Curriculum Mapping ป.ตรี
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A History of Siamese Music Reconstructed from Western Documents 1505-1932
A HISTORY OF SIAMESE MUSIC RECONSTRUCTED FROM WESTERN DOCUMENTS 1505-1932 This content downloaded from 96.9.90.37 on Thu, 04 Feb 2021 07:36:11 UTC All use subject to https://about.jstor.org/terms Introduction The writing of music history, the chief activity of the musicologist, depends almost entirely on the existence of written documents. Historical studies of various musics of the world have appeared wherever there are such documents: Europe, China, Japan, Korea, India, and in the Islamic cultural area of Western Asia and North Africa. Mainland Southeast Asia, however, has remained much of a musico-historical void since little has remained besides oral traditions and a few stone carvings, although Vietnamese music is an exception to this statement. The fact that these countries have so few trained musicologists also contributes to the lack of research. In the case of the Kingdom of Thailand, known before 1932 as Siam, little has been attempted in the way of music history in languages other than Thai, and those in Thai, also not plentiful, remain unknown to the outside world.l Only the European-trained Prince Damrong has attempted a comprehensive history, but it is based as much on tradition and conjecture as on concrete evidence and is besides quite brief. David Morton's classic study of Thai traditional music, The Traditional Music of Thailand, includes some eighteen pages of history, mostly based on oral traditions, conjecture, circumstantial evidence from neighboring musical cultures (Cambodia, China, and India), and some from the same documents used in this study. At least three reasons can be given for the lack of historical materials originating in Thailand. -
Asia by Robert Casteels
Resonances k: of Asia by Robert Casteels LIBRARYBOARD NATION All Rights Reserved, National Library Board, Singapore - Resonances k Recording locations and year: Track 1 and 12: Parekh Recording Centre, Bangalore, India 2007/ Track 2 and 8: Gopal Raj of recording, LASALLE College of the Arts, Singapore November 2009/ Track 3: School of Oriental and African Studies, University of London 2006/ Track 4, 9, 10 and 13: Pavane Recording Studio, Singapore December 2009/ Track 5: Rolton recording, National University of Singapore, University Cultural Hall, Singapore 2002/ Track 6: Manuel Cabrera II recording, Singapore November 2009/ Asia Track 7 and 11: Huy Oestrom Moeller recording, Singapore 2003 Robert Copyright and permission: Track 1 and 12: Ghanavenotham Retnam/ Track 3: Paphutsorn by Casteels Wongratanapitak/ Track 2, 4, 5, 6, 8, 9, 10 and 13: Robert Casteels/ Track 7 and 11: Huy Oestrom Moeller Mastering: Pavane Recording Studio, Singapore Author of programme notes: Dr Robert Casteels Initiator and coordinator of the CD project: Didier Ballenghien, CIC Singapore Branch Coordination of the CD design: Rose Teo‘ CIC Singapore Branch Photographer: Russel Wong Text editor: Jolie Giouw Graphic Designer: Dunhill Von Gonzales, Creative Studio Xpress Printer: Xpress Print Pte Ltd & ® 2009 All rights reserved C C All Rights Reserved, National Library Board, Singapore Foreword Resonances of Asia by Robert Casteels Music is high on CIC agenda of sponsoring throughout the world. 1 Alaipayyuthe [7:40] Composed by Oothukkadu Vegadasubbaiar for Khuzal and ensemble of South Indian instruments In France, Crédit Industriel et Commercial has been sponsoring the annual classical music awards “Ies Victoires de la Musique" for numerous years and is the privileged 2 Baris [4:02] Balinese warrior dance for Gamelan orchestra sponsor and owner of a famous cello made in 1737 by Francesco Goffriller and played by internationally renowned cellist Ophélie Gaillard, (www.0pheliegaillard.com). -
Learning the Malay Traditional Musical Instruments by Using Augmented Reality Application
Journal of Engineering and Applied Sciences 15 (7): 1622-1625, 2020 ISSN: 1816-949X © Medwell Journals, 2020 Learning the Malay Traditional Musical Instruments by using Augmented Reality Application Masyarah Zulhaida Masmuzidin, Nur Syahela Hussein and Alia Amira Abd Rahman and Mohamad Aqqil Hasman Creative Multimedia Section, Malaysian Institute of Information Technology (MIIT), University Kuala Lumpur, Kuala Lumpur, Malaysia Abstract: This study proposed the implementation of Augmented Reality (AR) technology to promote the learning experience about Malay traditional musical instruments. The application uses a book as a marker to help the user visualizes the traditional musical instruments, learn the history behind it and how the instruments sounds. As a starting point, a library research has been conducted in order to understand the current state of the art. ADDIE Model has been used and the design and development phases has also been discussed. This AR application is expected to be a tool for promoting the Malay traditional musical instruments for the new young generation. Key words: Augmented reality, Malay musical instruments, digital heritage, music, traditional INTRODUCTION primary and secondary school. The implementation of this syllabus can encourage the young generation to learn Malaysia is a multi-racial country and is well known about their traditional musical instruments. for the richness of its art, culture and heritage. For In terms of promoting the beauty of Malaysia cultures example, Malaysia has a wide range of unique traditional in the eyes of the world, many exhibition has been done by the government agencies. The Department of Malaysia musical instruments that belong to the Malays, Chinese, Museums, for example has 1.500 collections of traditional Indians and from other ethnics. -
10Th Anniversary, College of Music, Mahasarakham University, Thailand
Mahasarakham University International Seminar on Music and the Performing Arts 1 Message from the Dean of College of Music, Mahasarakham University College of Music was originally a division of the Faculty of Fine and Applied Arts that offers a Bachelor of Arts program in Musical Art under the the operation of Western Music, Thai Classical music and Folk Music. The college officially established on September 28, 2007 under the name “College of Music” offering an undergraduate program in musical art as well as master’s and doctoral degree programs. At this 10th anniversary, the College is a host for events such as the international conference and also music and dance workshop from countries who participate and join us. I wish this anniversary cerebration will be useful for scholars from many countries and also students from the colleges and universities in Thailand. I thank everyone who are in charge of this event. Thank you everyone for joining us to cerebrate, support and also enhance our academic knowledge to be shown and shared to everyone. Thank you very much. Best regards, (Khomkrich Karin, Ph.D.) Dean, College of Music Mahasarakham University 10th Anniversary, College of Music, Mahasarakham University, Thailand. 2 November 28 – December 1, 2018 Message from the Director of Kalasin College of Dramatic Arts For the importance of the Tenth Anniversary of the College of Music, Masarakham University. the Kalasin College of Dramatic Arts, Bunditpatanasilpa Institute, feels highly honored to co-host this event This international conference-festival would allow teachers, students and researchers to present and publicize their academic papers in music and dance. -
Comparison of the Music Sound System Between Thailand and Vietnam Sansanee Jasuwan
World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:7, No:1, 2013 Comparison of the Music Sound System between Thailand and Vietnam Sansanee Jasuwan culture between Thai and Vietnamese music forms the basis of Abstract—Thai and Vietnamese music had been influenced and my current research, where there is extreme variety and a great inspired by the traditional Chinese music. Whereby the differences of deal of difference. Studying the differences in the music sound the tuning systems as well as the music modes are obviously known . system can be further applied to create a better understanding The research examined the character of musical instruments, songs of the Asian countries including the culture, belief and and culture between Thai and Vietnamese. An analyzing of songs and modes and the study of tone vibration as well as timbre had been wisdoms of these countries. This research aims to study the done accurately. This qualitative research is based on documentary musical instruments and songs of Thai and Vietnamese music and songs analysis, field study, interviews and focus group discussion and to compare the music sound system between Thailand and of Thai and Vietnamese masters. The research aims are to examine Vietnam by analyzing songs and scales, and studying the tone the musical instruments and songs of both Thai and Vietnamese as of musical instruments. The research result can present about well as the comparison of the sounding system between Thailand and the sound systems and culture of each country. Vietnam. The finding of the research has revealed that there are similarities in certain kinds of instruments but differences in the sound systems II. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
Khaen Performance: an American Perspective on Traditional Pedagogical Practices
KHAEN PERFORMANCE: AN AMERICAN PERSPECTIVE ON TRADITIONAL PEDAGOGICAL PRACTICES A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Charles Occhipinti November 2020 Thesis written by Charles Occhipinti B.A., Appalachian State University, 2016 M.A., Kent State University, 2020 Approved by ________________________________________ Andrew Shahriari, Ph.D., Advisor ________________________________________ Kent McWilliams, D.M.A., Director, School of Music ________________________________________ John Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS PAGE LIST OF FIGURES .........................................................................................................................v ACKNOWLEGMENTS ............................................................................................................... vii CHAPTER I. INTRODUCTION TO THE KHAEN ..........................................................................................1 Introduction ..........................................................................................................................1 Survey of Literature .............................................................................................................3 Proposed Topic ..................................................................................................................10 Source Materials ................................................................................................................11 -
Library of Congress Medium of Performance Terms for Music
A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭. -
Narong Prangcharoen and Thai Cross-Cultural Fusion in Contemporary Composition
NARONG PRANGCHAROEN AND THAI CROSS-CULTURAL FUSION IN CONTEMPORARY COMPOSITION A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by NATHINEE CHUCHERDWATANASAK B.A.(Music), Mahidol University, 2007 M.M., Eastern Michigan University, 2009 Kansas City, Missouri 2014 NARONG PRANGCHAROEN AND THAI CROSS-CULTURAL FUSION IN CONTEMPORARY COMPOSITION Nathinee Chucherdwatanasak, Candidate for Master of Music Degree University of Missouri-Kansas City, 2014 ABSTRACT Narong Prangcharoen (b.1973) has become one of the leading Asian classical composers since he won a number of international awards and received numerous commissions from major orchestras and individual distinguished musicians. His compositions, most of which include distinct Thai musical elements and Thai cultural influences within the guise of Western art music, are emblematic of a trend in contemporary composition that embraces worldwide influences. This thesis is a first step toward the literature of this compositional trend of Thai/Western musical fusion. It begins with a survey to different approaches of applying exotic elements into Western compositions, focusing on the fusion of Western and Far Eastern musical/non-musical elements of China and Indonesia. The focus then shifts to the cross-cultural interplay between Thai and Western elements that has appeared throughout Thai music history. The main topic of thesis ensues, with the presentation of Prangcharoen’s musical background, his creative process, and his synthesis of Thai influences and Western compositional techniques in his orchestral music. The purpose of this thesis is to be not only a principal source in iii apprehending Prangcharoen’s life and works, but also a foundation for any future study relating to Prangcharoen or other Thai composers and their compositions. -
The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 8-2019 Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works Tachinee Patarateeranon Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Patarateeranon, Tachinee, "Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works" (2019). Master's Theses. 93. https://digscholarship.unco.edu/theses/93 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School TRADITIONAL SOUNDS ON WESTERN INSTRUMENTS: THE USE OF TRADITIONAL MUSIC OF MAINLAND SOUTHEAST ASIA IN WESTERN ORCHESTRAL WORKS A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Tachinee Patarateeranon College of Visual and Performing Arts Department of Music Music History and Literature August 2019 This Thesis by: Tachinee Patarateeranon Entitled: Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works has been approved as meeting the requirement for the Degree of Master of Music in the College of Visual and Performing Arts, Department of Music, Program of Music History and Literature Accepted by the Thesis Committee: _______________________________________________________ Dr. Deborah Kauffman, D.M.A., Advisor _______________________________________________________ Dr. -
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Abstract This study was conducted by means of the qualitative research methodology and ethnomusicology with the aims to 1) investigate the history of Mark-Kub-Kab, and 2) explore the roles of Mark-Kub-Kab in Isan cultural performing arts. The findings revealed the following: 1) “Mark-Kub-Kab” is a percussion instrument made of hardwood and featured in 2 varieties: short and long. Its history has not been evidently documented. The performance has no fixed pattern, depending more on occasions and the performers’ wits and improvisation. Mark-Kub-Kab is played in traditional local festivals and has been integrated into Isan cultural performing arts such as Mor Lam Klon, Nang Pramothai (Isan shadow play), Mor Lam Plern, and Pong Lang bands. 2) Mark-Kub-Kab features in 5 types of performances: 1) Local performances, 2) Mor Lam Klon performances, 3) Nang Pramothai performances, 4) Lam Plern performances, and 5) Pong Lang performances. Keywords: Mark-Kub-Kab, folk performance Introduction Isan musical instruments can be divided into plucked string instruments, bowed string instruments, percussion instruments and woodwind instruments. These instruments are played for entertainment as well as in rituals according to the beliefs of the local people in different areas. Percussion instruments, in particular, have played a role that is closely connected to the lives of Isan people from the olden days. For example, an instrument in the shape of a wooden stick (Kroh) was drummed as a call for a meeting or a signal for news, and a drum was used as a military signal to call for an army before a battle, as a signal of a meeting, and as an announcement of news. -
The Journey of Pong Lang Sa on in the Thai Entertainment Business
Asia Pacific Journal of Education, Arts and Sciences, Vol. 2 No. 4, October 2015 ______________________________________________________________________________________________________________ The Journey of Pong Lang Sa On in the Thai Entertainment Business Danaiya Sungketkarn, Pattamawadee Chansuwan & Vuthipong Roadkasamsri The Faculty of Fine and Applied Arts, Mahasarakham University, Khamriang Sub-District, Kantarawichai District, Maha Sarakham Province, 44150, Thailand [email protected] Date Received: July 3, 2015 Date Revised: August 18, 2015 Abstract – Pong Lang Sa On is a Thai musical Besides generating income, the role of the group, who perform traditional pong lang music with entertainment business is to help solve social elements of pop, rock and comedy. They mix problems, entertain and develop a business system to Northeastern and Central Thai cultures, combining support artists, actors and entrepreneurs to create and folk music, dramatic arts and live performances that disperse work [5]. Creative product analysis allows relate to the young generations of Thai people. They members of the industry to identify outstanding or modernize traditional performances by including interesting aspects of their work, harness their benefits jokes to entertain viewers. The cultural adaptation of and continuously expand their target group. Therefore, Pong Lang Sa On has led to their popularity and the ultimate role and function of the entertainment importance for Northeastern Thai folk music. Before business is to provide and increase viewer satisfaction. going mainstream, the primary concern of Pong Lang When there are many types of entertainment, there Sa On band-members was their specific group will be more viewers. In light of this, entertainment identity. After Pong Lang Sa On entered the companies manage their artists to maximize income entertainment business, their identity became a potential by increasing variety and appealing to wide sensitive issue.