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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. -
The Khaen: Place, Power, Permission, and Performance
THE KHAEN: PLACE, POWER, PERMISSION, AND PERFORMANCE by Anne Greenwood B.Mus., The University of British Columbia, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Ethnomusicology) THE UNIVERSITY OF BRITISH COLUMBIA Vancouver June 2016 © Anne Greenwood, 2016 Abstract While living in the Isan region of Thailand I had the opportunity to start learning the traditional wind instrument the khaen (in Thai, แคน, also transliterated as khène). This thesis outlines the combination of methods that has allowed me to continue to play while tackling broader questions surrounding permission and place that arise when musicians, dancers, or artists work with materials from other cultures. Through an examination of the geographical, historical, and social contexts of the Isan region I have organized my research around the central themes of place, power, permission, and performance. My intent is to validate the process of knowledge acquisition and the value of what one has learned through action, specifically musical performance, and to properly situate such action within contemporary practice where it can contribute to the development and continuation of an endangered art form. ii Preface This thesis is original, unpublished, independent work by the author, Anne Greenwood. iii Table of Contents Abstract .......................................................................................................................................... ii Preface -
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. -
The Influence of Social Condition Towards the String Ensemble Development in Rattanakosin Era
THE INFLUENCE OF SOCIAL CONDITION TOWARDS THE STRING ENSEMBLE DEVELOPMENT IN RATTANAKOSIN ERA PANSAK VANDEE Department fo Music Suan Sunandha Rajabhat University 1 U-Thong nok Road, Dusit, Bangkok 10300 Thailand Abstract- The research aims to study the influence of social condition towards the string ensemble development during Rattanakosin period; and to study the role of string ensemble in Thai society. The study is counted as a historical research applying a set of methods, namely, documentation research, field study, and in-depth interview with 10 historians and Thai classical music experts.The research results are as follows : According to the research on the Thai string ensemble, the first ensemble was created at the earlyAyutthayaperiod and was popularly performed among artists until the early Rattanakosin era.During the Western colonialism, the Thai society was changed in terms of policy by King Rama IV.A lot ofdevelopmentplans were launched to be compatible withthe western.In particular, the Royal court and noble circle adjusted themselves by adopting some western cultures. The Thai string ensemble was developed and formed as a recreational activity to please the elite group. The later king, King Chulalongkorn,had expanded his father’s idea of modernization by sending his sons and cousins to study in Europe. In the meantime, the Thai musicians and singers also had chances to perform, exchange and share their experience with the western artists. Upon their return to Thailand, the western style of performance was introduced to the royal court and some instruments were added to the conventional band, such as violin and organ. These were continuously adapted to the royal court of King Rama VI, King Vajiravudh, who graduated from Oxford University, as the Thai string ensemble with piano. -
Developing of Thai Classical Music Ensemble in Rattanakosin Period
World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:7, No:1, 2013 Developing of Thai Classical Music Ensemble in Rattanakosin Period Pansak Vandee the governance has been divided into 3 parties; the Abstract—The research titled “Developing of Thai Classical administrative section, the legislature and the judiciary. Over Music Ensemble in Rattanakosin Period” aimed 1) to study the 80 years under the constitutional monarchy, Thailand was history of Thai Classical Music Ensemble in Rattanakosin Period vulnerably due to the several numbers of the overthrows and and 2) to analyze changing in each period of Rattanakosin Era. This the constitution revises. is the historical and documentary research. The data was collected by in-depth interview those musicians, and academic music experts and The development of Rattanakosin Period was classified by field study. The focus group discussion was conducted to analyze the changing of city and the governance. The country and conclude the findings. The research found that the history of changed, the way of life, social, culture changed as well. Thai Classical Music Ensemble in Rattanakosin Period derived from Western civilization influenced the country restoration in the the Ayutthaya period. Thai classical music ensemble consisted of earlyRattanakosin Period and had an affect on arts and “Wong Pipat”, “Wong Mahori”, “Wong Kreang Sai”. “Wong cultures restoration connecting with the Ayuddhaya Period. Kubmai”, “Wong Krongkak”, “Brass Band”, and “Kan Band” which were used to ceremony, ritual, drama, performs and entertainment. The arts and cultures were various according to the paths of Changed of the Thai music in the early Rattanakosin Period were democracy[1]. -
Relative Nature of Thai Traditional Music Through Its Tuning System
IJCAS: Vol. 2, Number 1 June 2015 Relative Nature of Thai Traditional Music through its Tuning System Nattapol Wisuttipat Bharat Vidyalaya School Srinakharinwirot University email: [email protected] ABSTRACT Thai traditional music exhibits number of relative characteristics, though many of them are not expressed explicitly but only demonstrated orally. Its tuning system, despite having been put through many scientific studies for decades, cannot be given the absolute pitch frequencies. It is therefore possible that the tuning system does not have any absolute pitch frequencies but possesses relative nature. This papers aims to present the historic background, characteristics, past, current practices of Thai traditional music’s tuning system and to put forward the theoretical idea of non-existence of absolute tuning frequency and that of relative nature of Thai traditional music’s tuning system. The data was collected from previous researches on Thai traditional music’s tuning system and from sample instruments. The latter was then compared to each other and analyzed with respect to the former. The preliminary results were that tuning system of Thai traditional music was in the form of seven-tone equal temperament without any sharps or flats. But practically, it was not exactly equal as musicians still prefer the traditionalbiased tunings which is believed to be more tuneful. Regarding the tuning practices, the tuning of Fine Arts Department are most dominating among several others. Even though, the tuning of Fine Arts Department measure from various sources are slightly different in terms of frequencies and intervals. It can be concluded that the tuning system of Thai traditional music does not rely on specific pitch frequency, but is relative to intervals and personal preferences and its absolute pitch frequency is yet to be established. -
The Story of the Lost Thai Classical Music Ensemble
THE STORY OF THE LOST inherited musical wisdom from the Wang THAI CLASSICAL MUSIC Burabha ensemble, which belonged to Prince Bhanubhandhu-wongworadech, his ENSEMBLE: THE WANG father-in-law. Among the great teachers BANG KHOLAEM were: Luang Praditphairoh (Son ENSEMBLE Silapabanleng), Phra Phinbanlengraj (Yam Prasansup) and Phra Phatbanlengromya Punnee Bualek1 (Phim Wathin). Moreover, he was also able to gather many gifted musicians into the ensemble. In addition, the ensemble Abstract flourished and fostered great interest in the social and cultural environment of the This article was written to answer the period which existed during the reign of following two questions, which are 1) King Rama VII before the Revolution in What is the history of the Wang Bang 2475 B.E. 3) As for the relationship Kholaem ensemble? What were the between the great teachers and the reasons for its establishment and musicians, it was based on very strict dissolution? 2) What were the factors that discipline. In addition to the fact that the led to its success? Did the relationship owner was of high royalty, the relationship between the ensemble owner and his between the owner and his musicians was musicians contribute to its success? The that of the patronage system according to results were: 1) The Wang Bang Kholaem feudal tradition. The musicians respected Thai Classical ensemble was set up and adored the owner so they dedicated around 2470-2475 B.E. The owner was themselves to working effortlessly to build Prince Krommaluang Lopburirames. The a great reputation for the ensemble. ensemble was dissolved after his death. The reason why he chose Bang Kholaem 1. -
The Influence of Social Condition Towards the String Ensemble Development in Rattanakosin Era
THE INFLUENCE OF SOCIAL CONDITION TOWARDS THE STRING ENSEMBLE DEVELOPMENT IN RATTANAKOSIN ERA PANSAK VANDEE Department fo Music Suan Sunandha Rajabhat University 1 U-Thong nok Road, Dusit, Bangkok 10300 Thailand Abstract- The research aims to study the influence of social condition towards the string ensemble development during Rattanakosin period; and to study the role of string ensemble in Thai society. The study is counted as a historical research applying a set of methods, namely, documentation research, field study, and in-depth interview with 10 historians and Thai classical music experts.The research results are as follows : According to the research on the Thai string ensemble, the first ensemble was created at the earlyAyutthayaperiod and was popularly performed among artists until the early Rattanakosin era.During the Western colonialism, the Thai society was changed in terms of policy by King Rama IV.A lot ofdevelopmentplans were launched to be compatible withthe western.In particular, the Royal court and noble circle adjusted themselves by adopting some western cultures. The Thai string ensemble was developed and formed as a recreational activity to please the elite group. The later king, King Chulalongkorn,had expanded his father’s idea of modernization by sending his sons and cousins to study in Europe. In the meantime, the Thai musicians and singers also had chances to perform, exchange and share their experience with the western artists. Upon their return to Thailand, the western style of performance was introduced to the royal court and some instruments were added to the conventional band, such as violin and organ. These were continuously adapted to the royal court of King Rama VI, King Vajiravudh, who graduated from Oxford University, as the Thai string ensemble with piano. -
A History of Non-Western Bowed Instruments a Look Into the Eastern History of the Modern-Day Violin Sarah A
Long Island University Digital Commons @ LIU Undergraduate Honors College Theses 2016- LIU Post 2019 A History of Non-Western Bowed Instruments A look into the Eastern History of the Modern-Day Violin Sarah A. Bogen Follow this and additional works at: https://digitalcommons.liu.edu/post_honors_theses A History of Non-Western Bowed Instruments A look into the Eastern History of the Modern-Day Violin An Honors Program Thesis by Sarah A. Bogen Spring 2019 LIU Post Music Department Faculty Advisor(Dale Stuckenbruck) Faculty Reader (Maureen Hynes) 1 Table of Contents Abstract ......................................................................................................................................................... 4 Chp.1: Types of Bowed Instruments in East Asia .................................................................................... 6 China ......................................................................................................................................................... 7 The Erhu.................................................................................................................................................... 7 Historical Development ............................................................................................................................ 8 Construction and Appearance ................................................................................................................. 12 Playing Techniques ................................................................................................................................ -
ก ก F F a Development of Northeastern Folk Music Notation for Khim
กก A Development of Northeastern Folk Music Notation for Khim ก1 กกก 1) ก 2) ก ก 10 ก ก ก 7 กก ก กก 8 3 1 3 3 (-) ก กก 25 ก ก กก กก กก กก กกก กก กก กกกกก กก กกก ก กก : ก Abstract The objectives of the ReseaRch on A Development of NoRtheasteRn Folk Music Notaion foR Khim weRe: 1) to develop the noRtheasteRn folk music notation foR Khim (hammeRed dulcimeR), and 2) to apply the noRtheasteRn folk music notation foR the peRfoRmance of Khim. The sample consisted of 10 melodies of noRtheasteRn folk music: Laai Toey Khong, Laai Toey Bhama, Laai PhuThai Law Toob, Laai Lum SeRng Pong Lang, Laai Pong Lang, Laai Nok Sai Bin Khaamtoong, Laai SeRng Bung Fai, Laai Nam Toan TaRd, Laai 1 88 Maleang Phu Tom Dok Mai, and Laai Bai Si Su Khuan. A Thai musical instRument, Khim with 7 bRidges was applied foR the development of the noRtheasteRn folk notes. Thai music system, solfege system (oR "sol-fa syllable"), and the sound of Khlui Phiang Aw weRe used as the RefeRences to identify the sounds of music foR the note development. 3-line staff with 8 spaces was designed to RepResent the 3 levels of the sounds pRoduced by the Khim with 3 Rows of 7 bRidges. The scale of the noRtheasteRn folk music coRResponding to a minoR Pentatonic was used in this study. 25 Music-majoR students of Humanities and Social Sciences Faculty, Loei Rajabhat UniveRsity weRe assigned to peRfoRm the Khim by using the developed notes. -
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reffiEE@@@ Pengamh Reklor lsl Padangpanjang ?ol Dr. Mllrdi Bahar, S.Kai, M Hum. Pen&ggung Jard/Kopda PUSTNDOK Yumidi, S.Sn., M Sn. Pinpinan Redaksikerua Penynntitrg Edisar, S.Sn, M.Hum. Ds-IHdit?rlMrSnf 'l^ @I!@l14 a I-E.h .-P-""il -- rl-- - H, n: llslIPaddnmarEj prrdone\,a) +.r+of oi.rvi"Dr.Mohtain;O-m ?ii1ft-*!6 I D n1Lr"i,,-hh:-p.}oirs:liil*ilLd;,,i!Efit; kib-d u.-E**w" iir,,v..rrVd dy.'d, b, D"',fiH,ait iaF{ " rram*a ",6r n* iiEIffi ,Isr-li-rsr,y"iiii'liliI l*."r Prol Dr. Eodaro,!rJir.i.r*;Dr---;;e;""r)"1(*r.1i,t 3-rtlriFati, 5.(411VErn:iSTSItB;lrd!, 8-l1do$L) v2r:Y-^r1P' K*,i:ri ndr, l-.-s6li-. M.ri, Ea Ohavianus, S.Sn.. M.S.. Arga Budaya. S.Sn., M.Pd. llhm SuSesli, S.Kom. Caraian: k i/Materi Jumal adalah t n&.lun g i awab penu I h. PENCANIARREDAKSI .ff.tPnEt1,t rV/" Juarat llin!Pengctahuandan KaryaSeni tnenuSeni irdonesid (l5l) Padanspanjans merIpxkan sebuah rempat pengungkapanpiknan t]kjran pemcfiari scni sccrra ,lrnrah, blik kdian bidaig keilnNan maupun bidans karya so.t Tenlu s.ja kchadnan frSPXa,t/jE 7 dihldapan pembaca ,ka. mcmberi Mi rc6endnt untuk informasi lcntang berbasai prcblemlik scm yans xkrrt. Dunia krcativitas bida.gkescnianscca6berkelarjutanb.rkembnsdensmbajk,m!!!nbanrrakyurgrid,k'nendapalkar lahudengahpqkembangan itr. Beyak kdrya karya seniyangnenusenruhan{c.lur kririk dan sardn secara ilnriah, tapi karena mcdranya yang sangal terbatas, pada akhimya perknrbangan kitik scni kurdg bc*c'nbars. Aaaknya ].riP,(Es/.ttN/ sat.h sarL rc'npaL Pada kesenrpatan ini ffyRf.y.tE V/ Vol. -
Aspects of Improvisation in Thai Classical
ASPECTS OF IMPROVISATION IN THAI CLASSICAL DRUMMING WITH SPECIAL REFERENCE TO THE TAPHON By ANANT NARKONG Submitted for the Degree of Master in Philosophy University of London School of Oriental and African Studies Centre of Music Studies 1992 Abstract This research is intended to clarify ideas about Thai music by looking at the relationship of the basic nathap (drumming pattern) and the sa/-making ('improvisation' for Thai drumming) in the context of actual performance. The taphon, the double-headed barrel drum used in the different types of ensembles in Thai classical music, is chosen to be the focus of the study. The thesis is divided in to two parts. In part I, three main issues are proposed to be studied: a) a general description of the drum. This chapter includes the general description of the taphon; the myths and history of the taphon which link it with other Asian musical cultures, other drums of the taphon-type, and the place of the taphon in music ensembles; b) the traditional process of music transmission in taphon lessons. Here the initiation ceremony, yok kru, and the teacher homage ceremony, wai kru, are examined, the taphon tuning, the basic techniques of playing the taphon, the basic strokes, the taphon exercises and the early lessons of nathap and sai are discussed; and c) the drum pattern, nathap, including the definition, the history and development of nathap, the relationship of nathap to other aspects of the rhythmic structure of Thai music, and finally the classification of nathap. Part II is an analysis of nathap and ^/'-making by investigating the micro and macro structure of the performed nathap songrnai in two selected pieces, phleng si nuan chan song and phleng khaek horrathet thao.