother's health; (2) Fear – fear of fragility due to being away from grandmother and (3) Miss – letting go and accepting vulnerability and loss. I found that, in addition to obtaining raw materials from exploring the feeling of creating works, vulnerability is also an important quality that allows more imagination to develop. This makes it possible to see more opportunities and options in terms of presentations and images that are deeply connected to feelings.

The Influence of Folk music on the Enhancement of executive function skills (EF) for Alpha generation

Chalermpol Ataso — 2023-12-31

Currently, there are predictions about Generation Alpha children being the most intelligent and capable generation in human history. Studies are being conducted to understand their future and the context in which this generation will grow up. It has been observed that children in this era are growing up surrounded by digital information and have limitless access to knowledge. This has led to behaviors and tendencies such as easily getting bored, detachment from societal norms, and a high level of self-expression with lower social skills and reduced patience.

This academic article aims to present knowledge about Generation Alpha children and the development of Executive Functions (EF) through the use of traditional music as a foundation for learning activities. This includes aspects of EF that influence children's thinking and behaviors, which can be adapted or extended. By using traditional music as a foundation, learning activities are created to encourage independent thinking, active listening, and the enhancement of EF skills. This approach aims to contribute to creating well-rounded individuals who possess not only knowledge but also important social and cognitive skills.

Phleng Yaak ja me chiwit tedee gwaa nee: Introducing the welfare state through songs that aren't just about one's own life

Chitsanupong Intarakaew — 2023-12-31

There is a sarcastic remark and a question. Songs for Life (Who), demonstrating that this issue has been debated across society. Some groups assume that they just value the music. Personal issues of the artist should not be intrusive. However, by researching the backdrop of music for life that used to take place in society and taking into consideration the history of music for life in Thailand, one may understand what music for life should comprise. What kind of information is it? It also prevents the song from being pulled out of its social context. As a result, this article contrasts songs of music for life with protest songs, as well as mentioning the Commoner band's song "Would like to live a better life." Reflecting on the current period's notion of music for life that evolved during the People's Party 2020, as well as communicating the idea that music for life must not be for the life of any single individual.

Integrity on Diversity: the Malaysia’s Culturally Pluralistic Music

Chayuti Tassanawongwara — 2024-01-04

Malaysia's independence in 1957 resulted in the formation of a nation that confronted multiethnic issues. The requirements of nation-building and development necessitated taking advantage of the diverse thought processes and cultural contexts of the various ethnic groups. The purpose of this paper is to demonstrate that Malaysia's musical cultural heritage is as diverse as its society. In this post-colonial era, Malaysians are constituted of a majority and a minority; Melayu people and native people, including Orang Asli and tribal people, designated as Bumiputera, while Malaysian Chinese and Malaysian Indian are implicitly recognised as splinter groups. The recent government policy of promoting ethnic harmony, referred to as Satu Malaysia (1 Malaysia), has created a unity of multi-culture in Malaysia that is inclusive of music. The paper's findings indicate that music's role in fostering unity increased acceptance and perception of diversity in three steps: preservation of cultural ethnic heritages, cross-territorial connections, and acceptance of distinctions in order to create a holistic identity. As a result of the harmony process, Malaysia is increasingly promoting a society based on the integrity of its diversity.