Journal of Music and Performing Arts Khon Kaen University

A Study of Thai vocal techniques in Sud sa-nguan Sam chan: A case study of Khru Chareonjai Suntharawathhin’s singing from the album ‘Benjaphan’ released on the Kamonsukosol label

Sun, 31 Aug 2025 00:00:00 +0700

The objectives of this research are as follows: (1) to examine the personal style of Ajarn Chareonjai Suntharawathhin 's singing techniques in the ‘Benjaphan’ released on the Kamonsukosol label recording Sud-sa-nguan Sam chan; and (2) to analyze the pattern of melodic arrangement, grouping of song texts, and breathing position of Ajarn Chareonjai Suntharawathhin's techniques. The research was conducted according to a qualitative research approach, including documentary research and interviewing experts in classical Thai music singing, analyzing the main melody, and analyzing the particular techniques of singing. The results found that there are two methods to the Ajarn Chareonjai Suntharawathhin singing technique: the strategy of Oyen (เอื้อน) and Pan-Khaam (ปั้นคำ), the strategy of creating a sound for lyrics. The techniques of Oyen include Oyen-Sam-Siang (เอื้อนสามเสียง), Oyen-Kratop-Siang (เอื้อนกระทบเสียง), Phan-Siang (ผันเสียง), and Khran (ครั่น). Of these, four are made up of 13 sub-units of Oyen. In the Pan-Khaam strategy, there are two types of expressive word formation to convey meaning and emotion: one word and one sound, and one word—many sounds. There are two types of word groupings: three-part word groups, such as 3-2-3, and four-part word groups, such as 2-1-2-3. Most melodic arrangements fall between bars 1–6 of each line. Bars 7-8 are the locations of the song lyrics. Most breathing positions occur between the end of the Oyen and before the song lyrics.

Creative Concepts in Saw U Solo Compositions for Thai Music Competitions for Elementary and Secondary Students: A Case Study of Assistant Professor Amnat Boonanon, PhD.

Nontaphat Wongmoon, Assoc.Prof.Tharanat Hin-on, PhD. — Sun, 31 Aug 2025 00:00:00 +0700

The objectives of this research are as follows: 1) Study the creative guidelines for the Saw-u Solo used for contests. 2) Study the process of transmitting Saw-u Solo used for contests. This research is qualitative. The researcher has studied and analyzed, which can summarize the research results according to the objectives. As follows:

The creation of a Saw-u Solo song for a contest at the primary school level. and secondary school of Assistant Professor Dr. Amnat Boonanon found that it is a demonstration of the wisdom of the creator of a solo song to creativity. Let the solo song have excellence in every dimension. We must also create a path suitable to the potential of the learners to show their excellence through playing. This has resulted in 4 main concepts: 1. Conveying the emotion of the song and its meaning. completely correctly 2. Poetry expressions that have skill according to Saw-U's spirit. 3. Appropriate playing strategies 4. Neat, elegant, and have creative guidelines as follows: 1. Steps to study, analyze, and interpret the song: 1.1 Study the context of the song. 1.2 Analyze the song according to its musical elements. 1.3 Interpret the song, and 2. Solo song creative step.

The process of communicating issues about the meaninglessness of human life appeared in Eugene O'Neill's Thirst through theatre directing

Attakrit Pruerklerttrakul, Asst.Prof.Dangkamon Na Pombejra, PhD — Mon, 01 Sep 2025 00:00:00 +0700

This research from the researcher's interpretation that the realism theatre style play in Eugene O'Neill's THIRSThas the main idea and important issue about the meaninglessness of human life, which is one of the ideas from the theatre of the absurd. The researcher, as the theatre director, had a question: How can the directing process be used to communicate the idea from the theatre of the absurd in a realism theatre style? Therefore, the objective is to study and experiment with the appropriate directing process for communicating to answer that question.

The researcher used creative research methods. Analyze and collect relevant information to create a conceptual framework to understand the details of such issues hidden in the content of the play. It is then analysed and interpreted according to principles for theatre directing to find a message (main idea), objective, action, and conflict. Then compile and prepare information for directing. during practice, the researcher used a substitution method in each sequence situation of the play with the acter's experiences and imagination. Mainly using the method of Stella Adler's acting techniques to help review and create an understanding of the characterization for the actors and to experiment with learning and development throughout the rehearsal period until the performance to the public.

The research results showed that when the researcher has a conceptual framework for the issue of the meaninglessness of human life. It helps connect for analysis and interpretation of the play. Makes the researcher's thought process clearly understand the details of the play (especially the play's message) and builds confidence when directing. The content in the play can be communicated to the actors as well as the audience so that they can feel involved in the realism theatre style. In addition, this research process may be a guideline and method to help the director practice finding the message of the play to be precisely understood and be aware of what you want to communicate, including, priorities from using the message to guide the exploration of presentation for theatre's style with a clearer direction.

The Analysis of Ranat-Ek’s Poetic Style in the Piece “Choet.” of Kru Sa-ngob Tongtet

Santi Udomsri, Assoc.Prof.Jarun Kanchanapradit — Sun, 31 Aug 2025 00:00:00 +0700

This paper discusses Ranat-Ek’s poetic style in “Choet.” The study aims to demonstrate the characteristics and distinctiveness of Choet’s melody of Ranat-Ek playing, composed by Kru Sa-ngob Tongtet, a master Ranat-Ek player in Chonburi Province, Eastern Thailand. The analysis, based on Phichit Chaiseri’s (2023) selective approach, focusses on examining the distinctive Ranat-Ek poetic idioms of the melody and the concept of creating the melodic phrases. The study’s results reveal that Kru Sa-ngob Tongtet created the Ranat-Ek poetic style using traditional musical principles and philosophy. These principles include considering the principal melody, appropriately interpreting and selecting the melodic phrases, creating unique differences, and creating a melody that rhymes and is enjoyable to listen to. These reflect the knowledge, experience, and musicianship of Kru Sa-ngob Tongtet.

The Classification of Tapping techniques for Electric Bass

Asst.Prof.Bophit Khawhan, PhD, Puttinun Ketjaroen — Mon, 01 Sep 2025 00:00:00 +0700

The technique of tapping on an electric bass involves using both hands together to press both fingers on the fretboard. There are two types of tapping techniques that can be classified. For instance, 1) Touch style tapping involves using both hands' fingers to press on the fretboard. The tone can be short or long depending on how long the strings are pressed on the fretboard. 2) Linear tapping involves placing the fingers of the right and left hands
on the string in a hammer on and pull off manner.

A variety of tapping techniques can be created and developed by the player such as arpeggio tapping, scale fragments tapping, tapped bends, chords stack tapping style, accompaniment tapping style, double stop tapping style, polyphony tapping style, artificial harmonic tapping style. Furthermore, it can be combined with other techniques such as slapping with tapping, and tapping with strumming.